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Course Lists | Course Requirements for Majors and Minors | AXLE in the English Department

The courses below are offered by the English department. Courses in other departments may also count toward the major or minor in our program. For a full list of eligible courses, please see the Vanderbilt undergraduate catalog or YES (enrolled students only). 

 

Fall 2021 Courses

ENGL 1100.01: Composition

Lisa Dordal 

MWF 11:30 AM - 12:20 PM

The main objectives of this course are to help students develop their critical writing skills and become close readers of literature (poetry, in particular). Students will learn how to gather evidence from primary and secondary sources, how to craft a thesis statement, and how to develop an argument. [3] (No AXLE credit)

 

ENGL 1100.02: Composition

TBA

MWF 12:40 - 1:30 PM

[3] (No AXLE credit)

 

ENGL 1100.03: Composition

TBA

MWF 1:50 - 2:40 PM

[3] (No AXLE credit)

 

ENGL 1111.04 FYWS: Women and Power in Shakespearean Drama

Pavneet Aulakh

MWF 9:10 - 10:00 AM

This course will examine how Shakespeare and his contemporaries relate gender to power. In Shakespearean drama, women appear as warriors and wives, lovers and killers, servants and queens. These contradictory roles raise a number of questions: How do events such as marriage, murder, inheritance, adultery, and war define women as objects or agents? How do female characters participate in physical violence and social or political disruption? Does feminine power appear as a paradox or a fact of everyday life? How much authority does the language associated with women—cursing, courtship, prophecy, shrewishness—have in these plays? Readings will include The Taming of the Shrew, As You Like It, Macbeth, Antony and Cleopatra, and The Winter’s Tale. [3; maximum of 6 credits total for all semesters of 1111] (HCA)

 

ENGL 1111.07 FYWS Women Poets in America

Didi Jackson

TR 9:35 - 10:50 AM

In this course we will pay exclusive attention to the poetry of women in America. Our focus will begin with the work of the earliest American poets such as Phillis Wheatley and Anne Bradstreet then swiftly move through the decades culminating in works by contemporary poets. Among other issues, our discussion will center around critical ideas of gender, the construction of female identity, sexism, and gender discrepancies. What do we mean by “woman?” How does the medium of poetry establish a voice for those historically silenced and marginalized? How are contemporary American women poets in conversation with those who wrote before them? How have women shaped American poetry? This course will combine both literary and creative approaches in an attempt to answer these questions. [3; maximum of 6 credits total for all semesters of 1111] (HCA)

 

ENGL 1111.22 FYWS: The Life and Works of Jane Austen

Scott Juengel

MWF 1:50 - 2:40 PM

[3; maximum of 6 credits total for all semesters of 1111] (HCA)

 

ENGL 1111.30 FYWS What is America to Me? Immigration and the (Re)Making of American Identity

Ifeoma Nwankwo 

TR 2:20 - 3:35 PM

Through this course, students will have the opportunity to explore personal stories, films, literature, and music about migration to the U.S. from the Caribbean, Latin America, and Africa; to learn about and from immigrant communities’ cultures, histories, identities, and perspectives on the American Dream; and to consider questions such as: what are immigrants’ experiences here? What sorts of adjustments do they/we have to make? What impact do they/we have on American society? How have they/we shaped literature, media, and film in the US as well as all of our approaches to identity and definitions of community? [3; maximum of 6 credits total for all semesters of 1111] (HCA)

 

ENGL 1111.31 FYWS: Existential Fictions

Mark Schoenfield

TR 8:00 - 9:15 AM

D. H. Lawrence suggests that fiction is a laboratory for philosophical problems. This course uses fiction to explore existentialism. Sometimes called a "psychology," existentialism became a dominant post-World War II philosophy, because it directed its concerns to the world of human behavior, rather than a transcendental realm. We will consider the fictions of existentialists, such as Sartre, Beauvoir, and Camus, and the existential ideas of other contemporary authors, such as Murdoch, Atwood, Madonna, and Oe. [3; maximum of 6 credits total for all semesters of 1111] (HCA)

 

ENGL 1111.53 FYWS American Teenager: Multicultural Young Adult Literature 

Sheba Karim

MWF 1:50 - 2:40 PM

In this course we will read young adult novels featuring voices typically underrepresented in American literature and explore how these coming of age narratives engage with race, culture, religion, and sexuality.  Texts include The Hate U Give by Angie Thomas and The Poet X by Elizabeth Acevedo.  We will also pay close attention to aspects of craft, such as characterization, structure and dialogue, as well as discuss current debates regarding diversity and cultural appropriation in publishing and literature.  Through informal reading responses, writing assignments and in class discussions, students will hone their close reading and critical writing skills. [3; maximum of 6 credits total for all semesters of 1111] (US)

 

ENGL 1210W.01 Prose Fiction: Forms and Techniques

Marcie Casey

MWF 12:40 - 1:30 PM 

[3] (HCA)

 

ENGL 1210W.02 Prose Fiction: Forms and Techniques: The Southern Gothic

Huntley Hughes

MWF 4:10 - 5:00 PM 

In this course, students will analyze and compare a variety of short stories and novels, particularly those associated with the Southern Gothic literary tradition. Students will develop a variety of interdisciplinary intellectual tools to help them consider literature in historical context and to think through the relationships between social and material conditions and cultural production in the American South and beyond. Writing will be central to this course as an effective means to develop and organize thought, and students will have an opportunity to mobilize the critical thinking skills honed over the course of the semester to complete a research project as well as practice writing in a variety of other academic genres. Students will walk away from the course better able to approach others’ arguments critically and open-mindedly, to support their own positions, and to communicate them effectively inside the classroom and in their personal and professional lives. [3] (HCA)

 

ENGL 1210W.03 & 04 Prose Fiction: Forms and Techniques: Monsters in Fiction

Justin Quarry

Section 03: TR 11:10 AM - 12:25 PM

Section 04: TR 2:20 - 3:35 PM

This course explores portrayals of so-called monsters in narratives ranging from the late nineteenth to the twenty-first centuries. It analyzes the elements of fiction used to illuminate these beings as well as the societal anxieties and desires among which they appear.  Students will attempt to define, and redefine, what exactly a “monster” is and what makes such a creature simultaneously horrifying and fascinating.   In this process, they will examine novels, graphic novels, and short stories in order to determine the terms by which "monsters" are understood and described, and what beyond the norm these creatures represent, both literally and metaphorically. 

More broadly, the aim of this course is to teach you to think critically about literature.  Therefore, through three informal reading responses, three formal essays, in-class writing, and class discussions, students will hone close-reading skills as well as develop their analytic writing skills. [3] (HCA)

 

ENGL 1220W.01 Drama: Forms and Techniques: Translating Tragedy

Pavneet Aulakh

MWF 10:20 - 11:10 AM

Moved to an awareness of his own inaction by an actor’s performance of Hecuba, Hamlet is flummoxed by the actor’s ability to generate emotion for a character far removed from his life. He ponders: “What’s Hecuba to him, or he to Hecuba?” In this course, we will appropriate Hamlet’s question in our study of plays from ancient Greece to the contemporary United States to ask: what are Antigone, Medea, and Othello to us? We will pursue this question not only by reading the works by Sophocles, Euripides, and Shakespeare in which these characters appear, but also by studying more recent plays that have reimagined these characters and staged their continuing relevance to the world we inhabit. [3] (HCA)

 

ENGL 1220W.02 Drama: Forms and Techniques: “This is the Excellent Foppery of the World”: A Brief Survey of Tragedy

Wesley Boyko

MWF 12:40 - 1:30 PM

What is tragedy? It’s one of the oldest and most well-known literary genres, but it has come a long way from its origins as a ‘goat-song’ (Greek tragos = ‘goat’ plus oide = ‘song’). How do we identify the essential characteristics of a form that has shifted so much over time? And how do we trace its development? These questions will serve as the starting point for our broader investigation, which is to discover what makes tragedy so…tragic. The course is broken up into three major periods—ancient, early modern, and contemporary—through which students will learn how to critically engage with tragic texts and write persuasive arguments about the genetic patterns of this literary history. [3] (HCA) 

 

ENGL 1230W.01&02 Literature and Analytical Thinking: Ocean and Literature

Jeong-Oh Kim

Section 01: MWF 10:20 - 11:10 AM

Section 02: MWF 12:40 - 1:30 PM

“Ocean and Literature” examines the cultural meaning of the sea in British literature and history, from early modern times to the present. Interdisciplinary in conception, it charts metaphorical and material links between the idea of the sea in the cultural imagination and its significance for the social and political history of Britain, offering a fresh analysis of the impact of the ocean on the formation of British cultural identities. Writers to be discussed include William Shakespeare, John Milton, Samuel Coleridge, Walter Scott, Robert Stevenson, Mark Twain, and Rachel Carson, among others. By combining the interests of three related but distinct areas of study—the analysis of sea fiction, critical maritime history, and cultural studies—to highlight the historical meaning of the sea in relation to its textual and cultural representation, my course will offer a new perspective on the nexus between the ocean and literature. [3] (HCA)

 

ENGL 1230W.03 Literature and Analytical Thinking: Black Ecologies

Cameron Clark

MWF 3:00 - 3:50 PM

Designed as an introduction to the critical intersections of Black Studies and the Environmental Humanities, this course will examine the analytic practices, aesthetic hallmarks, and political impulses that shape African American and Afro-diasporic approaches to environmental justice. Through analyzing fiction, poetry, prose, and film, we will examine how Black ecological and environmental thought challenges the logics of property and sovereignty, cultivates interdependence among various life forms, rethinks what it means to be human, and imagines different worlds or futures in the face of climate change.

This course is foremost designed to help you become a thoughtful, persuasive writer by further developing your critical reading and analytical writing skills. We will spend some time in class discussing the writing process, research practices, peer review, and revision. You should expect to receive detailed feedback and encouragement from the instructor on each assignment. [3] (HCA)

 

ENGL 1230W.04 Literature and Analytical Thinking

Gabriel Briggs

TR 9:35 - 10:50 AM

This course will cover the rise of the novel in the United States from the end of the revolutionary period to the 1850s. We will read the work of authors who dominate American literary history, such as Charles Brockden Brown, James Fenimore Cooper, and Herman Melville, but we will also study additional writers who challenge conventional wisdom, and help us to imagine alternative literary histories in the U.S.  In our reading, we will focus on two related questions: how does the novel capture the social and political pressures of a particular historical moment? Where is the line between fiction and history, dreams and reality? The novels we will examine cut across several literary genres, including the Sentimental Novel, the American Gothic, and the Historical Romance, and we will attempt both to understand and to theorize the relationship between literary and historical writing. [3] (HCA)

 

ENGL 1250W.01 Introduction to Poetry

Judy Klass

TR 3:55 - 5:10 PM

In this course students will develop their skills at writing persuasive essays of literary analysis while gaining more understanding of subtext and more appreciation for the techniques that poets use.  We will read the work of great poets: some ancient, some from several centuries ago, some modern; and we will discuss eras, movements and evolving traditions in this long, ongoing conversation. We will look at poetry that is rhymed, at blank verse, and at free verse. We will  consider how different poets approach certain topics and themes, read some writers in depth, discuss genres and modes, and consider sound, alliteration, symbolism, metaphor.  The main focus of this course will be engaging with the works we read, with the essays you write and with class discussion while at the same time  discovering some wonderful writers. [3] (HCA)

 

ENGL 1260W.01 Introduction to Literary and Cultural Analysis: Literature and the Environment

Carlos Nugent

MWF 12:40 - 1:30 PM

In the last two hundred years, our planet has changed at an unprecedented rate: humans have extinguished other species, toxic chemicals have poisoned ecosystems, and greenhouse gases have altered our very atmosphere. In this seminar, we will study Anglo American, African American, Native American, and Latinx authors who have engaged with these transformations. We will orient ourselves around literary questions: how, we will ask, have novels, poems, essays, and other forms depicted more-than-human worlds? At the same time, we will pursue historical inquiries: how, we will ask, have literary texts made it easier for us to (ab)use our environments, and how, conversely, have they inspired us to pursue environmental justice? Throughout, we will pay close attention to the relationships between social conflict and ecological change, and indeed, the indivisibility of these processes: how, we will ask, have gender, race, and class shaped the ways we write and think about environments? [3] (HCA)

 

ENGL 1260W.02 Introduction to Literary and Cultural Analysis: Literary Non-Fiction & the American Mythos

Tori Hoover

MWF 3:00 - 3:50 PM

How do personal writers navigate the intersections of the person and political? Is truth necessary for autobiographical writing? How is non-fiction a literary craft? This course explores American literary non-fiction from the seventeenth to the twenty-first century. Students will interrogate the relationship between autobiography and myth-making by completing reflective and academic writing exercises, and will hone critical thinking skills through an engagement with various forms of media — podcasts, films, and books. Readings will include texts by Frederick Douglass, Truman Capote, and Alison Bechdel. [3] (HCA)

 

ENGL 1260W.03 Introduction to Literary and Cultural Analysis: Insidious Incarcerations:  Everyday Prisons

Kya Johnson

MWF 4:10 - 5:00 PM

John Haviland, who built America’s first penitentiary in 1829, said the building should "strike fear into the hearts of those who even thought of committing a crime." Thus our central premise: prison was never just for prisoners. We will study the history of the penitentiary, using its concrete structure to examine how similar controls manifest in our everyday lives. Reading novels, theory, television, movies, and poetry, we will wrestle with questions about the reach of incarceration and the limitations of freedom. The subject of the class is prisons; the aim of this class is to empower you, in no small part by incorporating writing as a key feature in your critical thinking process. Writing will be used as a means of generating ideas and expressing them. You will leave this class able to convey your ideas seriously and clearly, and feeling confident in engaging in conversations about media that go beyond the surface. [3] (HCA)

 

ENGL 1260W.04 Introduction to Literary and Cultural Analysis: The High Low

Julianne Adams

TR 8:00 - 9:15 AM

What comes to mind when you hear “women’s culture?” What about “basic bitch?” This course traces the relationship between popular culture and white femininity through materials from the eighteenth and twenty-first centuries. We’ll untangle how explorations of gender and sexuality become absorbed in discourses that reproduce the logic they seek to disrupt. Course materials will interrogate colonial hierarchies of “highbrow” and “lowbrow” across media, from satirical poems to memes and academic theory to celebrity memoir. Students will be encouraged to bring in media that currently has their attention as we discuss the limitations and possibilities of popular culture with works like Eliza Haywood’s Fantomina and Zola’s viral Twitter story. In-class workshops and incremental writing assignments will assist students in constructing a research paper or creative project (with a critical analysis component). [3] (HCA)

 

ENGL 1260W.05 Introduction to Literary and Cultural Analysis

Jennifer Gutman

TR 11:10-12:25 AM

[3] (HCA)

 

ENGL 1270W.02 Introduction to Literary Criticism: Mapping Literary Criticism

Jeong-Oh Kim

MWF 11:30 AM - 12:20 PM

My course entitled “Mapping Literary Criticism” is designed to help students develop their analytical skills while exploring and examining relations between literary criticism/ theory and literature. The objective in this course is to articulate what is meant by literary theory and criticism, to read a wide range of contemporary theorists and critics who have addressed this issue directly or indirectly, and to explore how theoretical concepts are appropriate for the reading of literary texts. By developing a critical framework, a theoretical optics, a new perspective for the reading of literature, we will examine the ways in which major strands of literary criticism—deconstruction, psychoanalysis, postmodernism, feminism, and cognitive studies—draw upon literature. When we map the geographies of literary criticism, I aim to help students grasp those problems that literary criticism has set in motion by its response to the world: social justice, peace, the human dignity, and the ethics of theory, to name just a few. We will approach literary criticism as an inquiry and as a practice. What can we do and what shall we do with literary criticism? [3] (HCA)

 

 

ENGL 2311 Representative British Writers: 1660 - Present

Elizabeth Covington 

MWF 8:00 - 8:50 AM

This course is a survey of British Literature from 1660 to the present. We will read works from many of the influential and significant writers from five literary periods: Restoration/18th Century, the Romantics, the Victorians, the Modernists, and the 20th Century and Beyond. In addition to a sweeping view of British literature, this course will challenge the traditional canon of British culture. We will explore texts by authors who were disregarded because of their gender, race, class, sexuality, and other factors. Ultimately, we will develop broad but robust vision of the development of British literature over the past three hundred years. [3] (HCA)

 

ENGL 2316 Representative American Writers

Gabriel Briggs

TR 12:45 - 2:00 PM

This course will cover the rise of the novel in the United States from the end of the revolutionary period to the 1850s. We will read the work of authors who dominate American literary history, such as Charles Brockden Brown, James Fenimore Cooper, and Herman Melville, but we will also study additional writers who challenge conventional wisdom, and help us to imagine alternative literary histories in the U.S.  In our reading, we will focus on two related questions: how does the novel capture the social and political pressures of a particular historical moment? Where is the line between fiction and history, dreams and reality? The novels we will examine cut across several literary genres, including the Sentimental Novel, the American Gothic, and the Historical Romance, and we will attempt both to understand and to theorize the relationship between literary and historical writing. [3] (HCA)

 

ENGL 3215W The Art of Blogging: Learning How to Think and Write in the Age of Online Journalism

Amanda Little

W 3:10 - 6:00 PM

Are blogs dead? On the rise? Have they supplanted journalism? Transformed it? Students will explore how blogging began, what it is today, and why it still matters. They'll track and analyze influential blogs and online journalism and examine the roots of self-published manifestoes that date back to 17th-century pamphleteers. They'll look to the future, exploring podcasting and micro-blogging platforms including Twitter and Instagram. Students will create and regularly update their own blogs for this course. A 500-1000 word writing sample on a topic of the student's choosing is required for enrollment into this course. Please submit by May 10 to amanda.g.little@vanderbilt.edu . [3] (HCA)

 

ENGL 3336: Shakespeare (Part I)

Kathryn Schwarz 

TR 3:55 - 5:10 PM

This course focuses on the first half of Shakespeare’s career, examining clusters of plays that invite us to think across genres. How do concerns about political instability link a tragedy such as Titus Andronicus to a history such as Richard III? How might All’s Well That Ends Well illuminate both the cultural idealism of Henry V and the cultural cynicism of Hamlet? If Romeo and Juliet and A Midsummer Night’s Dream were written in the same year, how can this help us analyze the specificities of form? Throughout the semester, we’ll take various angles on what might broadly be termed politics: the politics of nationalism, gender, history, violence, identity, and community.

Discussions will consider both early histories of production and more recent readings, stagings, and adaptations for new media. Course requirements include a group presentation, analytic essays, research assignments, thematic meditations, and regular class participation. [3] (Pre-1800 requirement, HCA)

 

ENGL 3364 Eighteenth Century English Novel: Before Austen

Scott Juengel

MWF 10:20 - 11:10 AM

There is a case to be made that Jane Austen represents a leap forward in the developmental history of the English novel.  However, the constituent parts of Austen’s fame—e.g. free indirect discourse, the ‘marriage plot,’ feminist wit, social realism, the novel of manners—had a significant, if sometimes uncoordinated, history before Austen.  This course will examine that history in the work of figures like Aphra Behn, Eliza Haywood, Daniel Defoe, Samuel Richardson, Choderlos de Laclos, Ann Radcliffe and Frances Burney.  We will conclude the semester by examining two of Austen’s earliest fictions indebted to the eighteenth century—Lady Susan and Northanger Abbey—and arguably her greatest late work, Emma. [3] (Pre-1800 requirement, HCA)

 

ENGL 3370 The Bible in Literature

Roger Moore

TR 11:10 AM - 12:25 PM

Knowledge of the Bible is indispensable for understanding English and American literature.  This course examines the ways that writers from the medieval period to the present engage Biblical stories, images, and characters.  How does Chaucer retell the story of Noah and the Flood?  How do the Beatitudes help Margaret Atwood critique fanatical religion in The Handmaid’s Tale?   How does the conversion of the Apostle Paul inform Flannery O’Connor’s “Parker’s Back”?  Why is the Whore of Babylon relevant for understanding Edmund Spenser’s Faerie Queene?  We will examine these questions and many others during the term. We will also pay close attention to the historical, political, and religious circumstances of the authors and their works.  This course is valuable for English majors seeking a better understanding of the sources and backgrounds of English and American literature, as well as the general student who wishes to learn about the role of Christian themes in shaping canonical works of the English tradition.  Students will take two in-class essay exams and complete a presentation and final paper.  No prior knowledge of or expertise in the Bible is required. [3] (Pre-1800 requirement, HCA)

 

ENGL 3340W Pop Science: The Art and Impact of Popular Science Writing

Amanda Little

Wednesday 12:00 - 3:00 PM

This advanced writing course explores bestselling science non-fiction and today’s most exciting and controversial science journalism. Students will also critique science blogs, podcasts and TED talks, and dip into science-focused novels and poetry. Along the way, they'll learn and critique the fundamentals of great science writing and communication. Students will develop and publish their own blogs throughout the course and interact via Skype with top science writers. An immersive education in how to convey fact-based scientific research with accessible writing that educates, inspires and resonates with lay readers. [3] (HCA)

 

ENGL 3614W The Victorian Period: Children's Literature

Rachel Teukolsky

MWF 12:40 - 1:30 PM

How did the modern idea of the child come into existence? This class will study representations of childhood in literature, art, film, and philosophy. We’ll focus especially on the “golden age” of children’s literature in the nineteenth century. While some works aimed to discipline children, others opened onto surprisingly dark, weird, and pleasure-based territory. Why does child-themed art still appeal? And what do these works say about adulthood, maturity, and growing up? Texts will likely include: William Blake, Songs of Innocence and Experience; Lewis Carroll, Alice’s Adventures in Wonderland; Charles Dickens, Oliver Twist; J.M. Barrie, Peter Pan; illustrated fairy tales, such as Beauty and the Beast; Christina Rossetti’s poetry for children, including her notorious “Goblin Market”; Rudyard Kipling, The Jungle Book; film adaptations of some of these works; and philosophy by John Locke, Jean-Jacques Rousseau, and Sigmund Freud, among others. [3] (HCA)

 

ENGL 3630 The Modern British Novel

Elizabeth Covington

MWF 9:10 - 10:00 AM

This course serves as an introduction to the modern British novel through a representative selection spanning from 1907 to 2005. Each text for this course provides fundamental stylistic and topical contributions to the development of the genre of the modern novel. In considering these texts, we will explore various issues including gender, colonialism, race, sexuality, capitalism, and modernity. [3] (HCA)

 

ENGL 3654W.01 African American Literature: Introduction to Afro American Literature, 1789 to the Present: A Survey

Houston Baker

MW 4:10 - 5:30 PM

This course is designed and will be taught as an enjoyable and wide-ranging introduction to the world and works of Afro-American Literature.  It commences with the fascinating narrative of an eighteenth-century African kidnapped from his village and cast into the worlds of Atlantic shipping, New World slavery, and Evangelical Religion. Its endpoint is the stunning and varied work of writers such as Toni Morrison. Along our chronological way, we shall read and discuss Afro-American folklore and nineteenth-century slave narratives. We shall spend significant time on the glorious Harlem Renaissance of the roaring 1920s when, as Langston Hughes stated it: “Harlem was in vogue.”  Social realism works like Richard Wright’s Native Son will form part of our journey.   In turn, we shall read and discuss James Baldwin’s famous essay “Everybody’s Protest Novel,” a harsh critical lambasting of Wright’s realism. The 1960s and 1970s Black Arts and Black Nationalist Movements of revolution in the streets and rebellion on the page will come alive for us in the works of authors such as Amiri Baraka, Sonia Sanchez, and Haki Madhubuti. Readings will be reasonable in size and scope, and there will be in-class moments that feature a perfect combination of lecture by the professor and animated discussion by students.  Written assignments will also be reasonable. [3] (Diverse Perspectives Requirement, US)

 

ENGL 3654W.02 African American Literature: James Baldwin, Lucille Clifton, Audre Lorde: THe Art of Confession (Honors Seminar)

Emily Lordi

TR 9:35 - 10:50 AM

This course will examine the work of three major 20th century African American writers who are linked through their artful and political approaches to the act of confession. Reading a broad selection of these writers’ fiction (in Baldwin’s case), as well as their poetry, essays, and memoirs, we will ask how these writers articulate personal, familial, and broader group secrets in the service of personal healing as well as social justice. How, when, and with whom should silences be broken? Which secrets might be better kept? These issues are at the heart of mid-century Black writing, and are no less urgent for writers and readers today. We will explore them through class discussion, close readings, and other writing assignments. [3] (Diverse Perspectives Requirement, US)

 

ENGL 3656W Literary Existentialism

Mark Schoenfield

TR 11:10 AM - 12:25 PM

Freedom’s just another word for nothing left to lose/Nothing ain’t worth nothing but it’s free…                                                  --“Me and Bobby McGee”

Existentialism has been variously identified as a philosophy, literary movement, psychology, and political agent.  In this course, we will see how works of the classical existentialists—Simone de Beauvoir, Jean-Paul Sartre, and Albert Camus—express concerns about the modern condition, especially with regard to the dynamic of freedom, social responsibility, and the construction of identity and selfhood.  As we follow how existential thought diffuses into popular culture (Bob Dylan, Margaret Atwood, Bob Fosse, etc.), we will think about how they intersect with the condition of the self within a social world constructed through consumption, gender, national allegiances, and economic and technological contingencies.  Directed in part by our own interests and in part by these author’s obsessions, we will conclude the course with various options for presentations and projects. [3] (HCA)

 

ENGL 3662 Asian American Literature

Ben Tran

TR 2:20 - 3:35 PM

Our course will examine a variety of cultural works that depict and address Asian American experiences. We will analyze how Asian American aesthetic forms contribute to and challenge the historical formation of Asian American identities. In addition, we will consider Asian American culture in relationship to Afro-Asian connections, the history of empire, war and violence, and masculinity and femininity. There will be critical engagement and study of concepts such as the yellow peril, model minority, (techno-)orientalism, and tiger mom. [3] (Diverse Perspectives Requirement, P)

 

ENGL 3720W Literature, Science, and Technology: The Curious Art of Science

Pavneet Aulakh

MWF 12:40 - 1:30 PM

In its christening, “Curiosity,” the fourth of the Mars rovers, which landed on the planet on August 6, 2012 and continues its explorations to this day, speaks to an essential element of scientific experimentation and discovery. As Einstein put it: “The important thing is not to stop questioning. Curiosity has its own reason for existing.” While we might take the virtues of curiosity for granted, it was not always thought a productive habit of thought. Rather, it was deemed a vice that had to be argued for and legitimized over the course of the Scientific Revolution. Through a reading of early modern scientific treatises and literary texts, as well as modern essays in the history and philosophy of science, we will historicize curiosity by both tracking its evolution from a cultural taboo to a marker of human progress and studying the resistance this transformation occasioned. [3] (Pre-1800 requirement, HCA)

 

ENGL 3730 Literature and the Environment: 21st Century Climate Fiction

Teresa Goddu 

TR 2:20 - 3:35 PM

This course surveys contemporary fiction that addresses the climate crisis. What do contemporary writers have to tell us about the natural, social, political, psychological, and cultural changes that we are currently experiencing? How does literature help us imagine a world shaped by climate change and offer ways to approach its challenges and possibilities? As we read, we will ask—how can fiction help us understand the world that’s already here and prepare us for the one that has yet to come? 

Texts may include: Ben Lerner, 10:04; Cormac McCarthy, The Road; Karen Thompson Walker, The Age of Miracles; Jeff Vandermeer, Annihilation; Jesmyn Ward, Salvage the Bones; as well as an array of short stories and films. [3] (HCA)

 

ENGL 3740W Critical Theory: History of Violence / Violence of History 

Alex Dubilet

TR 3:55 - 5:10 PM

The stories we tell ourselves about modernity stress the advent of democracy and liberalism, the development of technology, the proliferation of freedom, or economic growth. But modernity has also been a time of violence: the epoch of colonialism, slavery, state violence, and capital accumulation. By analyzing these violent phenomena constitutive of modernity, this course will expose students to major critical theoretical approaches and conceptual tools for the study of modern history, culture, and politics. Some of the questions we will ask during the semester include: How do we understand the relation of state and law to violence? What is the role of revolutionary and anti-colonial violence in modernity? What is the role of slavery in modernity and what are its legacies? In what ways are some populations more exposed to violence and subjection than others? [3] (Diverse Perspectives Requirement, HCA)

 

ENGL 3890W.01 Movements in Literature: Cultures of the U.S.-Mexico Borderlands 

Carlos Alonso Nugent

MWF 1:50 - 2:40 PM

In recent years, the U.S. has built a multi-billion-dollar wall along the Mexican border. While the wall may appear to be an anomaly, it rests on longstanding legacies of settler colonialism and racial capitalism. In this seminar, we will look at these legacies through the eyes of the Natives, Latinxs, whites, and others who have lived in the U.S.–Mexico borderlands. Within the confines of literature, we will read novelists like Willa Cather, essayists like Valeria Luiselli, and poets like Simon Ortiz. Meanwhile, across the more capacious category of culture, we will engage with promoters, periodistas, and other little-known (but no less important) figures. From these concrete contexts, we will ask abstract questions: Are borders physical boundaries, or are they psychosocial conditions? Are nations stable and homogeneous groups, or are they flexible and diverse communities? Ultimately, can human beings be branded as illegal aliens, or do they have inalienable rights? [3] (Diverse Perspectives, HCA)

 

ENGL 3890W.02 Movements in Literature: The World Reaches Out: New Perspectives on the Harlem Renaissance

Ifeoma Nwankwo

TR 3:55 - 5:10 PM

In this course, students will have the opportunity to gain new perspectives on this distinctive era often thought to be one of the most pivotal in US cultural history. During this era, young Black writers, artists, musicians, laborers, and soldiers in and from New York as well as in and from the U.S. South, the Caribbean, Latin America, Africa, and Europe birthed exciting innovations in literature, popular music, film, dance, business, and politics. They showed and showed off what they viewed as the inherent richness and modernity of their cultures. As they did so, they asked key questions about how Black culture should be understood and should be presented in the public sphere. [3] (Diverse Perspectives, HCA)

 

ENGL 3892: Problems in Literature: Word & Image (Honors Seminar)

Rachel Teukolsky

MWF 1:50 - 2:40 PM 

This class will explore the mind-bending world of image-texts: artworks that combine both words and images. We’ll study diverse examples from the eighteenth century to the present day, from Keats’s “Ode on a Grecian Urn” to the graphic novels of Art Spiegelman (Maus) and Alison Bechdel (Fun Home). Other image-texts will include: William Blake, Songs of Innocence and Experience; Oscar Wilde, Salomé; fairy tales and their illustrations; Picasso’s collages; and works by contemporary African-American artists who use words provocatively in their images, including Matthew Thomas’s pictorial ebook Love, Sex, and Drunk-Texts. The class will include a strong philosophical component theorizing “the verbal” versus “the visual.” For a final project, students will write a 10-12 pp. research paper on a topic of their choosing, with an option for a creative project. Get ready for one of the most unique courses you’ll take at Vanderbilt. [3] (HCA)

 

ENGL 3894W.01 Major Figures: Jane Austen, War Novelist

Andrea Hearn

MWF 10:20 AM - 11:10 PM

“What calm lives they had, those people!  No worries about the French Revolution, or the crashing struggle of the Napoleonic Wars.  Only manners controlling natural passion so far as they could.”  Winston Churchill’s famous summary of Jane Austen’s seemingly placid fiction has undergone serious challenge in the last decades.  As we now understand, Austen and her characters had many worries about the cataclysmic events of her time: from the French and American Revolutions to the Napoleonic wars, the Acts of Union with Scotland and Ireland, and the abolition of slavery and the slave trade.  In this course, we will examine Austen’s fiction for the traces of such worries, supplementing our reading with more explicit publications from her contemporaries.  After spending most of the semester considering wartime in Austen, we’ll conclude with a brief look at Austen in wartime, particularly the First and Second World Wars—the very context, indeed, for Churchill’s comment above. [3] (HCA)

 

ENGL 3894W.02 Major Figures: Ernest Hemingway

Gabriel Briggs

TR 11:10 AM - 12:25 PM

This course examines one of the most influential writers in twentieth-century American Literature. To understand Hemingway’s enduring cultural presence, students will read a number of short stories, novels, and non-fiction prose he produced between 1924 and 1951. Students will also develop strategies for positioning the author and his work within specific historical and theoretical contexts. [3] (HCA)

 

ENGL 3894W.03 Major Figures: Melville and the Americas

Colin Dayan

TR 12:45 - 2:00 PM

In this seminar we will tackle the late prose of Herman Melville, especially Moby Dick (1851); Pierre; or, the Ambiguities (1852); Israel Potter (1855); The Piazza Tales (1856); and The Confidence Man (1857). An obsessive and philosophical writer, preoccupied with slavery and the false benevolence of his time, Melville demands that we reconsider the writings of those who influenced him, as well as those contemporaries with whom he remained in dialogue. We will also read as background: John Locke, John Calvin, Orville Dewey, Edgar Allan Poe, and Ralph Waldo Emerson, as well as case law dealing with slavery and emancipation. [3] (HCA)

 

ENGL 3898W.01 Special Topics: The Divided Metropolis: Culture and Design in the City

Elizabeth Meadows and Chris Rowe

MWF 10:20 AM - 11:10 PM

Cultures create cities; cities transform cultures. The city is one of humanity’s great inventions, revolutionizing technology, health care, and finance, yet cities are often represented as sites of corruption and danger. This course unites English and Engineering in exploring the evolution of urban environments and the roles of literature and culture in that evolution. We will examine the landscape of urban infrastructure and representations of cities in books, movies, and works of art to unearth how and why cities create opportunity and innovation while simultaneously restricting access to such benefits.

Students will examine urban designs from antiquity to the present and their relationship to culture and geography; read literary works covering cities in the ancient world, in the 19th-century Industrial Revolution, and in the 20th-century flight to suburbia; design an urban slum; participate in local field trips; and develop a final project uniting storytelling and design in an urban setting. [3] (HCA)

 

ENGL 3899 Special Topics in Film

Akshya Saxena

MWF 9:10 - 10:00 AM

Films are a powerful medium in modern society. So, how do films make meaning? Do we read films like we read novels? How do films communicate? What makes certain images foreign and others familiar? This course considers a variety of ways in which the question of “language” appears as a central practice and metaphor when we watch films. While some insist that film is not a language, many others have claimed it as a truly universal language. Bringing together a mix of filmic and scholarly texts, the course examines the stakes of this paradox. We begin with the formal language of films as we focus on the history and techniques of narrative cinema. We will study and analyze the formal elements by which films can tell stories. From there, we consider practices of dubbing, subtitling, and translation in films. Finally, we conclude with a unit on global cinema. The course is especially interested in the relation between film, language, and foreignness. How do films perform cultural mediation in our globalizing world and what are the challenges to that mediation? As we formulate our answer to this question, you will watch a variety of films and learn how to write critically about them. [3] (HCA)

 

ENGL 1101 Creative Writing Tutorial: Fiction

Yi Jiang

Individual instruction in writing fiction. Offered on a pass/fail basis only. Not open to students who have completed 3851 section 07. [1] (No AXLE credit)

 

ENGL 1102 Creative Writing Tutorial: Poetry

Hayes Cooper

Individual instruction in writing poetry. Offered on a pass/fail basis only. Not open to students who have completed 3851 section 07. [1] (No AXLE credit)

 

ENGL 1280.01 Beginning Fiction Workshop

Danny Lang-Perez

MWF 10:20 - 11:10 am

“The aim of literature… is the creation of a strange object covered in fur which breaks your heart.”

—Donald Barthelme

Fiction is brain hacking. The writer offers words on a page. If they are the right words conveyed compellingly, they conjure whole lives and worlds to speak deep truths, touching both head and heart. But writing stories is also a craft, with mechanical parts that can be learned, practiced, and artfully deployed. In this class we will investigate and discuss collectively the art of fiction through the workshop model of peer discussion and analysis. You will write two short stories to be discussed by your peers (one of which you will revise and resubmit) along with smaller generative and critical assignments. You will also read a range of contemporary short stories and craft essays on the vocabulary of the writer’s toolbox (e.g., characterization, plot, setting, etc.). [3] (HCA)

 

ENGL 1280.02 Beginning Fiction Workshop

Lara Casey

MWF 11:30 AM - 12:20 PM

Humans are intuitive storytellers. How do we take our instincts and make meaning for readers, art from words? In this introduction to the craft and practice of fiction writing, we’ll explore the different elements of the short story and how they work together to make meaning. As we take an up-close look at  tools such as characterization, structure, point of view, and imagery, you’ll experiment and apply them in your own writing. Because good writers are good readers, we will delve into a variety of short fiction and uncover what makes a piece compelling and why. In addition to readings, and writing exercises, each student will develop two original stories. In a workshop format, you’ll respond to writing by fellow students—and in doing so, strengthen your own fiction skills. By the end of the course, you’ll better understand how to share your unique voice as a storyteller. [3] (HCA)

 

ENGL 1280.03 Beginning Fiction Workshop

Sam Marshall

TR 12:45 - 2:00 PM

In this workshop students will read, write, revise, and study short-form literary fiction. We will focus our attention on the nuts and bolts of fiction by studying craft elements (plot, character, point of view, etc.) in order to investigate how a story acquires a pulse once animated by the mind of a thoughtful reader. Physically, a story is just marks on a page—how do writers create an opening to let the world come into their work? Each student will write two original short stories, which we will discuss together in workshop. In addition to growing as readers and writers, students will become lively members of a literary community by responding to one another’s work and exploring the world of contemporary fiction by reading a range of published writers. No prior experience is needed for this introductory workshop—only an inquisitive mind and a willingness to read and write. [3] (HCA)

 

ENGL 1280.04 Beginning Fiction Workshop

Pallavi Wakharkar

TR 2:20 - 3:35 pm

How do stories work? How can we use our unique voices and obsessions to tell compelling stories? If you are a beginner writer interested in the art of fiction, this course is designed with you in mind. No prior experience is necessary. By taking a closer look at published works of fiction, we will learn to read like writers. Together, we will explore elements of craft such as point of view, imagery, characterization, plot, tone, and more. We’ll also discuss the more unnamable, less mechanical elements that make stories magical, beautiful, or emotionally complex. Over the course of the semester, you will write two original short stories, which we will discuss and critique as a group in workshop. Please be prepared to be part of a constructive literary community. [3] (HCA)

 

ENGL 1290.01 Beginning Poetry Workshop

Lily Someson

MWF 9:10 - 10:00 AM

The poet Audre Lorde said, "poetry is not a luxury, but a vital necessity of our existence." In this introductory course, you will find where that phrase rings true for you, and no matter your major or experience level, you will gain the foundation for becoming a strong, intentional poet. In addition to composing poems, students will be delving into poetry from all sides, studying how it is written, the poets who write it, and the literary techniques you may adopt to make your own writing more successful. This includes reading published poets and participating in generative in-class writing exercises. Students will also workshop their own poems and give/receive tactful feedback on poems by others to create a compassionate writing community. By the end of the semester, students will revise and polish a batch of poems that reflects their unique writing style while utilizing a range of poetry forms and variations. [3] (HCA)

 

ENGL 1290.02 Beginning Poetry Workshop

Caroline Stevens

MWF 4:10 - 5:00 PM

In this introductory workshop, we will reach toward the questions posed by Audre Lorde: “What are the words you do not yet have? What do you need to say?” Workshop members will take creative risks, develop their aesthetic preferences, and build a love for language through the poems that they read and write. Throughout the semester, students will read a diverse array of published poems and craft essays, develop a critical vocabulary to discuss poems, and become active participants in the literary community by attending poetry readings. Class members will exchange verbal and written feedback on each other’s poems on a weekly basis in addition to strengthening their poetic muscles through weekly generative assignments. By the end of the semester, students will have developed a portfolio of revised poems and a written reflection on their growth as poets. [3] (HCA)

 

ENGL 1290.03 Beginning Poetry Workshop

Kiyoko Reidy

TR 9:35 - 10:50 AM

What is poetry, and what can it do? This course will explore different elements of the craft and creation of poetry. Through practice writing, reading, and workshopping, this course will serve as a jumping off point for beginner poets. It is an introductory class, so no prior experience with poetry is necessary. This is a chance to create an encouraging, constructive literary community where students will learn the skills necessary to be a creative writer and reader. [3] (HCA)

 

ENGL 1290.04 Beginning Poetry Workshop

Jessica Lee

TR 3:55 - 5:10 PM

Why does one poem move us more than others? What is the poet doing on the page and how does it affect us as readers? These are some of the many questions we will explore in this beginning poetry workshop that will help you learn to read and write poems with attention to craft.  

Throughout the semester, we will read published poems and craft essays for instruction and inspiration. You will keep a writer’s notebook, complete generative exercises, write and revise your own poems, reflect on your work and process, and participate actively in our writing community by giving and receiving workshop feedback. Critiquing poems is another opportunity to practice thinking and reading like a poet, which is to say, giving your peers feedback will improve your own writing. Curiosity and a love of language are the only prerequisites for this introductory course; no prior poetry experience is required. [3] (HCA)

 

ENGL 3210.01 Intermediate Nonfiction Writing: The Short Personal Essay

Justin Quarry

Monday 3:10 - 6:00 pm

How do you tell a personal story in a short space, for a wide audience?  How do you shape your experiences into art?  In this workshop, students identify the parts of their lives rich with resonance and discovery—from day-to-day happenings to landmark moments—and craft them for the page with the goal of compelling readers.  In studying, they read two texts on the art of the personal essay as well as a diverse selection of essays by contemporary writers; in practicing, they write four essays of varying lengths (two of 100 words, two of 1500-1750 words), all of which are then workshopped by their professor and peers.  The final project consists of revisions of all essays.  Of particular emphasis in students’ reading and writing is the broad topic of relationships—familial, platonic, romantic, etc.—to produce potential (but not required) submissions for, among others, the college contest editions of the “Tiny Love Stories” and “Modern Love” columns in The New York Times. [3] (HCA)

 

ENGL 3230.01 Intermediate Fiction Workshop

Sheba Karim

Monday 3:10 - 6:00 pm

This workshop is for fiction writers looking to develop, explore and refine their craft and narrative techniques.  The heart of this course is the workshop, the development and discussion of your own creative work.  The focus of the course is revision; you will revise the same story several times over the course of the semester, as well as read published stories and essays on craft, read and critique original narratives by peers, and complete writing exercises.  The final will consist of a final revision of the story written for this class. [3; maximum of 6 credits total for all semesters of ENGL 3250] (HCA)

 

ENGL 3230.02 Intermediate Fiction Workshop

Nancy Reisman

Wednesday 12:10 - 3:00 pm

What images, characters, situations, dynamics, and mysteries have captured your attention, or haunted you? What discoveries await? What material, style, and methods of storytelling interest you the most, and how can you best access your material? This workshop is a place for writers with some fiction writing background to delve into the sources of your work, deepen your knowledge of craft and technique, expand your understanding of fiction’s possibilities and take some new creative risks. We’ll consider fiction’s necessary mysteries, a broad range of approaches to form, and how clear representation of time, dramatic space/place, and perspective shape reader experience. In our readings, we’ll consider flash fiction and mainly character-based literary short stories from varied approaches, (realist, magical realist/fabulist/surrealist, meta-fiction, formalist). We’ll also consider connections to other artistic and literary forms. The core of the workshop will be your original work and the work of your peers, including individual and group responses to workshop fiction.   

Kindly note:

1) this course will not involve fictional forms/genres that rely on world-building, invented realms, and/or certain other genre specialization (i.e. fantasy, alternate world sci-fi, horror, fan fiction, romance, religious or classically-referenced allegory). 

2) This workshop is Immersion-adaptable.

For the Intermediate level workshop, interested writers should register for the wait-list, as instructor permission is required.  Permission will be based primarily on a brief writing sample. At the end of course selection, I’ll send guidelines to everyone on the wait-list, along with a short questionnaire. Previous fiction workshop experience strongly recommended. Writers are welcome to apply for admission to more than one fiction writing workshop but may enroll in only one fiction workshop per semester. [3; maximum of 6 credits total for all semesters of ENGL 3250] (HCA)

 

ENGL 3250.01 Intermediate Poetry Workshop

Didi Jackson

Tuesdays 12:10 - 3:00 pm

How do we move freely around an imagined confined space? How do we think of poetic forms as keys opening doors rather than locks closing up a room? Eavan Boland calls the form of poetry “a truth teller and intercessor from history itself, making structures of language, making music of feeling.” And that is the goal of this class: to learn about form, to experiment within the parameters of various forms, and to deepen your knowledge of the craft of poetry. The workshop is for those with a background in poetry. You will share and critique your original work while maintaining an emphasis on revision. This is a class of both control and risk taking, of historical parameters and contemporary amplitude, of anticipated know-how and surprise.  

For the Intermediate level poetry workshop, instructor permission is required. Writers interested in the class should register for the waitlist.  Permission will be based primarily on a brief writing sample. Once the course selection is made, guidelines will be sent to everyone on the waitlist, along with a short questionnaire. Previous poetry workshop experience strongly recommended. [3; maximum of 6 credits total for all semesters of ENGL 3250] (HCA)

 

 

ENGL 3654W.02 African American Literature: James Baldwin, Lucille Clifton, Audre Lorde: THe Art of Confession (Honors Seminar)

Emily Lordi

TR 9:35 - 10:50 AM

This course will examine the work of three major 20th century African American writers who are linked through their artful and political approaches to the act of confession. Reading a broad selection of these writers’ fiction (in Baldwin’s case), as well as their poetry, essays, and memoirs, we will ask how these writers articulate personal, familial, and broader group secrets in the service of personal healing as well as social justice. How, when, and with whom should silences be broken? Which secrets might be better kept? These issues are at the heart of mid-century Black writing, and are no less urgent for writers and readers today. We will explore them through class discussion, close readings, and other writing assignments. [3] (Diverse Perspectives Requirement, US)

 

ENGL 3892: Problems in Literature: Word & Image (Honors Seminar)

Rachel Teukolsky

MWF 1:50 - 2:40 PM 

This class will explore the mind-bending world of image-texts: artworks that combine both words and images. We’ll study diverse examples from the eighteenth century to the present day, from Keats’s “Ode on a Grecian Urn” to the graphic novels of Art Spiegelman (Maus) and Alison Bechdel (Fun Home). Other image-texts will include: William Blake, Songs of Innocence and Experience; Oscar Wilde, Salomé; fairy tales and their illustrations; Picasso’s collages; and works by contemporary African-American artists who use words provocatively in their images, including Matthew Thomas’s pictorial ebook Love, Sex, and Drunk-Texts. The class will include a strong philosophical component theorizing “the verbal” versus “the visual.” For a final project, students will write a 10-12 pp. research paper on a topic of their choosing, with an option for a creative project. Get ready for one of the most unique courses you’ll take at Vanderbilt. [3] (HCA)

 

ENGL 4998.01 Honors Colloquium 

Jessie Hock

Thursday 11:00 AM - 1:30 PM

This colloquium prepares honors students to write their honors thesis/project next semester . To help students develop the projects that will form the basis for next semester’s work, we will explore critical approaches to literature (broadly conceived) and methods of exploration in ways designed to help both creative writers and critic-scholars. [3] (No AXLE credit) 

JEWISH STUDIES

JS 2250W: Witnesses Who Were No There: Literature of the Children of Holocaust Survivors

Adam Meyer

MWF 11:10 - 12:00 PM

Fiction and non-fiction produced by children of Holocaust survivors. [3] (HCA)

 

JS 2260W Coming of Age in Jewish Literature and Film

Allison Schachter

MW 3:00 - 4:15 PM

Eligible for English as Diverse Perspectives. [3] (INT)

 

MEDICINE, HEALTH & SOCIETY

MHS 3050W: Medicine and Literature

Lindsey Odie

TR 2:20 - 3:35 PM

TR 4:10 - 5:25 PM

Narrative analysis, and other humanistic, interpretative practices of relevance to medicine and health. [3] (HCA)

 

 

 

Summer 2021 Courses

ENGL 1210W.01 Prose Fiction: Forms and Techniques

Gabriel Briggs - Online Synchronous

MTWRF 1:10 - 4:00 PM

This course will provide a close study of short stories and novels and written explication of these forms. In particular, it examines Ernest Hemingway, one of the most influential writers in twentieth-century American Literature. To better understand Hemingway’s enduring cultural presence, students will read a number of short stories, novels, and non-fiction prose he produced between 1924 and 1951. Students will also develop strategies for positioning the author and his work within specific historical and theoretical contexts. [3] (HCA)

 

ENGL 1210W.02 Prose Fiction: Forms and Techniques: Redrawing Fictional Boundaries

Jeong-Oh Kim - Online Synchronous

MTWRF 10:10 - 1:00 PM

“Redrawing Fictional Boundaries”  will help students develop their writing skills while exploring and examining the forms and techniques of prose fiction. The texts in this course reinvent communities while providing  a critique of their communal, communicative truth claims, reimagining uncanny gothic (Dracula), urban heterotopia (Strange Case of Dr. Jekyll and Mr. Hyde), postmodern entropy (The Crying of Lot 49) and the rights of (wo)man (Frankenstein) as well as adolescents (A High Wind in Jamaica). We will think specifically through spatial relations and their internal networks, a new approach to re-drawing boundaries of prose fiction by examining its film and cultural adaptations. Class will be a mixture of synchronous discussion and asynchronous writing. [3] (HCA)

 

ENGL 1260W.01 Introduction to Literary and Cultural Analysis

Judy Klass - Online Synchronous

MTWRF 1:10 - 4:00 PM

This course focuses on adaptation: how stories are told and re-told across genres, eras and cultures; what changes and what doesn't. We'll look at what different iterations of a text say about the societies that created them. We'll watch The Seven Samurai and The Magnificent Seven, look at Jane Austen's Emma and watch Clueless, look a Gone with the Wind and read The Wind Done Gone, and compare Romeo and Juliet (and various films of it) to West Side Story. [3] (HCA)

 

ENGL 3333 Love Books

Jessie Hock - Online Asynchronous

What does it mean to write about love, beauty, and pleasure in the expectation that someone else will read what you’ve written? From a spiritual, sublime, or cosmological force to an embodied, even pornographic or ridiculous experience, “love” in the texts we will read in this class is a highly diverse phenomenon. In all its forms, the idea of love allows poets and philosophers to explore what it means to write – or read – about subjectivity and emotion. Readings will include texts by Lucretius, Virgil, Ovid, Petrarch, Stampa, Shakespeare, Marvell, Behn and more, and will span a wide range of genres, including epic, lyric, dramatic, narrative, epistolary, and philosophical prose. Students will become acquainted with ancient, medieval, and Renaissance literary and cultural history. Course requirements will likely include short reading responses, group work, a midterm, and a final.  [3] (HCA)

ENGL 1100.01 Composition

Elisabeth Covington - Online Synchronous

MTWRF 9:10 - 11:00 PM

The primary objectives of this course are to demystify the college-level essay and to develop your writing skills so that you will be able to write quality essays during and after your time at Vanderbilt.  In addition to thinking about questions of style, we will conduct in-depth investigations of the three fundamental elements of an excellent essay: analysis, argumentation, and explication. I will ask you to think critically and to craft subtle, persuasive, well-reasoned essays.  The analytical and argumentative skills developed in this class will help you to articulate your ideas clearly and convincingly. [3] (No AXLE credit)

 

ENGL 1100.02 Composition: Comp in the time of Covid

Joanna Huh - Online Synchronous

MTWRF 1:10 - 3:00 PM

This course will foster an inclusive and intensive environment for the exploration, analysis, and practice of writing. We’ll examine the mechanics of composition to demystify the college-level essay and focus primarily on three genres: personal narratives, analytical writing, and argumentative essays. We’ll conduct in-depth investigations of the three fundamental elements of an essay: analysis, explication, and argumentation and focus on writing as a recursive practice that includes prewriting, drafting, editing, and revising. We’ll also analyze distinct styles, structures, and genres as a way to become better rounded and more versatile authors. Each of you will develop a “toolbox” of skills and strategies through focused assignments and readings that will prepare you for collegiate, professional, and personal writing. You will end the semester a more critical thinker, reader, and writer and more adept in communicating your ideas through academic writing conventions. [3] (No AXLE credit)

 

ENGL 1210W.02 Prose Fiction: Forms and Techniques

Gabriel Briggs - Online Synchronous

MTWRF 10:10 - 12:00 PM

This course will provide a close study of short stories and novels and written explication of these forms. In particular, it examines Ernest Hemingway, one of the most influential writers in twentieth-century American Literature. To better understand Hemingway’s enduring cultural presence, students will read a number of short stories, novels, and non-fiction prose he produced between 1924 and 1951. Students will also develop strategies for positioning the author and his work within specific historical and theoretical contexts. [3] (HCA)

 

ENGL 1250W.01 Introduction to Poetry

Kate Daniels - Online Synchronous

MTWRF 8:10 - 10:00 PM

In this class, we will study the forms and history of English-language poetry by undertaking a close examination of fourteen poems that have been chosen to illustrate the essential elements and principles of poetry across time, beginning with the earliest poetic example in English, all the way up to our present moment with its flourishing of Spoken Word verse and its electronic dissemination via twitter and online readings.  Most of the poems we read will be American or British, but there may be an occasional foray into poems written in English by poets emanating from other regions.  This is a contemporary revision of a popular English course that was long taught at Vanderbilt that focused on one poem per week throughout an academic semester. 

In this 21st century, online, summer school iteration, we will close-read four poems weekly, one poem per day, M-Th.  Fridays will be devoted to writing workshops designed to assist you in writing the four short papers you will be required to produce.  Requirements include: four short critical papers (lengthy assignment sheets will be provided); two oral presentations (on zoom); virtual attendance at two poetry readings; response papers (brief and informal) to assigned readings and to poetry readings; and occasional other assignments.  For those with an interest in creative writing, there will be an opportunity (optional) to write poetry. Students intending to register for this course, should be prepared to submit an example of a poem they particularly admire for the first class. [3] (HCA)

 

ENGL 1100.02 Composition

Judy Klass - Online Synchronous

MTWRF 11:10 - 1:00 PM 

We will be reading fiction and non-fiction in this class, and while considering what a writer’s objective should be when engaged in each kind of writing. Students themselves will be concentrating concentrate on non-fiction writing: writing persuasive and analytical essays which that employ various rhetorical strategies. Each stage of the writing process is important: carefully considering an issue before choosing one’s thesis, qualifying one’s position if necessary, including substantive examples and specific details, editing out repetition, using transitional words to aid organization and readability, proofreading, and revising drafts of essays. This course is about reading critically, writing in a clear and compelling way, building persuasive arguments, developing confidence in one’s own voice as a writer, and doing research and documenting sources when necessary. [3] (No AXLE credit)

 

ENGL 1260W.02 Introduction to Literary and Cultural Analysis: Radiant Intertextuality

Jeong-Oh Kim - Online Synchronous

MTWRF 10:10 - 12:00 PM 

 “Radiant Intertextuality” is based on the premise that in a complex world, we must approach problems from many different angles. The current focus on inter- disciplinarity reflects this premise. Yet all too often, interdisciplinarity is treated more as a rhetorical slogan than as an actual practice. Its transformative challenge is reduced to an additive list without clear motivation: philosophy plus literature, anthropology plus history . . . a principle of X Plus Y. We will take the challenge of interdisciplinarity seriously to ask how it changes the way we do things: the questions we ask, the materials we work with, and what we do with those materials. This course will also include work in cognitive studies, helping students engage in a critical reading of neuroscience ethics, particularly the issues related to Neuro-Culture. [3] (HCA)

 

 

 

Comprehensive ENGL Course Catalog

Not all courses are offered in all semesters. If you need specific courses to meet major, minor, or AXLE requirements, please work with your academic adviser to ensure that you time your course schedule appropriately.

Students may elect to count one of the following 1000-level courses toward their major: ENGL 1111, 1210W, 1220W, 1230W, 1240, 1250W, 1260W, 1270W, 1280, 1290. 

  • ENGL 1100 Composition: For students who need to improve their writing. Emphasis on writing skills, with some analysis of modern nonfiction writing. [3] (No AXLE credit)
  • ENGL 1111 First Year Writing Seminar: Independent learning and inquiry in an environment in which students can express knowledge and defend opinions through intensive class discussion, oral presentations, and written expression. May be repeated for credit once if there is no duplication of topic, but students may earn only up to 3 credits in any 1111 course per semester of enrollment. [3; maximum of 6 credits total for all semesters of 1111] (AXLE credit category varies by section)
  • ENGL 1210W Prose Fiction: Forms and Techniques: Close study of short stories and novels and written explication of these forms. [3] (AXLE: 1000-level W course, HCA)
  • ENGL 1220W Drama: Forms and Techniques: Close study of representative plays of the major periods and of the main formal categories (tragedy, comedy) and written explication of these forms. [3] (AXLE: 1000-level W course, HCA)
  • ENGL 1230W Literature and Analytical Thinking: Close reading and writing in a variety of genres drawn from several periods. Productive dialogue, persuasive argument, and effective prose style. Offered on a graded basis only. [3] (AXLE: 1000-level W course, HCA)
  • ENGL 1240 Beginning Nonfiction Workshop: Writing various forms of prose nonfiction. [3] (HCA)
  • ENGL 1250W Introduction to Poetry: Close study and criticism of poems. The nature of poetry, and the process of literary explication. [3] (AXLE: 1000-level W course, HCA)
  • ENGL 1260W Introduction to Literary and Cultural Analysis: Analysis of a range of texts in social, political, and aesthetic contexts. Interdisciplinary study of cultural forms as diverse as poetry, advertisement, and film. [3] (AXLE: 1000-level W course, HCA)
  • ENGL 1270W Introduction to Literary Criticism: Selected critical approaches to literature. [3] (AXLE: 1000-level W course, HCA)
  • ENGL 1280 Beginning Fiction Workshop: Introduction to the art of writing prose fiction. [3] (HCA)
  • ENGL 1290 Beginning Poetry Workshop: Introduction to the art of poetry writing. [3] (HCA)
  • ENGL 2200 Foundation of Literary Study: Fundamentals of literary study: close reading; analytic writing; historical context; abstract reasoning in theory; creative expression. [3] (HCA). *2200 may count as an elective in any program. Please consult your adviser.
  • ENGL 2310 Representative British Writers (to 1660): Selections from British literature with attention to contexts and literary periods. From the beginnings to 1660. Provides a broad background for more specialized courses and is especially useful for students considering advanced studies in literature. [3] (HCA)
  • ENGL 2311 Representative British Writers (from 1660): Selections from British literature with attention to contexts and literary periods. From 1660 to the present. Provides a broad background for more specialized courses and is especially useful for students considering advanced studies in literature. [3] (HCA)
  • ENGL 2316 Representative American Writers: Selections from the entire body of American literature with attention to contexts and literary periods. Provides a broad background for more specialized courses and is especially useful for students considering advanced studies in literature. Repeat credit for students who have completed 2316W. [3] (US)
  • ENGL 2316W Representative American Writers: Selections from the entire body of American literature with attention to contexts and literary periods. Provides a broad background for more specialized courses and is especially useful for students considering advanced studies in literature. Repeat credit for students who have completed 2316. [3] (US)
  • ENGL 2318 World Literature, Classical: Great Books from the points of view of literary expression and changing ideologies: Classical Greece through the Renaissance. Repeat credit for students who have completed 2318W. [3] (HCA)
  • ENG: 2318W World Literature, Classical: Great Books from the points of view of literary expression and changing ideologies: Classical Greece through the Renaissance. Repeat credit for students who have completed 2318. [3] (HCA)
  • ENGL 2319 World Literature, Modern: Great Books from the points of view of literary expression and changing ideologies: The 17th century to the contemporary period. Repeat credit for students who have completed 2319W. [3] (HCA)
  • ENGL 2319W World Literature, Modern: Great Books from the points of view of literary expression and changing ideologies: The 17th century to the contemporary period. Repeat credit for students who have completed 2319. [3] (HCA)
  • ENGL 2320 Southern Literature: The works of Southern writers from Captain Smith to the present. Topics such as the Plantation Myth, slavery and civil war, Agrarianism, and "post-southernism." Authors may include Poe, Twain, Cable, Faulkner, Welty, Percy, Wright. [3] (HCA)
  • ENGL 2330 Introduction to Environmental Humanities: Interdisciplinary study of human beings' relationship to the environment. Literary, artistic, historical, and philosophical perspectives. Cultural understandings of the environment. [3] (HCA)
  • ENGL 2330W Introduction to Environmental Humanities: Interdisciplinary study of human beings' relationship to the environment. Literary, artistic, historical, and philosophical perspectives. Cultural understandings of the environment. [3] (HCA)
  • ENGL 2740 Topics in Literature and Philosophy: Literary, philosophical, and cultural texts on varied philosophical topics. May be repeated for credit if there is no duplication in topic. Students may enroll in more than one section of this course per semester. [3] (HCA)

 

For Creative Writing workshops, Pre-1800 and Diverse Perspective courses, please view their corresponding sections. 

  • ENGL 3215 The Art of Blogging: Conventions of the rapidly evolving literary form of blogging. Creation and maintenance of a personal blog. Critique of online journalism across many genres, including activism, politics, science, and arts and culture. Interaction with professional bloggers. [3] (HCA)
  • ENGL 3215W The Art of Blogging: Conventions of the rapidly evolving literary form of blogging. Creation and maintenance of a personal blog. Critique of online journalism across many genres, including activism, politics, science, and arts and culture. Interaction with professional bloggers. Serves as repeat credit for students who have completed 3215. [3] (HCA)
  • ENGL 3240W Pop Science: The Art and Impact of Popular Science Writing: Mechanics and influence of popular science writing in the 21st century. Students will critique bestselling books and award-winning journalism; develop and publish their own blogs with a focus on science, technology, and the environment; and interact with top science writers, editors, and podcasters. Not open to students who have earned credit for CSET 3890 section 01 offered fall Fall 2019. [3] (SBS)
  • ENGL 3280 Literature and the Craft of Writing: The forms and techniques of creative writing. Contemporary practices in fiction and poetry in historical context. [3] (HCA)
  • ENGL 3610 The Romantic Period: Prose and poetry of the Wordsworths, the Shelleys, Byron, Keats, and others. [3] (HCA)
  • ENGL 3610W The Romantic Period: Prose and poetry of the Wordsworths, the Shelleys, Byron, Keats, and others. Serves as repeat credit for ENGL 3610W. [3] (HCA)
  • ENGL 3611 The Romantic Period: Continuation of 3610. Prose and poetry of the Wordsworths, the Shelleys, Byron, Keats, and others. [3] (HCA)
  • ENGL 3614 The Victorian Period: Works of Tennyson, Browning, Arnold, Hardy, and others. [3] (HCA)
  • ENGL 3614W The Victorian Period: Works of Tennyson, Browning, Arnold, Hardy, and others. Serves as repeat credit for ENGL 3614. [3] (HCA)
  • ENGL 3618 The Nighteenth Century English Novel: The study of selected novels of Dickens, Thackeray, Emily Brontë, George Eliot, George Meredith, Thomas Hardy, and other major novelists of the period. [3] (HCA)
  • ENGL 3620 Nighteenth Century American Literature: Explorations of themes, forms, and social and cultural issues shaping the works of American writers. Authors may include Cooper, Poe, Hawthorne, Douglass, Jacobs, Stowe, Melville, Dickinson, Alcott, Whitman, and Twain. [3] (HCA)
  • ENGL 3622 Nighteenth Century American Women Writers: Themes and forms of American women's prose and poetry, with the emphasis on alternative visions of the frontier, progress, class, race, and self-definition. Authors include Child, Kirkland, Fern, Jacobs, Harper, Dickinson, and Chopin. [3] (HCA)
  • ENGL 3624W Literature of the American Civil War: Origins and impact of the war as depicted in short stories, novels, poems, and films. Harriet Beecher Stowe, Stephen Crane, Margaret Mitchell, William Faulkner, and Margaret Walker. [3] (US)
  • ENGL 3630 The Modern British Novel: The British novel from the beginning of the twentieth century to the present. Conrad, Joyce, Lawrence, Virginia Woolf, Forster, and other novelists varying at the discretion of instructor. [3] (HCA)
  • ENGL 3634 Modern Irish Literature: Major works from the Irish literary revival to the present, with special attention to the works of Yeats, Synge, Joyce, O'Casey, and Beckett. [3] (HCA)
  • ENGL 3640 Modern British and American Poetry: Yeats to Auden: A course in the interpretation and criticism of selected modern masters of poetry, British and American, with the emphasis on poetry as an art. Poets selected may vary at discretion of instructor. [3] (HCA)
  • ENGL 3642 Film and Modernism: Film in the context of the major themes of literary modernism: the divided self, language and realism, nihilism and belief, and spatialization of time. [3] (HCA)
  • ENGL 3644 Twentieth Century American Novel: Explorations of themes, forms, and social cultural issues shaping the works of American novelists. Authors may include Fitzgerald, Faulkner, Hemingway, Hurston, Ellison, McCarthy, Bellow, Kingston, Morrison, Pynchon. Emphasizes writers before 1945. [3] (HCA)
  • ENGL 3645 Twentieth Century American Novel: Explorations of themes, forms, and social cultural issues shaping the works of American novelists. Authors may include Fitzgerald, Faulkner, Hemingway, Hurston, Ellison, McCarthy, Bellow, Kingston, Morrison, Pynchon. Emphasizes writers after 1945. [3] (HCA)
  • ENGL 3646 Poetry Since World War II: Poets studied vary at discretion of instructor. Offered on a graded basis only. [3] (HCA)
  • ENGL 3680 Twentieth Century Drama: Topics in twentieth century drama drawn from the American, British, and/or world traditions. Formal structures of dramatic literature studied within contexts of performance, theatrical production, and specific dramatic careers. Authors may include O'Neill, Albee, Hansberry, Hellman, Stoppard, Wilson, and Churchill. Emphasizes American drama. [3] (US)
  • ENGL 3681 Twentieth Century Drama: Topics in twentieth century drama drawn from the American, British, and/or world traditions. Formal structures of dramatic literature studied within contexts of performance, theatrical production, and specific dramatic careers. Authors may include O'Neill, Albee, Hansberry, Hellman, Stoppard, Wilson, and Churchill. Emphasizes British and world drama. [3] (US)
  • ENGL 3683 Contemporary British Literature: The novel, short story, and verse in Great Britain since World War II. [3] (HCA)
  • ENGL 3692 Desire in America: Literature, Cinema and History: The influence of desire and repression in shaping American culture and character from the mid-nineteenth century to the present. [3] (US)
  • ENGL 3694 America on Film: Art and Ideology: American culture and character through film, film theory, and literature. [3] (US)
  • ENGL 3695 America on Film: Performance and Culture: Film performance in the construction of identity and gender, social meaning and narrative, public image and influence in America. [3] (US)
  • ENGL 3710 Literature and Intellectual History: Fiction, poetry, and prose writings that represent overarching themes in English and/or American literature across conventional historical periods in order to define and trace their genealogy and evolution. [3] (HCA)
  • ENGL 3711 Literature and Intellectual History: The emergence of modern consciousness in the nineteenth and twentieth centuries. [3] (HCA)
  • ENGL 3711 Literature and Intellectual History: The emergence of modern consciousness in the nineteenth and twentieth centuries. Serves as repeat credit for ENGL 3711. [3] (HCA)
  • ENGL 3720 Literature, Science and Technology: The relationship of science and technology to literature, film, and popular media. Focus on such topics as digital technology, genetics, and the representation of science in particular periods, genres, movements, and critical theories. Repeat credit for students who have completed 3720W. [3] (P)
  • ENGL 3720W Literature, Science and Technology:The relationship of science and technology to literature, film, and popular media. Focus on such topics as digital technology, genetics, and the representation of science in particular periods, genres, movements, and critical theories. Repeat credit for students who have completed 3720. [3] (P)
  • ENGL 3726 New Media: History, theory, and design of digital media. Literature, video, film, online games, and other interactive narratives. [3] (HCA)
  • ENGL 3726W New Media: History, theory, and design of digital media. Literature, video, film, online games, and other interactive narratives. Serves as repeat credit for 3726. [3] (HCA)
  • ENGL 3728 Science Fiction: Social and historical developments within the genre. Works from the late nineteenth century to the present. Cultural issues, including race, gender, sexuality, violence, and the representation of science. Repeat credit for students who have completed 3728W. [3] (P)
  • ENGL 3728W Science Fiction: Social and historical developments within the genre. Works from the late nineteenth century to the present. Cultural issues, including race, gender, sexuality, violence, and the representation of science. Repeat credit for students who have completed 3728. [3] (P)
  • ENGL 3730 Literature and the Environment: Environmental issues from British, American, and global perspectives. Methodological approaches such as ecocriticism, environmental and social justice, ethics, and activism. The role of literature and the imagination in responding to ecological problems and shaping environmental values. [3] (HCA)
  • ENGL 3734 Literature and Law: Study of the relationship between the discourses of law and literature. Focus on such topics as legal narratives, metaphor in the courts, representations of justice on the social stage. Repeat credit for students who have completed 3734W. [3] (HCA)
  • ENGL 3734W Literature and Law: Study of the relationship between the discourses of law and literature. Focus on such topics as legal narratives, metaphor in the courts, representations of justice on the social stage. Repeat credit for students who have completed 3734. [3] (HCA)
  • ENGL 3736 Words and Music: An investigation of works of literature that have inspired musical settings and the musical settings themselves. Emphasis on literary and musical analysis and interpretation. No musical background assumed. Repeat credit for students who have completed MUSL 2330. [3] (HCA)
  • ENGL 3740 Critical Theory: Major theoretical approaches that have shaped critical discourse, the practices of reading, and the relation of literature and culture. [3] (HCA)
  • ENGL 3742 Feminist Theory: An introduction to feminist theory. Topics include cross-cultural gender identities; the development of "masculinity" and "femininity"; racial, ethnic, class, and national differences; sexual orientations; the function of ideology; strategies of resistance; visual and textual representations; the nature of power. [3] (P)
  • ENGL 3744 Advanced Poetry: Formal analysis and close reading of major poems in the extended canon of British and American poetry. Related examples of historical, theoretical, and applied criticism. [3] (HCA)
  • ENGL 3746 Workshop in English and History: Team-taught by a historian and an interdisciplinary scholar. Explores intersection of disciplines through close examination of texts in historical context. Preference to students majoring in the English-History program. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (No AXLE credit)
  • ENGL 3748 Introduction to English Linguistics: Systematic study of present-day English sounds, words, sentences, and the contexts of language production. Contemporary varieties of English. [3] (HCA)
  • ENGL 3890 Movements in Literature: Studies in intellectual currents that create a group or school of writers within a historical period. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (HCA)
  • ENGL 3890W Movements in Literature: Studies in intellectual currents that create a group or school of writers within a historical period. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (HCA)
  • ENGL 3891 Special Topics in Creative Writing: Advanced instruction in creative writing in emerging modes and hybrid genres. [3] (HCA)
  • ENGL 3892 Problems in Literature: Studies in common themes, issues, or motifs across several historical periods. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (HCA)
  • ENGL 3892W Problems in Literature: Studies in common themes, issues, or motifs across several historical periods. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (HCA)
  • ENGL 3894 Major Figures in Literature: Studies in the works of one or two writers with attention to the development of a writer's individual canon, the biographical dimension of this work, and critical responses to it. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (HCA)
  • ENGL 3894W Major Figures in Literature: Studies in the works of one or two writers with attention to the development of a writer's individual canon, the biographical dimension of this work, and critical responses to it. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (HCA)
  • ENGL 3896 Special Topics in Investigative Writing in America: Course will be taught by a distinguished visiting journalist from a major U.S. newspaper or magazine. May be repeated for credit once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [1-3; maximum of 6 credits total for all semesters of ENGL 287] (No AXLE credit)
  • ENGL 3897 Special Topics in Critical Theory: Diverse range of literary, philosophical, cultural, and political texts. May be repeated for credit if there is no duplication in topic. Students may enroll in more than one section of this course per semester. [3] (HCA)
  • ENGL 3898 Special Topics in English and American Literature: Topics vary. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (HCA)
  • ENGL 3898W Special Topics in English and American Literature: Topics vary. May be repeated for credit more than once if there is no duplication in topic. Students may enroll in more than one section of this course each semester. [3] (HCA)
  • ENGL 3899 Special Topics in Film: Theory and practice of cinema as an aesthetic and cultural form. May be repeated for credit once if there is no duplication in topic. Students may enroll in more than one section of this course per semester. [3; maximum of 6 credits total for all semesters of ENGL 3899] (HCA)

 

  • ENGL 2310 Representative British Writers (to 1660): Selections from British literature with attention to contexts and literary periods. From the beginnings to 1660. Provides a broad background for more specialized courses and is especially useful for students considering advanced studies in literature. [3] (HCA)
  • ENGL 2318 World Literature, Classical: Great Books from the points of view of literary expression and changing ideologies: Classical Greece through the Renaissance. Repeat credit for students who have completed 2318W. [3] (HCA)
  • ENG: 2318W World Literature, Classical: Great Books from the points of view of literary expression and changing ideologies: Classical Greece through the Renaissance. Repeat credit for students who have completed 2318. [3] (HCA)
  • ENGL 3310 Anglo-Saxon Language and Literature: The study of the Old English language. Selected historical and literary prose. Short heroic poems. [3] (HCA)
  • ENGL 3312 The Medieval World: English literature and culture in relation to Europe, the Middle East, and Asia. Cross-cultural exchange, national and religious identity, and race. Not open to students who have completed ENGL 3316. [3] (P)
  • ENGL 3312W The Medieval World: English literature and culture in relation to Europe, the Middle East, and Asia. Cross-cultural exchange, national and religious identity, and race. Not open to students who have completed ENGL 3316. Serves as repeat credit for ENGL 3312. [3] (P)
  • ENGL 3314 Chaucer: Study of The Canterbury Tales and Chaucer's world. [3] (HCA)
  • ENGL 3316 Medieval Literature: The drama, lyrics, romance, allegory, and satire of the fourteenth and fifteenth centuries, studied in the context of the period's intellectual climate and social change. [3] (HCA)
  • ENGL 3318 The History of the English Language: The development of English syntax. History of the English vocabulary: word formation, borrowing, semantic change, and meter. [3] (HCA)
  • ENGL 3330 Sixteenth Century: Prose and poetry of the sixteenth century. Emphasis on Spenser and his contemporaries. [3] (HCA)
  • ENGL 3332 English Renaissance: Drama: English drama, exclusive of Shakespeare, from 1550-1642: Marlowe, Jonson, Webster, and others. [3] (HCA)
  • ENGL 3332W English Renaissance: Drama: English drama, exclusive of Shakespeare, from 1550-1642: Marlowe, Jonson, Webster, and others. Serves as repeat credit for 3332. [3] (HCA)
  • ENGL 3335 English Renaissance: Poetry: Development of the English poetic tradition from 1500-1700. Repeat credit for students who have earned credit for 3335W. [3] (HCA)
  • ENGL 3335W English Renaissance: Poetry: Development of the English poetic tradition from 1500-1700. Repeat credit for students who have earned credit for 3335. [3] (HCA)
  • ENGL 3336 Shakespeare: About twenty of the major plays considered in chronological order over two terms, with emphasis on Shakespeare's development as a dramatic artist. Primarily comedies and histories. [3] (HCA)
  • ENGL 3336W Shakespeare: Comedies and Histories: About twenty of the major plays considered in chronological order over two terms, with emphasis on Shakespeare's development as a dramatic artist. Primarily comedies and histories. Serves as repeat credit for ENGL 3336. [3] (HCA)
  • ENGL 3337 Shakespeare: About twenty of the major plays considered in chronological order over two terms, with emphasis on Shakespeare's development as a dramatic artist. Primarily tragedies and romances. [3] (HCA)
  • ENGL 3337W Shakespeare: Tragedies and Romaces: About twenty of the major plays considered in chronological order over two terms, with emphasis on Shakespeare's development as a dramatic artist. Primarily tragedies and romances. Serves as repeat credit for ENGL 3337. [3] (HCA)
  • ENGL 3340 Shakespeare: Representative Selections: A representative selection of plays, including histories, tragedies, comedies, and romances, designed to give the student a sense of the full range of Shakespeare's work in one semester. Repeat credit for students who have completed 3340W. [3] (HCA)
  • ENGL 3340W Shakespeare: Representative Selections: A representative selection of plays, including histories, tragedies, comedies, and romances, designed to give the student a sense of the full range of Shakespeare's work in one semester. Repeat credit for students who have completed 3340. [3] (HCA)
  • ENGL 3346 Seventeenth Century Literature: Poetry and prose from 1600 to the English Civil War, such as Metaphysical and Cavalier poetry, essays, romances, and satires. Authors may include Bacon, Cavendish, Donne, Herbert, Jonson, Lanier, Marvell, and Wroth. [3] (HCA)
  • ENGL 3348 Milton: The early English poems; Paradise Lost, Paradise Regained, and Samson Agonistes; the major prose. [3] (HCA)
  • ENGL 3348W Milton: The early English poems; Paradise Lost, Paradise Regained, and Samson Agonistes; the major prose. Serves as repeat credit for ENGL 3348. [3] (HCA)
  • ENGL 3360 Restoration and the Eighteenth Century: Explorations of the aesthetic and social world of letters from the English Civil War to the French Revolution. Drama, poetry, and prose, including Restoration plays, political poetry, satire, travel narratives, and tales. Authors may include Behn, Dryden, Congreve, Addison, Swift, Finch, Pope, Fielding, Burney, Johnson, and Inchbald. Earlier writers. [3] (HCA)
  • ENGL 3361 Restoration and the Eighteenth Century: Explorations of the aesthetic and social world of letters from the English Civil War to the French Revolution. Drama, poetry, and prose, including Restoration plays, political poetry, satire, travel narratives, and tales. Authors may include Behn, Dryden, Congreve, Addison, Swift, Finch, Pope, Fielding, Burney, Johnson, and Inchbald. Later writers. [3] (HCA)
  • ENGL 3364 The Eighteenth Century English Novel: The English novel from its beginning through Jane Austen. Development of the novel as a literary form, and study of selected works of Defoe, Richardson, Fielding, Sterne, and other novelists of the period. [3] (HCA)
  • ENGL 3370 The Bible in Literature: An examination of ways in which the Bible and biblical imagery have functioned in literature and fine arts, in both "high culture" and popular culture, from Old English poems to modern poetry, drama, fiction, cartoons, and political rhetoric. Readings include influential biblical texts and a broad selection of literary texts drawn from all genres and periods of English literature. [3] (HCA)

Other 3000-level English electives may also fulfill the Diverse Perspectives Requirement based on the instructor's syllabus for that course. If so, this will be indicated in the course schedule. Additionally, courses from other departments may also fulfill the Diverse Perspectives Requirement per approval by the Director of Undergraduate Studies. 

  • ENGL 3650 Ethnic American Literature: Texts and theory relevant to understanding race, culture, and ethnicity in the formation of American culture. Literature from at least three of the following groups: African Americans, Native Americans, Asian Americans, Chicano/Latino Americans, Caribbean Americans, and European Americans. [3] (P)
  • ENGL 3650W Ethnic American Literature: Texts and theory relevant to understanding race, culture, and ethnicity in the formation of American culture. Literature from at least three of the following groups: African Americans, Native Americans, Asian Americans, Chicano/Latino Americans, Caribbean Americans, and European Americans. [3] (P)
  • ENGL 3654 African American Literature: Examination of the literature produced by African Americans. May include literary movements, vernacular traditions, social discourses, material culture, and critical theories. Repeat credit for students who have completed 3654W. [3] (US)
  • ENGL 3654W African American Literature: Examination of the literature produced by African Americans. May include literary movements, vernacular traditions, social discourses, material culture, and critical theories. Repeat credit for students who have completed 3654. [3] (US)
  • ENGL 3658 Latino-American Literature: Texts and theory relevant to understanding constructs of Latino identity, including race, class, gender, and basis for immigration, in the context of American culture. The course focuses on the examination of literature by Chicano, Puerto Rican, Cuban, Dominican, and Latin American writers in the United States. [3] (P)
  • ENGL 3658W Latino-American Literature: Texts and theory relevant to understanding constructs of Latino identity, including race, class, gender, and basis for immigration, in the context of American culture. The course focuses on the examination of literature by Chicano, Puerto Rican, Cuban, Dominican, and Latin American writers in the United States. Serves as repeat credit for ENGL 3658. [3] (P)
  • ENGL 3662 Asian American Literature: Diversity of Asian American literary production with specific attention to works after 1965. Topics such as gender and sexuality, memory and desire, and diaspora and panethnicity in the context of aesthetics and politics of Asian American experience. [3] (P)
  • ENGL 3662W Asian American Literature: Diversity of Asian American literary production with specific attention to works after 1965. Topics such as gender and sexuality, memory and desire, and diaspora and panethnicity in the context of aesthetics and politics of Asian American experience. [3] (P)
  • ENGL 3664 Jewish American Literature: Nineteenth century to the present. Issues of race, gender, ethnicity, immigration, and diaspora. Offered on a graded basis only. [3] (HCA)
  • ENGL 3670 Colonial and Post-Colonial Literature: Literature exploring European colonialism and its aftermath from the eighteenth century to the present: language, gender, and agency in the colonial encounter; anti-colonial resistance movements; and postcolonial cultures. Topics may vary; course may be taken more than once with permission of the Director of Undergraduate Studies. [3] (HCA)
  • ENGL 3670W Colonial and Post-Colonial Literature: Literature exploring European colonialism and its aftermath from the eighteenth century to the present: language, gender, and agency in the colonial encounter; anti-colonial resistance movements; and postcolonial cultures. Topics may vary; course may be taken more than once with permission of the Director of Undergraduate Studies. [3] (HCA)
  • ENGL 3674 Caribbean Literature: Caribbean literature from 1902 to the present. Emphasis on writing since 1952, which marks the beginning of West Indian nationalism and the rise of the West Indian novel. [3] (INT)
  • ENGL 3678 Anglophone African Literature: From the Sundiata Epic to the present with emphasis on the novel. Attention to issues of identity, post coloniality, nationalism, race, and ethnicity in both SubSaharan and Mahgrib literatures. Such authors as Achebe, Ngugi, Gordimer, Awoonor, and El Saadaw. [3] (INT)
  • ENGL 3678W Anglophone African Literature: From the Sundiata Epic to the present with emphasis on the novel. Attention to issues of identity, post coloniality, nationalism, race, and ethnicity in both SubSaharan and Mahgrib literatures. Such authors as Achebe, Ngugi, Gordimer, Awoonor, and El Saadaw. Serves as repeat credit for ENGL 3678. [3] (INT)
  • ENGL 3742 Feminist Theory: An introduction to feminist theory. Topics include cross-cultural gender identities; the development of "masculinity" and "femininity"; racial, ethnic, class, and national differences; sexual orientations; the function of ideology; strategies of resistance; visual and textual representations; the nature of power. [3] (P)
  • ENGL 3742W Feminist Theory: An introduction to feminist theory. Topics include cross-cultural gender identities; the development of "masculinity" and "femininity"; racial, ethnic, class, and national differences; sexual orientations; the function of ideology; strategies of resistance; visual and textual representations; the nature of power. Serves as repeat credit for ENGL 3742. [3] (P)

 

Admission to these courses is by consent of the instructor.

  • ENGL 3210 Intermediate Nonfiction Writing: Instruction in the forms and techniques of nonfiction writing. Admission by consent of instructor. May be repeated once for credit. [3] (HCA)
  • ENGL 3220 Advanced Nonfiction Writing: Further instruction in the form and techniques of nonfiction writing. Admission by consent of instructor. May be repeated for credit once if there is no duplication in topic. Students may enroll in more than one section of this course per semester. [3; maximum of 6 credits total for all semesters of ENGL 3220] (HCA)
  • ENGL 3230 Intermediate Fiction Workshop: Instruction in fiction writing. Supplementary readings that illustrate traditional aspects of prose fiction. Admission by consent of instructor. May be repeated for credit once if there is no duplication in topic. Students may enroll in more than one section of this course per semester. [3; maximum of 6 credits total for all semesters of ENGL 3230] (HCA)
  • ENGL 3240 Advanced Fiction Workshop: Continuing instruction in fiction writing. Admission by consent of instructor. May be repeated for credit once if there is no duplication in topic. Students may enroll in more than one section of this course per semester. [3; maximum of 6 credits total for all semesters of ENGL 3240] (HCA)
  • ENGL 3250 Intermediate Poetry Workshop: Instruction in poetry writing. Supplementary readings illustrating traditional aspects of poetry. Admission by consent of instructor. May be repeated for credit once if there is no duplication in topic. Students may enroll in more than one section of this course per semester. [3; maximum of 6 credits total for all semesters of ENGL 3250] (HCA)
  • ENGL 3260 Advanced Poetry Workshop: Continuing instruction in poetry writing. Admission by consent of instructor. May be repeated for credit once if there is no duplication in topic. Students may enroll in more than one section of this course per semester. [3; maximum of 6 credits total for all semesters of ENGL 3260] (HCA)

 

  • ENGL 4998 Honors Colloquium: Background for writing the honors thesis. Emphasis on research methods, critical approaches, and the students' own projects. Limited to seniors admitted to the English Honors Program. [3] (No AXLE credit)
  • ENGL 4999: Honors Thesis: Prerequisite: 4998. [3] (No AXLE credit)
  • Honors Seminars: The Department of English offers two Honors seminars each semester (3000-level course with a pre-requisite of 3.4 GPA). 

ENGL 3851 & 3852 Independent Study

Independent study and directed study courses are primarily intended for majors in their junior and senior years. Exceptions may be made for well-qualified sophomores. To enroll in an independent study course, please complete the following steps:

  1. Obtain permission to enroll from the instructor of your choice and Director of Undergraduate Studies prior to the opening of your enrollment window for the semester in which you wish to complete the independent study course.
  2. Complete the Contract for Registration in Independent Study Course. The form requires details regarding the nature of the project and the amount of credit to be earned. It must be signed by your instructor and the DUS or Department Chair prior to the tenth day of classes. 
  3. Submit your contract for Independent study to Rachel Mace before the end of the change period (the first week of classes). You will then be manually registered in YES.

This elective may be repeated for a total of 6 credits in 3851 and 3852 combined if there is no duplication in topic. Students may earn only up to 3 credits per semester of enrollment. (No AXLE credit)

Course Requirements for Majors and Minors

students sitting in rows of desks during an English faculty reading

Note: for full degree requirements, see the Major and Minor page.

Required Courses

  • Depending on the program, the English major or minor requires 3-6 credit hours in pre-1800 literature and 3-6 credit hours in diverse perspectives. See the current semester’s course offerings, above, or the list of electives, below, for specific course options.
  • Creative Writing majors must complete 12 credit hours of 3000-level creative writing workshops in at least two different genres (nonfiction, fiction, and/or poetry). Admission to these courses is by consent of the instructor. These elective workshops are listed in the Creative Writing Requirement section below. 

Electives

When choosing electives for the major, please keep in mind:

  • Students may elect to count one 1000-level course toward their major or minor: ENGL 1111, 1210W, 1220W, 1230W, 1240, 1250W, 1260W, 1270W, 1280, or 1290.
  • Survey courses (2310, 2311, and 2316(W)) are recommended for sophomores, to provide background for more advanced courses.
  • All courses numbered 2050 and above (except English 4999) count toward the English major.
  • English 3890(W), 3892(W), 3894(W), and 3898 may be repeated for credit when the topics are different.

AXLE in the English Department

Almost all College of Arts and Science students take at least one English course to help fulfill the requirements of AXLE, the college’s core curriculum. The English department offers courses to meet both the Writing and Liberal Arts requirements. Courses that meet AXLE requirements are clearly marked in the course lists above, in the undergraduate catalog, and in YES.

Note: for full AXLE requirements, see the College of Arts and Science guide to AXLE.

Meeting the Writing Requirement

The Department of English is unique in offering courses to satisfy all four components of the AXLE Writing Requirement. These include: 

  • English Composition (ENGL 1100)
  • First-Year Writing Seminar (ENGL 1111)
  • One additional W course
  • One 1000-level or 2000-level English course, or another W course of any level

The Liberal Arts Requirement

The department also offers courses in five of the categories included in the AXLE Liberal Arts Requirement: Humanities and the Creative Arts (HCA), Perspectives (P), History and Culture of the United States (US), International Cultures (INT), and Social and Behavioral Sciences (SBS). You can locate these electives in the course lists above, in the undergraduate catalog, or in YES using their corresponding codes.