ENGL-UA 101 | Introductions to the Study of Literature 

• ENGL-UA 101.001 | Prof. Vargo | MW 9:30am-10:45am
  
• ENGL-UA 101.002 | Prof. Linstrom | MW 2pm-3:15pm
  
• ENGL-UA 101.004 | Prof. Fleming | MW 8am-9:15am
  
• ENGL-UA 101.005 | Prof. Gorin | MW 3:30pm-4:45pm
  
• ENGL-UA 101.006 | Prof. Sudhinaraset | TR 3:30pm-4:45pm
  
• ENGL-UA 101.0070 | Prof. Regaignon | TR 11am-12:15pm

ENGL-UA 111 | Literatures in English I: Medieval and Early Modern Literatures | Prof. Hoover | TR 2pm-3:15pm

• RCT | R 4:55pm-6:10pm
  
• RCT | R 6:20pm-7:35pm
  
• RCT | F 9:30am-10:45am
  
• RCT | F 12:30pm-1:45pm

ENGL-UA 112 | Literatures in English II: Literatures of the British Isles and British Empire 1660-1900 | Prof. Hanson | TR 4:55pm-6:10pm

• RCT | F 8am-9:15am
  
• RCT | F 9:30am-10:45am
  
• RCT | F 3:30pm-4:45pm
  
• RCT | F 2pm-3:15pm
  

ENGL-UA 113 | Literatures in English III: American Literatures to 1900 | Prof. Baker | MW 11am-12:15pm

• RCT |  W 4:55pm-6:10pm
  
• RCT | W 6:20pm-7:35pm
  
• RCT | F 12:30pm-1:45pm
  
• RCT | F 2pm-3:15pm
  

ENGL-UA 114 | Literatures in English IV: Twentieth and Twenty-first Century Literatures | Prof. Trujillo | MW 12:30pm-1:45pm

• RCT | W 4:55pm-6:10pm
  
• RCT | W 6:20pm-7:35pm
  
• RCT | F 8am-9:15am
  
• RCT | F 9:30am-10:45am
  

DESCRIPTIONS:

ENGL-UA 101.001 | Introductions to the Study of Literature | Prof. Vargo | MW 9:30am-10:45am

This is a class on reading and perspective meant to cultivate our skills as students of literature. For much of the term, we will approach lyric poems, short stories and novels (Woolf's Mrs. Dalloway, Shelley's Frankenstein, and the Arabian Nights), as worlds unto themselves, taking seriously the texts' internal logic while probing their peculiarities, ambiguities, and paradoxes. We will attend to how poetry fuses intellectual, emotional and aesthetic concerns while developing a shared vocabulary in order to better understand and describe the ways poets utilize wordplay, figurative expression (such as metaphor, synesthesia, and synecdoche), and sonic devices (like rhyme and rhythm) as they transform ordinary language into art. For fiction, our approach will derive from narratology. We will consider how stories are narrated, their arrangement of time and space, their experiments with point of view, and the ways in which they instantiate character. In the final section of the semester, our perspective will broaden as we look at a case study of Langston Hughes's 1949 poetry volume One-Way Ticket by considering how issues of race, diaspora, and urban life shape Hughes's poetic practices. Finally, plenary lectures by other faculty members will introduce other texts and modes of reading. You must be a declared English major or minor to take this class. If you need to declare, please do so here: https://forms.gle/JRG1N1wtptgQRH9s7

ENGL-UA 101.002 | Introductions to the Study of Literature | Prof. Linstrom | MW 2pm-3:15pm

Designed for English majors and minors, this course focuses on the practice of reading literature. We will examine the set of following questions: What are literary texts and why are they important? How have different historical developments and cultural communities shaped the reading of literature? What is useful or vital about such reading practices? Our specific aim will be to cultivate close-reading and writing skills through the study of various forms and genres of writing. This course offers students a richer understanding of critical reading practices and the implications of different interpretive approaches. You must be a declared English major or minor to take this class. If you need to declare, please do so here: https://forms.gle/JRG1N1wtptgQRH9s7

ENGL-UA 101.004 | Introductions to the Study of Literature | Prof. Fleming | MW 8am-9:15am

What is literature, and what can it do for us? In this seminar we will be sampling a wide range of literary texts, written from 1557 to the present day, investigating ways to approach works of literature critically, both within the traditions from which they depart and also as they speak to present concerns. Course requirements: two papers (4-5 pages, 30% of final grade each); writing exercises throughout the semester; informed participation in class (20% of final grade which is earned by finishing the class readings before class, submitting all written elements on time, and participating in class discussions in an engaged and informed manner; and final exam (20% of final grade). We will be working on your writing and everyone should expect to re-write at least one of their papers for an improved grade. You must be a declared English major or minor to take this class. If you need to declare, please do so here: https://forms.gle/JRG1N1wtptgQRH9s7

ENGL-UA 101.005 | Introductions to the Study of Literature | Prof. Gorin | MW 3:30pm-4:45pm

Designed for English majors and minors, this course focuses on the practice of reading literature. We will examine the set of following questions: What are literary texts and why are they important? How have different historical developments and cultural communities shaped the reading of literature? What is useful or vital about such reading practices? Our specific aim will be to cultivate close-reading and writing skills through the study of various forms and genres of writing. This course offers students a richer understanding of critical reading practices and the implications of different interpretive approaches. You must be a declared English major or minor to take this class. If you need to declare, please do so here: https://forms.gle/JRG1N1wtptgQRH9s7

ENGL-UA 101.006 | Introductions to the Study of Literature | Prof. Sudhinaraset | TR 3:30pm-4:45pm

Designed for English majors and minors, this course focuses on the practice of reading literature. We will examine the set of following questions: What are literary texts and why are they important? How have different historical developments and cultural communities shaped the reading of literature? What is useful or vital about such reading practices? Our specific aim will be to cultivate close-reading and writing skills through the study of various forms and genres of writing. This course offers students a richer understanding of critical reading practices and the implications of different interpretive approaches. You must be a declared English major or minor to take this class. If you need to declare, please do so here: https://forms.gle/JRG1N1wtptgQRH9s7

ENGL-UA 1010070 | Introductions to the Study of Literature | Prof. Regaignon | TR 11am-12:15pm

Designed for English majors and minors, this course focuses on the practice of reading literature. We will examine the set of following questions: What are literary texts and why are they important? How have different historical developments and cultural communities shaped the reading of literature? What is useful or vital about such reading practices? Our specific aim will be to cultivate close-reading and writing skills through the study of various forms and genres of writing. This course offers students a richer understanding of critical reading practices and the implications of different interpretive approaches. You must be a declared English major or minor to take this class. If you need to declare, please do so here: https://forms.gle/JRG1N1wtptgQRH9s7

ENGL-UA 111 | Literatures in English I: Medieval and Early Modern Literatures | Prof. Hoover | TR 2pm-3:15pm

This course surveys literature in English from the Old English epic Beowulf (ca. 700) to John Milton's epic Paradise Lost (1674). Medieval readings besides Beowulf include "Caedmon's Hymn," "The Dream of the Rood," selections from Chaucer's Canterbury Tales, Sir Gawain and the Green Knight, The Wakefield Second Shepherds' Play, and selections from Malory's Morte D'arthur. Early Modern readings include selections from Spenser's The Faerie Queene, the poetry of Wyatt, Surrey, Sidney, Shakespeare, and others, the drama of Shakespeare and Marlow, and selected poetry by Donne, Jonson, Lanier, Wroth, Herbert, Philips, Marvell, Herrick, and Milton, among others. The focus throughout will be on the close reading of the literary texts in their linguistic, historical, and cultural contexts.

ENGL-UA 114 | Literatures in English IV: Twentieth and Twenty-first Century Literatures | Prof. Trujillo | MW 12:30pm-1:45pm

This course provides an exposure to English language literary production as it expands and diversifies from 1900 onward. Attending to global aesthetic movements such as naturalism, modernism, magical realism, and postmodernism, it focuses on literary interactions with transnationalism, colonial and postcolonial contexts, and the passage from an inquiry into concepts of social order and expectation to the primacy of social change, cultural multiplicity and uncertainty. The course explores the ascendance of globalization as US culture is both transmitted around the world and is increasingly diversified within by the growth of ethnic literatures and their institutional study. Our emphasis is on the changing scope of English-language literature and culture since 1900. The course explores a variety of forms including literature, poetry, drama, film, and graphic fiction. We will read texts as responses to the rapidity of cultural change under the pressure of urbanization, patterns of transnational migration, hemispheric diasporic movements, visual media, and turbulence in gender roles and national identities. It will explore relationships between globalization theory, literary form, and cultural themes.

ENGL-UA 142 | Dante's Divine Comedy | Prof. Cornish | TR 11am-12:15pm

ENGL-UA 410 | Shakespeare | Prof. Archer | TR 11am-12:15pm

• RCT | R 4:55pm-6:10pm
  
• RCT | R 6:20pm-7:35pm
  

ENGL-UA 415 | Global Shakespeare | Prof. Patell | MW 8am-9:15am

ENGL-UA 450 | Colloquium: Milton | Prof. Archer | TR 2pm-3:15pm

ENGL-UA 511 | Jane Austen | Prof. Lee | MW 9:30am-10:45am

• RCT | F 11am-12:15pm
  
• RCT | F 12:30pm-1:45pm

ENGL-UA 59 | World of King Arthur | Prof. Rust; Smith | TR 11am-12:15pm

ENGL-UA 732 | Introduction to Book History | Prof. Park | TR 8am-9:15am

DESCRIPTIONS:

ENGL-UA 142 | Dante's Divine Comedy  | Prof. Cornish | TR 11am-12:15pm

This course is dedicated to a one-semester guided reading of the Divine Comedy in its entirety. The text will be read in facing-page translation for the benefit of those who know some Italian and those who do not. Lectures and discussion are in English. Students will learn about the historical, philosophical, and literary context of the poem as well as how to make sense of it in modern terms. Evaluation will be by means of bluebook midterm and final, testing knowledge of key terms, concepts, and passages, two short papers, and active participation in lectures and discussion.

ENGL-UA 410 | Shakespeare | Prof. Archer | TR 11am-12:15pm

In this survey of William Shakespeare’s career as a playwright we will consider the relation between the mingled genres of his plays (romantic and problem comedy, history, tragedy, and tragicomic romance) and the social and political conditions that shaped his developing sense of dramatic form. Critical analysis of the plays as both performances and written works will make up the fabric of this course; the connection of the drama to its culture will be the guiding thread. Excerpts from film, video, and audio performances will be played and discussed in class along with other visual materials. We will explore nine plays. The requirements include two essays, two exams, and consistent attendance at both lectures and recitations. Individual editions of the plays from the Pelican Shakespeare series will be ordered for this course, easy to read and to carry.Plays: The Two Gentlemen of Verona, As You Like It, Measure for Measure, Henry V, Romeo and Juliet, Julius Caesar, Hamlet, Macbeth, and The Winter’s Tale.

ENGL-UA 415 | Global Shakespeare | Prof. Patell | MW 8am-9:15am

This course introduces students to the theory and practice of world literature by asking the question, "Why and how do some works leave behind their local origins and become pieces of global cultural heritage"? Using the plays of William Shakespeare as a case study, the course the course considers the playwright both as an exemplar of Western literature and also as a world author whose influence--whether as inspiration or antagonist--can be felt throughout many cultures. We will approach the study of Shakespeare through three different sets of questions: 1) In what ways was Shakespeare a "global" author in his own day, adopting a "worldly" approach that transcends his English context? 2) How does the history of the publication, performance, and criticism of his plays transform "Shakespeare" into a global cultural commodity? 3) What is the cultural legacy of Shakespeare's work throughout a variety of global media forms, including plays, films, novels, operas, and works of visual art? We will begin by looking at four plays -The Merchant of Venice, A Midsummer Night's Dream, and Othello, The Tempest-- that together capture many of the dynamics of the spread of Shakespeare's work through a variety of cultural contexts and genres. We will then devote a number of classes to a closer investigation of the global spread of Shakespeare's most famous play, Hamlet, from 1603 to the present. The course concludes with a creative project inspired by Shakespeare's lost play, Cardenio, based on an episode from Cervantes's Don Quixote. An abiding question of the course will be: What does the study of "world literature" add to an "English major"? NOTE: This course will be taught online with a mixture of synchronous and asynchronous sessions. Professor Patell is presently based at NYU Abu Dhabi.

ENGL-UA 450 | Colloquium: Milton | Prof. Archer | TR 2pm-3:15pm

The syllabus for this colloquium is designed around a reading of Paradise Lost in its entirety: paced so as to allow students considerable time with the epic book by book, at key moments the course will also encourage you to draw connections between Paradise Lost and Milton’s major lyrics, his pastoral elegy Lycidas, and dramatic works (A Masque and Samson Agonistes). In addition, we will read two prose texts that parallel Paradise Lost in key ways: Areopagitica, Milton’s attack on the pre-publication censorship of printed works by Parliament, and Of Education, his ideal program for teaching and learning to, as he writes, “repair the ruins of our first parents.” Our own concerns include the development of Milton’s poetic career and his political ideas during a time of civil war and revolution. We will consider religious toleration and its limits in Milton’s writing. We will also address the epic claims that Paradise Lost makes on global history amid emerging notions of gendered subjectivity and racial difference in the mid-seventeenth century. Assignments include two term papers, weekly writing assignments, and presentations. I have ordered two paperback textbooks for the course: Paradise Lost (Oxford World’s Classics) and Milton’s Selected Poetry and Prose (Norton).

ENGL-UA 59 | World of King Arthur | Prof. Rust; Smith | TR 11am-12:15pm

A "Medieval Times" dinner, The Once and Future King, Monty Python's Holy Grail, the mounted knight on a sack of King Arthur flour. This list exemplifies the way that stories of King Arthur--and by extension, of the Middle Ages--continue to function as cultural currency: this, some fifteen hundred years after Arthur, a sixth-century Celtic warlord (if he existed at all) inhabited a world vastly different from the one evoked today by the words, "the world of King Arthur." This team-taught lecture course explores the development of the multifaceted idea and image of King Arthur and his world in literature and art spanning the sixth to twenty-first centuries. The course will unfold chronologically and thematically, focusing on key literary and historical texts, archeological sites, monuments, and works of art, characters, and themes in the Arthurian tradition. Primary readings will include the significant historical sources from which the Arthurian legends were constructed, major works of medieval literature (e.g., Chretien de Troyes's romances, Marie de France's lais, Sir Gawain and the Green Knight), and modern adaptations of the Arthurian legends by Mark Twain, Alfred Lord Tennyson, T. H. White, and others. Monuments and works of art to be studied will include Glastonbury Abbey, medieval illuminated romance manuscripts and tapestries, illustrated printed books, and Arthurian art and artifacts of the modern world (engravings, paintings, photography, film, advertising). Thanks to funding from NYU's Humanities Center, the course will include visits by guest lecturers and a trip to the Morgan Library and Museum to examine illuminated manuscripts. Assessments may include any of the following: exams, papers, a group map and atlas, and reading responses or blogposts.

ENGL-UA 732 | Introduction to Book History | Prof. Park | TR 8am-9:15am

This course provides an introduction to the interdisciplinary field of book history. A field that engages researchers in many fields of study (material culture, history, literature, art history, librarianship, sociology, media and communications), book history addresses more than items we traditionally know and love as "the book": it investigates the production, dissemination, and readership of all kinds of text: Egyptian papyrus, European illuminated manuscripts, the Gutenberg Bible, early Chinese block books, handwritten letters, newspapers, magazines, postcards, and so on. What unites book historians is a sense of the irreplaceable importance of books as physical artifacts: the material form of a book, whether codex or e-book, is an integral part of how it constructs its meanings. This iteration of the course will focus on the technologies and material formats of writing and inscription, from calligraphy to code and commonplace books to hypertext, as critical aspects of book history.

ENGL-UA 675 | Literature and the Environment | Prof. Athanassakis | T 11am-1:30pm

ENGL-UA 712 | Major Texts in Critical Theory | Prof. Shaw 

• ENGL-UA 712.001 | MW 2pm-3:15pm
  
• ENGL-UA 712.002 | M 4:55pm-7:40pm
  
• ENGL-UA 712.003 | T 4:55pm-7:40pm
  

ENGL-UA 735.001 | Race and the Human in Anticolonial Thought | Prof. Thakkar | TR 9:30am-10:45am

ENGL-UA 735.002 | Derrida's Archive Fever | Prof. Fleming | T 2pm-4:45pm

DESCRIPTIONS:

ENGL-UA 675 | Literature and the Environment | Prof. Athanassakis | T 11am-1:30pm

This course explores the relationship between concerns for the environment and animal life in contemporary transnational literature and film. We will examine the representation of animals and the environment with the aim of critically analyzing their conflicting resonances and the beliefs, values, fears, and desires that inform them. Among the questions we will investigate are: how do different representations of animal worlds frame problems of security, mobility, sustenance, and responsibility for humans and the environment? How do notions of identity and belonging--e.g. species, race, gender, sexuality, and class--shape representations of animals and the environment (and vice versa)? And, finally, what socio-ecological histories do different texts call on us to remember? What kinds of futures do they allow us to imagine?

ENGL-UA 735.001 | Race and the Human in Anticolonial Thought | Prof. Thakkar | TR 9:30am-10:45am

This course will consider the contested status of the human in anticolonial thought and postcolonial literature and culture. As we’ll see, writers working in these traditions consistently challenged racial ideologies and racism. This challenge took many forms, and included various projects of historical investigation, literary representation, and political and cultural experimentation. For the authors we’ll study, race and racism did not just deny humanness to racialized and colonized subjects; they also threatened the moral and political unity implied in the very term humanity, and cast a long shadow over the promises of humanism, to which many of them remained committed. We will examine the versions of antiracism our authors articulated, and consider how they reconciled their critiques of enlightenment humanism with visions of radical new humanisms. We will situate our readings of anticolonial and postcolonial thought in the midcentury political, intellectual, and cultural context. As such, we will consider how this work emerged not only out of revolutionary anticolonial movements, but also in dialogue with a range of interwar and postwar developments, from the rise of the new human rights regime, to the Holocaust, to transformations in the scientific and biological understanding of race and its meaning. Authors will include: W.E.B. Du Bois, Aimé Césaire, Hannah Arendt, Frantz Fanon, Jean-Paul Sartre, Albert Memmi, Jean Améry, Léopold Sédar Senghor, Ama Ata Aidoo, Bessie Head, and many others.

ENGL-UA 735.002 | Derrida's Archive Fever | Prof. Fleming | T 2pm-4:45pm

What is an archive? Is it a library, a legacy, a school of thought? For that matter, what does each of these terms mean? Derrida's Archive Fever: A Freudian Impression (1995) has provoked intense conversations among archivists, philosophers, historians, psychoanalysts, and social scientists about the archive and its relation to questions of memory. But what is he actually arguing? In this seminar we will read Archive Fever and the literary, philosophical and other works that underlie and are necessary to understand it. In particular we will be reading a significant quantity of Freud: we will start with selections from Introductory Lectures to Psychoanalysis (1915-16); move through his detailed reading of a German novella, Delusion and Dream in Jensen's Gradiva: A Pompeian Fancy (1907); study Freud's famous essay on the death drive "Beyond the Pleasure Principle" (1920); and finally encounter his strange and controversial late work, Moses and Montheism (1939). Our first aim is to learn to read Freud's notoriously provocative work and Derrida's famously difficult writing and accurately and with pleasure: our final aim is to see how it is possible to ask questions about our own most deeply held assumptions.

ENGL-UA 125 | History of Drama & Theater I | Prof. Osburn | W 2pm-4:45pm

ENGL-UA 250 | 18th and 19th Century African American Lit | Prof. McHenry | TR 9:30am-10:45am

ENGL-UA 252 | Irish Poetry After Yeats | Prof. Sullivan | TR 2pm-3:15pm

ENGL-UA 252 | Francesco Petrarca Rime | Prof. Ardizzone | MW 2pm-3:15pm

ENGL-UA 252 | Indigenous & Latinx Speculative Film & Fiction | Prof. Saldana | TR 3:30pm-4:45pm 

• RCT | R 9:30am-10:45am
  
• RCT | F 12:30pm-1:45pm

ENGL-UA 59 | Novel in Africa | Prof. Sanders | T 2pm-4:45pm

ENGL-UA 59 | New Trends in 21st C. Italian Lit | Prof. Marchelli | TR 9:30am-10:45am

ENGL-UA 59 | Monsters and Jewish Modernity | Prof. Henig | TR 2pm-3:15pm

ENGL-UA 615 | Transatlantic Modernism | Prof. Deer | MW 11am-12:15pm

ENGL-UA 621 | Joyce | Prof. Waters | TR 11am-12:15pm

ENGL-UA 716 | Asian-American Literature | Prof. Sandhu | MW 9:30am-10:45am

ENGL-UA 721 | History & Literatures of The South Asian Diaspora | Prof. Sandhu | MW 8am-9:15am

ENGL-UA 728 | Science Fiction | Prof. Hoover | TR 11am-12:15pm

ENGL-UA 800 | The Graphic Novel | Prof. Hoover | TR 12:30pm-1:45pm

ENGL-UA 800 | The Age of Obscenity | Prof. Samalin | MW 9:30am-10:45am

ENGL-UA 800 | Medical Humanities | M 8am-10:45am

ENGL-UA 800 | The Handmade Book in the 21st Century | Prof. Hyland | R 4:55pm-7:40pm

DESCRIPTIONS:

ENGL-UA 125 | History of Drama & Theater I | Prof. Osburn | W 2pm-4:45pm
This course offers a broad survey of theatre, drama, and performance histories from the eighteenth through the mid-twentieth century. We will not attempt to create a single, continuous narrative spanning many centuries of wildly diverse theatrical projects. Instead, we will examine various performance forms in their historical contexts in order to question the function of performance in the propagation and negotiation of cultures. In order to study the ever-changing functions of theatre and drama, we will examine the varied ways that social, political, economic, and cultural conditions inform/reflect aesthetic output - and vice versa.

ENGL-UA 250 | 18th and 19th Century African American Lit | Prof. McHenry | TR 9:30am-10:45am
This course examines the development of black literary expression in the eighteenth and nineteenth century United States by reading a diverse selection of writers and texts (some classic, some not) that have fundamentally shaped what might be called the African American literary tradition. Through slave narratives, poetry, novels, autobiographies and memoirs, and speeches and journalism we will trace the dynamic circulation and transmission of ideas by African Americans, free and slave, as well as the relationship between cultural production and historical phenomena. We will pay particular attention to the ways that African Americans negotiated and troubled the divide between historical and fictional forms, and how their fictions worked to produce alternative understandings of national history and civil liberty than that which had emerged from the “founding fathers.” The second part of the semester will take up post-emancipation literature: why, we will ask, did black authors return their readers to antebellum slavery in the post- bellum years, seemingly at the very moment that they turned their attention to cultivating their image as “new Negroes” and self-consciously creating racially-specific literature with a lasting impact in the twentieth century? How did Black Americans negotiate through language and in literary terms the competing and contested concerns of heritage and historical memory, on the one hand, with the deterioration of race relations and rise of slavery’s legacy of racial violence in the years W.E.B. Du Bois famously identified with the “problem of the color line”? Students will be introduced to the critical questions and paradigms that are central to African American letters, exploring how black literature engages with the politics of cultural identity formation, and notions of freedom, citizenship, and aesthetic forms.

ENGL-UA 252 | Irish Poetry After Yeats | Prof. Sullivan | TR 2pm-3:15pm
Combined with IRISH-UA 624. Seminar. Sullivan. 4 points. Traces Irish poetry beginning in the 1930s with the influence of W.B. Yeats; emphasizes later twentieth-century poetry by Seamus Heaney, Eavan Boland, and Louis MacNeice, among others, as well as poetry by women and in the Irish language (read in translation). "Close reading" and discussion in classes is supplemented with visits from practicing Irish poets.

ENGL-UA 252 | Francesco Petrarca Rime | Prof. Ardizzone | MW 2pm-3:15pm
Petrarch is one of the greatest Italian and European poets. His achievements in lyric poetry has made him the most acclaimed and imitated poet of Europe during the Renaissance and a model for lyrical poetry for centuries. He has been one of the early humanists. The course proposes a reading of his, Rime and of other works. We focus on the Canzoniere as the work that re-invents the way to write poetry using classical and medieval sources. The course offers the student the opportunity to gain a perspective on classicality, on medieval tradition, and on the genesis of humanism. This class will be taught in English.

ENGL-UA 252 | Indigenous & Latinx Speculative Film & Fiction | Prof. Saldana | TR 3:30pm-4:45pm 
Studies "speculative American" literature and film in the broadest sense of both terms. Includes lit & film working within futurist, science fiction, noir, horror, and gothic genres across the continent. We examine why these are the genres of choice for authors and film makers interested in documenting the effects of colonialism, indigenous genocide, enslavement, and contemporary racism, but also committed to imagining alternative futures for Latinx and Indigenous peoples. How are Indigenous and Latinx authors, directors, and actors working within these popular genres to change the repertoire of representations of Indigenous and Latinx peoples available in literature and film? While some of the material will be in Spanish, English subtitles and translations will be available as well. Course readings will also include film and literary theory to prepare students in close reading skills. RCT REQUIRED.

ENGL-UA 59 | Novel in Africa | Prof. Sanders | T 2pm-4:45pm
One of the most interesting developments in contemporary American fiction has been the emergence of writers born in Africa, or of African parentage, such as Chimamanda Ngozi Adichie, Teju Cole, and Taiye Selasi. In this class we shall read these authors along with Anglophone and Francophone African authors, both classic and contemporary, including Chinua Achebe, Ahmadou Kourouma, Phaswane Mpe, and Bessie Head. We shall situate these writers in the context of debates about language and literary form, and about the meaning of "Africa" in the world beyond Africa, reading selections from Ngugi wa Thiong'o, W.E.B. du Bois, Countee Cullen, and others.

ENGL-UA 59 | New Trends in 21st C. Italian Lit | Prof. Marchelli | TR 9:30am-10:45am
This course will explore the contemporary Italian literary scene and its voices, movements, inspirations and internal diversity. From the "regional" literature to the literature of the new diaspora, from today's women's voices to the delineation of new literary trends outside the borders of Italy, this class will focus on the various, rich, complex and often contradictory scene of the 21st century Italian literature and its developing identities. We will read, compare and analyze works by contemporary and modern authors such as Michela Murgia, Amara Lakhous, Dacia Maraini, Paolo Cognetti, Melania Mazzucco, with an eye for thematic convergences, influences, personal voices and narrative styles. The selection of readings is representative of the emergence of a new literary scene that cuts across traditional categories, is strongly influenced by new trends and processes, and represents the changing intellectual, cultural and social landscape of Italy. All discussions and readings are in English, but supplementary readings in Italian will be provided for Italian majors and minors, or students who wish to complete the readings in Italian.

ENGL-UA 59 | Monsters and Jewish Modernity | Prof. Henig | TR 2pm-3:15pm
What is a monster? How does it come into being? Why do monsters capture modern imagination and at what historical junctions do they tend to reappear? From the Golem of Prague to Frankenstein, monsters have figured the anxieties, fantasies, and distress of the societies from which they hail. Jewish modernity in particular saw the rapid reproduction of monstrous figures as allegories and metaphors for the ambivalent state of Jews vis-a-vis their surrounding societies. This course explores monstrosity as a critical framework through which we may reflect on such issues as belonging, gender, and race. By examining films, short stories, plays, essays, and pop culture, we shall consider the monstrous as it relates to "Jewish questions", but also as a cultural figure with a life of its own that recurs across times, languages, and cultures, embodying different states of outsiderness and exception.

ENGL-UA 615 | Transatlantic Modernism | Prof. Deer | MW 11am-12:15pm
This course will consider the trajectories of British and US literary modernism from the 1930s through World War II into the post-1945 era. Reading novels, poetry and film in a transatlantic frame, we will explore how modernist, avant garde and realist aesthetics mutated in the face of imperialism, war culture, mass media, and decolonization, as well as the institutionalization and commodification of modernism. The course will extend students' knowledge of high modernism, and explore works by both canonical and lesser-known late modernists from the 1930s and 1940s. How did modernists respond to the dominance of advertising, radio, avant garde film and photography, sound cinema, the dominance of Hollywood, or the documentary film movement, all of which lay claim to artistic experimentation? How did late or belated modernisms lay the ground for the literary, artistic or political responses of neo-realist, anti-modernist, or postmodern writers, intellectuals, and critical theorists after 1945? We will also ask to what degree the afterlives of transatlantic modernism continued to shape the era of postmodernism and Cold War. Literary texts will be read in an expanded cultural field including film, radio, popular music, art, visual and material culture. Authors will likely include James Joyce, C.L.R. James, F. Scott Fitzgerald, Claude Mackay, Langston Hughes, Gwendolyn Brooks, Ernest Hemingway, Djuna Barnes, H.T. Tsiang, WH Auden, George Orwell, Nathaniel West, Virginia Woolf, Aime Cesaire, Samuel Beckett, Ralph Ellison, Samuel Selvon, and Zadie Smith.

ENGL-UA 621 | Joyce | Prof. Waters | TR 11am-12:15pm
Study of James Joyce's major works. Readings will span the entire oeuvre, from Dubliners to Finnegans Wake, with a detailed reading of Ulysses.

ENGL-UA 721 | History & Literatures of The South Asian Diaspora | Prof. Sandhu | MW 8am-9:15am
History and Literatures of the South Asian Diaspora America is not always the answer. This class offers an introduction to the many and varied fictions that have been produced by diasporic South Asians across the globe over the last 150 years: in Australia, Africa, Europe, Caribbean, the Arctic, East Asia. Our exploration of the poetics and politics of immigration will attend to different types of immigrants (inc. soldiers, students, athletes, medics, cosmonauts) and draw on a wide range of media (inc. literature, cinema and music). Particular attention will be paid to the diverse geographies of Asian migration - be they plantations, dance Floors, restaurants, call centres. Themes to be addressed include coolietude, globalization, the impact of 9/11 and techno-servitude.

ENGL-UA 728 | Science Fiction | Prof. Hoover | TR 11am-12:15pm
This course considers contemporary science fiction as literature, social commentary, prophecy, thought-experiment, and as a reflection of recent and possible future trends in technology and society. The main emphasis will be on the literary qualities of the texts, but we will also use insights from text world theory to consider the various methods science fiction writers use to create their imagined worlds, and what their fictions have to say about human nature. We will also experiment with altering texts or excerpts of texts as a method of examining how they are constructed. Finally, some of the readings for the semester involve apocalypses of various kinds. The nature, function, and effect of these apocalypses, and the way the characters react to them will also be an important focus.

NOVELS:
Isaac Asimov. I,Robot. New York: Bantam, 2008 Margaret Atwood. The Handmaid's Tale. New York: Anchor Books, 1998. Ray Bradbury. Farenheit 451. New York: Simon and Schuster, 2013. ISBN-10: 1451673310 Orson Scott Card. Ender's Game. New York: Tor Science Fiction, 1994. Philip K. Dick. Ubik. Mariner Books, 2012. Ursula K. Le Guin. The Lathe of Heaven. New York: Scribner, 2008. Ursula K. Le Guin. The Left Hand of Darkness. New York: Ace, 2000. Cormac McCarthy. The Road. New York: Vintage, 2007. Emily St. John Mandel. Station Eleven, 2014 Mary Doria Russell. The Sparrow: A Novel. New York: Ballantine, 1997. Tepper, Sheri. The Gate to Women's Country. 1988 John Wyndham. The Day of the Triffids. New York: Modern Library, 2003.

WORK, REQUIREMENTS, AND GRADING:
Your most important work is the active reading of the texts; there is a GREAT DEAL of reading, so keep up and think about what you read. Quizzes on most assigned readings (20% of grade); these will be short answers and/or brief paragraphs at the beginning of class. No make-ups are allowed, but an excused absence also excuses any quiz on that day. A mid-term exam (20% of grade). A paper (about 12-15 pages); electronic submission only (30% of grade). A late-term exam (20% of grade). Attendance and participation (10% of grade).

ENGL-UA 800 | The Graphic Novel | Prof. Hoover | TR 12:30pm-1:45pm
This course examines the history and formal traits of the graphic novel. We will begin with an introduction to the language and history of comics and then we will spend the rest of the term reading some of the core texts in the canon of graphic literature. These include the work of, among others, Stan Lee, Will Eisner, Robert Crumb, Jaime Hernandez, Gilbert Hernandez, Dwayne McDuffie, Art Spiegelman, Alan Moore, Alison Bechdel, Chris Ware, Adrian Tomine, Bishakh Som, Nick Drnaso, and Emil Ferris. In written assignments, the emphasis will be on developing close readings, although students who so choose will have the opportunity to consider critical sources.

ENGL-UA 800 | The Age of Obscenity | Prof. Samalin | MW 9:30am-10:45am
"The Age of Obscenity" (history of obscenity law, sexuality, free speech, 19C-present) - -open to non-majors (only open to sophomores and up)

ENGL-UA 800 | The Handmade Book in the 21st Century | Prof. Hyland | R 4:55pm-7:40pm
While our lives are increasingly digitized, printed texts are still alive and well, with flourishing print cultures within the worlds of both literature and visual art. This course will explore two contemporary printed book genres: the artist book and the poetry chapbook. As genres that often circulate outside the publishing mainstream, frequently without bar codes and ISBN numbers, these book forms model different approaches to the embodied practice of making and reading books. In order to parse the contemporary lives of these two genres, we’ll trace their histories, from the handmade books of William Blake, Emily Dickinson, and William Morris through the mimeograph revolution of the 1950s-1970s and the role of the book in Fluxus and conceptual art. We’ll visit the local sites in which artist books and chapbooks are made, circulate, and are collected, including the Center for Book Arts, Printed Matter, Fales Library, and other local bookstores, production studios, and gathering places. We’ll speak to and read the writing of contemporary bookmakers, and we’ll ask what kinds of unique reading practices these forms require. And, finally, we will approach the book as makers, with in-class bookmaking and design workshops that will help us build an embodied sense of the book. Class projects will include an ethnographic study of a book-related site or community, critical papers on one artist book and one literary work, and a final critical-creative publication.

ENGL-UA 954 | BLACK BRITAIN | Prof. Freedgood | T 2pm-4:45pm

ENGL-UA 961 | American Romanticism | Prof. Baker | MW 12:30pm-1:45pm

ENGL-UA 964 | Asian American Cultural Studies | Prof. Sudhinaraset | TR 2pm-3:15pm

ENGL-UA 970 | Marx in His Cultural Context | Prof. Samalin | T 9:30am-12:30pm

ENGL-UA 972 | Public Humanities | Prof. Hanson | R 11am-1:45pm

ENGL-UA 973 | Reading Philosophy as Literature | Prof. Young | W 11am-1:45pm

DESCRIPTIONS:

ENGL-UA 954 | BLACK BRITAIN | Prof. Freedgood | T 2pm-4:45pm

What, who and where is Black Britain? Why are black authors so absent from our Brit Lit survey courses, and from the idea of British Literature in general? We will explore these questions through reading the history of English as a (white) discipline, the history of publishing, historical work on black lives in Britain--from sailors to composers to equestrians, Black British Cultural Studies texts, literary texts and film.

ENGL-UA 961 | American Romanticism | Prof. Baker | MW 12:30pm-1:45pm

In this senior seminar, we will study the Romantic literature, philosophy, and visual arts of the mid-19th-century United States. We will consider how European Romantic ideas were transplanted in the U.S. and how they resonated with American artists and intellectuals engaged in debates over theology, science, law, psychology, social reform, education, industrialization, and the environment. Our conversation will be structured around a set of key Romantic tenets: a conception of the self as organic and always capable of cultivation and growth; a celebration of intuition, mysticism, and transcendentalism as crucial modes of knowing; a faith in the individual conscience as the basis for social reform; and a conviction that modern life had severed humankind’s relationship to the natural world but that the relationship could still be repaired. As part of this conversation, we will also examine the key figures or character types who embody these ideals in literary works: the genius, the poet, the madman or madwoman, the “noble savage,” and the child. Readings will likely include essays of Ralph Waldo Emerson and Henry David Thoreau, poetry of Walt Whitman and Emily Dickinson, life writing of Frederick Douglass and Margaret Fuller, the short stories of Washington Irving, Edgar Allan Poe, and Nathaniel Hawthorne, and Herman Melville’s Moby-Dick; we will also examine the work of landscape painters (Washington Allston, Thomas Cole, Frederic Edwin Church) who influenced and were influenced by these writers. Although our class discussions will focus on close readings of texts, we will read a selection of critical essays and discuss how scholars have understood this remarkable phase of intellectual and artistic production. Class requirements will include reading-response papers, an oral presentation, and a final research paper of 15 pages.

ENGL-UA 964 | Asian American Cultural Studies | Prof. Sudhinaraset | TR 2pm-3:15pm

This course will explore the proliferation of Asian American cultural production to study the relationship between Asian American aesthetics, politics, forms, and identities. We will ask how Asian American artists, writers, and performers allow us to understand and re-think dominant narratives of immigration, empire, racial capitalism, globalization, and racialized and gendered labor. These issues will be tied to a larger focus on the ways that Asian American studies opens onto questions of comparative racialization and overlapping diasporas in the Americas.

ENGL-UA 970 | Marx in His Cultural Context | Prof. Samalin | T 9:30am-12:30pm

Is the tradition of Marxist thought a vital radical inheritance or the dusty baggage of the Victorian era? In what ways was Karl Marx a Victorian thinker, perched as he was for decades in the reading room at the British Museum, churning out articles about the British Empire and the London Stock Exchange for the New York Daily Tribune? This course provides students with an in-depth introduction to Marx’s work, situating it within the nineteenth-century cultural and political contexts that helped to shape his thought and its subsequent reception by later thinkers and writers. We will read extensively in Marx’s theoretical and journalistic writings, while also exploring important works in nineteenth-century political theory; proto-sociological surveys of the industrial workplace; debates about Victorian imperialism; literary accounts of labor and class struggle; and Victorian anthropological studies of culture, fetishism, and the origins of the family. We will also become familiar with several key texts of modern Marxist literary, feminist, cultural, and postcolonial theory, all of which will return us to the cultural terrain of Marx’s nineteenth century.

ENGL-UA 973 | Reading Philosophy as Literature | Prof. Young | W 11am-1:45pm

As disciplines, philosophy and literature often find themselves disarmingly close to one another: philosophy is a form of writing, and therefore could be described as a literary genre, while literature engages with and highlights those aspects of language that most worry philosophy, namely that through language it creates forms of reality that can seem true but are nevertheless fictions. It was for this reason that Plato banished the poets from his Republic—and the anxious relation between the two disciplines has continued ever since. Like History, Philosophy has always been keen to assert that it is not Literature. In the nineteenth century, however, this took a new turn when philosophers such as Kierkegaard started to write their philosophy in fictional, literary form. Why did they make this move? This course will therefore begin with the question: how do we account for the relation between the two? Can literature give us truthful forms of knowledge? How far has philosophy been a creator of fictions, for example by ignoring questions of gender and race? Is literary “theory” in fact a new form of philosophy? We will be examining this relationship through close readings of philosophical accounts of literature and language (such as Plato, Sophocles, Shakespeare, Dostoevsky, Proust, Wittgenstein, Kafka), of literary forms of philosophy (such as Descartes, Kierkegaard, Nietzsche, Wilde, Du Bois, Camus, Fanon, Kristeva), of writing that seems to hover on the borders between the two (such as Beckett, Benjamin, Blanchot, Borges, Cixous, Nelson), and by asking whether such writers are actually writing forms of philosophy or a different genre as yet undefined.

ENGL-UA 201 | Reading as a Writer

• ENGL-UA 201.001 | Prof. Posmentier | T 2pm-4:45pm
  
• ENGL-UA 201.002 | Prof. Noel | W 2pm-4:45pm
  
• ENGL-UA 201.003 | Prof. Hyland | M 4:55pm-7:40pm

ENGL-UA 910 | Creative Writing Capstone Project 

• ENGL-UA 910.001 | Prof. Hyland | Does Not Meet
  
• ENGL-UA 910.002 | Prof. McLane | Does Not Meet
  
• ENGL-UA 910.002 | Prof. Linstrom | Does Not Meet
  

ENGL-UA 910 | Creative Writing Capstone Colloquium

• ENGL-UA 911.001 | Prof. Hyland | R 12:30pm-1:45pm
  
• ENGL-UA 911.002 | Prof. McLane | R 12:30pm-1:45pm
  
• ENGL-UA 911.003 | Prof. Linstrom | R 12:30pm-1:45pm
  

DESCRIPTIONS:

ENGL-UA 201.002 | Reading as a Writer | Prof. Noel | W 2pm-4:45pm

This course is neither a creative-writing workshop nor a seminar devoted to literary analysis. Instead, it approaches the generative (writing prose, poetry, and beyond) from a creative-critical or critical-creative perspective. While we will study conventional and not-so-conventional poetic and narrative forms, we will seek to understand the texts at hand from a position of creative and critical engagement: what are the stakes (e.g. formal, political) of a given text and what can we learn from these texts that can inform our own writing? We will hear from socially engaged creative writers whose work is informed by critical methods and perspectives, and we will explore modes of writing at the intersection of the creative and the critical. Assignments may include site-specific writing, "expanded field" writing, cross-media exercises, and a final dossier.

ENGL-UA 201.002 | Reading as a Writer | Prof. Hyland | M 4:55pm-7:40pm

Reading as a Writer: Forms of Attention One of the most common questions asked of writers is: where do your ideas come from? This course begins from the premise that almost all writing has its origins in close attention to the world, often as mediated by existing texts, images, and/or sounds. Good writing is the product of intense and intelligent noticing: of structures, textures, syntaxes (both verbal and nonverbal), temperaments and temperatures. Over the course of this semester, we will look at how writers pay attention: to sound, speech and music; to existing literary and legal texts; to visual art and the nuances of place. We will posit reading, listening, looking, and researching—among other gerunds—as activities, and explore these activities as sources of writing, as resources for interpretation, and as ways of making knowledge. Our analysis will sometimes focus on the structural level, and sometimes on the intimate and close-up. The bulk of our readings will come from the genres of poetry and creative nonfiction, with occasional readings of literary and cultural theory, fiction, and performance texts. Over the course of the semester, students will produce weekly short critical and/or creative responses to class readings, weekly short writing that bring the tools of assigned texts to bear on a different text of their choosing, and a longer creative and/or critical response text. Featured authors may include Hanif Abdurraqib, Allison Cobb, Layli Long Soldier, Claudia Rankine, W. G. Sebald, M. NourbeSe Philip, and others.

ENGL-UA 910.001 | Creative Writing Capstone Project  | Prof. Hyland | Does Not Meet

APPLY HERE: https://forms.gle/cy571Kyjp25vVqQVA YOU MUST APPLY TO ENROLL.

PRE-REQS ARE: (1) DECLARED ENGLISH MAJ/MIN WITH CREATIVE WRITING TRACK. (2) Completed ENGL-UA 101, 201, and the two CRWRI-UA workshops required on the track.

ENGL-UA 910.002 | Creative Writing Capstone Project  | Prof. McLane | Does Not Meet

APPLY HERE: https://forms.gle/cy571Kyjp25vVqQVA YOU MUST APPLY TO ENROLL.

PRE-REQS ARE: (1) DECLARED ENGLISH MAJ/MIN WITH CREATIVE WRITING TRACK. (2) Completed ENGL-UA 101, 201, and the two CRWRI-UA workshops required on the track.

ENGL-UA 910.003 | Creative Writing Capstone Project  | Prof. McLane | Does Not Meet

APPLY HERE: https://forms.gle/cy571Kyjp25vVqQVA YOU MUST APPLY TO ENROLL.

ENGL-UA 911.001 | Creative Writing Capstone Colloquium | Prof. Hyland | R 12:30pm-1:45pm

APPLY HERE: https://forms.gle/cy571Kyjp25vVqQVA YOU MUST APPLY TO ENROLL.

PRE-REQS ARE: (1) DECLARED ENGLISH MAJ/MIN WITH CREATIVE WRITING TRACK. (2) Completed ENGL-UA 101, 201, and the two CRWRI-UA workshops required on the track.

The Creative Writing Capstone Colloquium is designed as a common experience for students undertaking the Capstone Project in the Creative Writing Concentration in the English Major. This colloquium is a semester-long class that accompanies your individual creative project (or “Capstone”), a 25-30 page manuscript of creative nonfiction, poetry, and/or fiction. The Capstone Colloquium is a sustained practicum in revision and criticism and an opportunity to receive feedback on drafts of your capstone project as you revise. Classes will consist mostly of workshops of student writing (2 students each session, with each student going up for workshop twice), using the Critical Response Method. Ideally, you will workshop revisions of a piece or pieces you wrote for your previous creative writing classes, and your grade will be based on your transformation of these pieces through the revision process. Your instructor is also your project advisor, and she will read a full draft of your capstone, about halfway through the semester, and give you feedback. You will then have several weeks to revise the project before the final is due at the end of the semester. In addition to presenting your own writing and closely reading and responding to your classmates’ work both in writing and orally, you will also be assigned to co-lead class discussion on the work of one of your peers, and to assign the class a short additional reading in those weeks that you feel will help them understand your classmate’s work.

ENGL-UA 911.002 | Creative Writing Capstone Colloquium |  Prof. McLane | R 12:30pm-1:45pm

APPLY HERE: https://forms.gle/cy571Kyjp25vVqQVA YOU MUST APPLY TO ENROLL.

PRE-REQS ARE: (1) DECLARED ENGLISH MAJ/MIN WITH CREATIVE WRITING TRACK. (2) Completed ENGL-UA 101, 201, and the two CRWRI-UA workshops required on the track.

This colloquium is a semester-long class that accompanies your individual creative project. The capstone colloquium is a revision workshop, during which you will get feedback, from me and your peers, on drafts of your project. It is a sustained practicum in criticism and an opportunity to workshop drafts of your capstone project as you revise. Equally central: in the colloquium, you participate as active, attentive readers/describers of others’ work, writing weekly peer response-critiques. Poetry capstoners ultimately produce poetry manuscripts: 25-30 page collections of poems, or the length of an average poetry chapbook. Over the course of the semester, then, you will develop and polish your own writing, strive to become an ideal reader for your classmates, and develop your sense of the range of contemporary approaches to poetry. Classes will consist primarily of faculty-led workshops of student writing, with two students’ work discussed each session; you write two peer response-critiques each week and also post weekly to a discussion forum on our brief readings. Each student will have the opportunity to be workshopped twice. Ideally, you will workshop revisions of pieces you wrote for your creative writing workshop classes (and/or in Reading as a Writer). Many students also generate some new work. Ideally, you will have taken at least two poetry workshops before undertaking the Capstone Project and Colloquium. You should begin the semester with a plan for your Capstone Project: things will change and develop, but the Capstone experience assumes a strong archive of prior writing and thought. To ensure we are ready to launch, all students must post the following materials to our Class Brightspace Forum before the semester begins – by Thursday Sept. 2nd, 5pm (MNM will be in touch to remind you):-5 pages of poems/works that you plan to include in your capstone— attach these poems as a PDF or word doc, to preserve their formatting: title your file LastnameCapstonelaunch.doc or .PDF. -a list of 5-10 of your most significant influences as a writer -A brief capstone project description. This description (500 words or less!) should include a tentative title, a note on genre or genres [e.g. prose poem, origami poem, etc.], a sense of how much you have already written of this project and what you have left to do, and any additional information that it would be helpful for the instructor to know (problems that have arisen in writing or revision, goals for the piece, hopes for new horizons, etc.)

ENGL-UA 911.003 | Creative Writing Capstone Colloquium | Prof. McLane | R 12:30pm-1:45pm

APPLY HERE: https://forms.gle/cy571Kyjp25vVqQVA YOU MUST APPLY TO ENROLL.

PRE-REQS ARE: (1) DECLARED ENGLISH MAJ/MIN WITH CREATIVE WRITING TRACK. (2) Completed ENGL-UA 101, 201, and the two CRWRI-UA workshops required on the track.

ENGL-UA 925 | Senior Honors Thesis | Prof. Regaignon| Does Not Meet

ENGL-UA 925 | Senior Honors Colloquium | Prof. Regaignon| W 3:30pm-4:45pm

DESCRIPTIONS:

ENGL-UA 925 | Senior Honors Thesis | Prof. Regaignon| Does Not Meet

OPEN ONLY TO ENGL MAJORS -- PERMISSION OF THE DEPARTMENT REQUIRED. STUDENTS MUST ALSO ENROLL IN YEAR-LONG COLLOQUIUM.

ENGL-UA 925 | Senior Honors Colloquium | Prof. Regaignon| W 3:30pm-4:45pm

The Honors Colloquium is one resource for supporting you are you write your Honors thesis. It assumes that every thesis writer will face their own challenges but will likely share methodological, formal, historical, and theoretical interests with other writers. Creative and scholarly writing of all kinds emerges from conversation (at conferences, workshops, and readings) and goes through peer review, editing, and discussion. Colloquium is our structure for these processes. In particular, colloquium aims to help students sustain their own reading and research projects, to know where to go and how to look (in all relevant media); to summarize arguments efficiently and accurately; to be able to contextualize or otherwise frame texts; to refine questions; to join current conversations; to edit one's own and others' writing. Your work is always informed by method and theoretical assumptions: part of our collective job is to reckon consciously with these, to steer your thesis and its intellectual logic rather than let it steer you. To that end, this course offers a series of intense experimental gambits, writing & research workshops, handouts, and ultimately some work exchanges and critiques. This kind of intellectual risk-taking requires a rigorous and supportive context, and we will work early on to establish practices for listening and responding to each other respectful of our different backgrounds and experiences. If successful, this class should equip students to teach themselves--individually and as a group. OPEN ONLY TO ENGL MAJORS -- PERMISSION OF THE DEPARTMENT REQUIRED.

ENGL-UA 980 | Internship | Prof. Freegood | Does Not Meet

ENGL-UA 995 | Greene St. Review | Prof. Adams | M 4:55-7:15

ENGL-UA 995 | Art of the Book Review | Prof. Row | W 5:00-6:15pm

ENGL-UA 997 | Independent Study | Does Not Meet

DESCRIPTIONS:

ENGL-UA 980 | Internship | Prof. Freegood | Does Not Meet

PERMISSION OF THE DEPARTMENT REQUIRED. Apply here: https://as.nyu.edu/english/undergraduate/undergraduate-resources.html COURSE WILL MEET ONLINE.

ENGL-UA 995 | Greene St. Review | Prof. Adams | M 4:55-7:15

Following in the NYU tradition of naming literary magazines after locations—Washington Square Review, West 10th, West 4th Review, Minetta Review—the Greene Street Review is named after the street on which the Department of English resides. Nestled in the heart of Greenwich Village, the interior of the NYU English Department building is coated with a thick coat of green paint to match the name of the narrow cobblestone road outside. Published biannualy, the Greene Street Review is a collection of reviews, interviews, and essays solicited from fellow students and beyond. The Greene Street Review is an amalgam of cultural and literary criticism from our little corner of New York City.

ENGL-UA 995 | Art of the Book Review | Prof. Row | W 5:00-6:15pm

This two-credit course will begin with a simple question: what makes a book review not just informative ("here is what this book is about") but interesting, engaging, provocative, and worth reading in its own right? (One of the key principles of writing a review is: "this review should be interesting even if you're not going to see the movie/eat at the restaurant/read the book.") For inspiration and discussion, we'll look at some of the most notable book reviews and review-essays of the last 50 years, talk about the ethics of book reviewing, and also cover the process of pitching reviews, working with review editors, and fact-checking reviews before publication.

ENGL-UA 997 | Independent Study | Does Not Meet

PERMISSION OF THE DEPARTMENT REQUIRED.