Class
No. |
Course ID |
Title |
Credits |
Type |
Instructor(s) |
Days:Times |
Location |
Permission
Required |
Dist |
Qtr |
| 2206 |
ENGL-105-01 |
This American Experiment, Pt 2 |
1.00 |
LEC |
Hager, Christopher |
TR: 9:25AM-10:40AM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 35 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors enrolled before December 2023, this course fulfills the survey requirement. For majors enrolled after January 2024, this course fulfills the requirement of an additional 100 level-course or a post 1800 requirement/elective/additional literature or film course. |
| |
In the United States, literary works have played crucial roles in public controversies and fueled social change. Wielding the written word and the printing press, among other media cultural producers have protested injustice and galvanized reform movements that continue to inform American voices today. Students in this course will explore how literature has responded to-and still refracts for us-the most consequential experiences of American generations past and present: Indian removal, the Civil War, and racial segregation; urbanization, mass immigration, and labor conflict; suffrage; Civil Rights, feminism, globalization, environmental devastation, and Black Lives Matter. (This course is a continuation of ENGL 104, but students are welcome to enroll without taking ENGL 104.) |
| 2683 |
ENGL-105-02 |
This American Experiment, Pt 2 |
1.00 |
LEC |
Mrozowski, Daniel |
TR: 9:25AM-10:40AM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 35 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors, this course fulfills the requirement of an additional 100 level-course or a post 1800 requirement/elective/additional literature or film course. |
| |
In the United States, literary works have played crucial roles in public controversies and fueled social change. Wielding the written word and the printing press, among other media cultural producers have protested injustice and galvanized reform movements that continue to inform American voices today. Students in this course will explore how literature has responded to-and still refracts for us-the most consequential experiences of American generations past and present: Indian removal, the Civil War, and racial segregation; urbanization, mass immigration, and labor conflict; suffrage; Civil Rights, feminism, globalization, environmental devastation, and Black Lives Matter. (This course is a continuation of ENGL 104, but students are welcome to enroll without taking ENGL 104.) |
| 2509 |
ENGL-160-01 |
Intro Literary Studies |
1.00 |
SEM |
Rosen, David |
MW: 2:55PM-4:10PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 18 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: This course is required of all English majors. It counts as a 100-level course and a Seminar in Lit Studies. |
| |
Why study literature? A practical reason: we live in a world of words and this course helps you master that world. But more importantly, literature immerses you in vast new worlds that become more meaningful as you become a better reader. Literature grapples with the fundamental problems of humanity; good, evil, pain, pleasure, love, death. We will read across centuries of English literature, in all genres, to see how great authors have addressed these problems. Through a sustained and rigorous attention to your own writing and interpretive skills, the course will leave you better prepared to explore and contribute to the written world. This course offers skills required for the English major, but welcomes anyone who wishes to become a better writer, reader, and thinker. |
| 2510 |
ENGL-160-02 |
Intro Literary Studies |
1.00 |
SEM |
Brown, David |
TR: 1:30PM-2:45PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 18 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: This course is required of all English majors. It counts as a 100-level course and a Seminar in Lit Studies. |
| |
Why study literature? A practical reason: we live in a world of words and this course helps you master that world. But more importantly, literature immerses you in vast new worlds that become more meaningful as you become a better reader. Literature grapples with the fundamental problems of humanity; good, evil, pain, pleasure, love, death. We will read across centuries of English literature, in all genres, to see how great authors have addressed these problems. Through a sustained and rigorous attention to your own writing and interpretive skills, the course will leave you better prepared to explore and contribute to the written world. This course offers skills required for the English major, but welcomes anyone who wishes to become a better writer, reader, and thinker. |
| 2684 |
ENGL-160-03 |
Intro Literary Studies |
1.00 |
SEM |
Bergren, Katherine |
TR: 10:50AM-12:05PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 18 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: This course is required of all English majors. It counts as a 100-level course and a Seminar in Lit Studies. |
| |
Why study literature? A practical reason: we live in a world of words and this course helps you master that world. But more importantly, literature immerses you in vast new worlds that become more meaningful as you become a better reader. Literature grapples with the fundamental problems of humanity; good, evil, pain, pleasure, love, death. We will read across centuries of English literature, in all genres, to see how great authors have addressed these problems. Through a sustained and rigorous attention to your own writing and interpretive skills, the course will leave you better prepared to explore and contribute to the written world. This course offers skills required for the English major, but welcomes anyone who wishes to become a better writer, reader, and thinker. |
| 2986 |
ENGL-160-04 |
Intro Literary Studies |
1.00 |
SEM |
Cancelled
|
|
HUM
|
|
| |
Enrollment limited to 18 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: This course is required of all English majors. It counts as a 100-level course and a Seminar in Lit Studies. |
| |
Why study literature? A practical reason: we live in a world of words and this course helps you master that world. But more importantly, literature immerses you in vast new worlds that become more meaningful as you become a better reader. Literature grapples with the fundamental problems of humanity; good, evil, pain, pleasure, love, death. We will read across centuries of English literature, in all genres, to see how great authors have addressed these problems. Through a sustained and rigorous attention to your own writing and interpretive skills, the course will leave you better prepared to explore and contribute to the written world. This course offers skills required for the English major, but welcomes anyone who wishes to become a better writer, reader, and thinker. |
| 2511 |
ENGL-170-01 |
Intro to Creative Writing |
1.00 |
SEM |
Bacote, Catina |
TR: 10:50AM-12:05PM |
TBA |
|
ART
|
|
| |
Enrollment limited to 15 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
This course is not open to seniors. |
| |
NOTE: Reserved Seats: 7 for first-year students, 7 for sophomores, 1 IART |
| |
NOTE: Students enrolled in ENGL 170 may not take another creative writing course that semester without special permission. |
| |
NOTE: This course fulfills the 100-level & creative writing requirements. |
| |
An introduction to imaginative writing, concentrating on the mastery of language and creative expression in more than one genre. Discussion of work by students and established writers. This is a required course for creative writing concentrators. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. |
| 2512 |
ENGL-170-02 |
Intro to Creative Writing |
1.00 |
SEM |
Berry, Ciaran |
MW: 10:00AM-11:15AM |
TBA |
|
ART
|
|
| |
Enrollment limited to 15 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
This course is not open to seniors. |
| |
NOTE: Reserved Seats: 7 for first-year students, 7 for sophomores, 1 IART |
| |
NOTE: Students enrolled in ENGL 170 may not take another creative writing course that semester without special permission. |
| |
NOTE: This course fulfills the 100-level & creative writing requirements. |
| |
An introduction to imaginative writing, concentrating on the mastery of language and creative expression in more than one genre. Discussion of work by students and established writers. This is a required course for creative writing concentrators. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. |
| 2513 |
ENGL-170-03 |
Intro to Creative Writing |
1.00 |
SEM |
Woodard, Benjamin |
MW: 8:30AM-9:45AM |
TBA |
|
ART
|
|
| |
Enrollment limited to 15 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
This course is not open to seniors. |
| |
NOTE: Reserved Seats: 7 for first-year students, 7 for sophomores, 1 IART |
| |
NOTE: Students enrolled in ENGL 170 may not take another creative writing course that semester without special permission. |
| |
NOTE: This course fulfills the 100-level & creative writing requirements. |
| |
An introduction to imaginative writing, concentrating on the mastery of language and creative expression in more than one genre. Discussion of work by students and established writers. This is a required course for creative writing concentrators. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. |
| 2891 |
ENGL-170-04 |
Intro to Creative Writing |
1.00 |
SEM |
Heredia, Alejandro |
MW: 2:55PM-4:10PM |
TBA |
|
ART
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
This course is not open to seniors. |
| |
NOTE: Reserved Seats: 7 for first-year students, 7 for sophomores, 1 IART |
| |
NOTE: This course fulfills the 100-level & creative writing requirements. |
| |
NOTE: Students enrolled in ENGL 170 may not take another creative writing course that semester without special permission. |
| |
An introduction to imaginative writing, concentrating on the mastery of language and creative expression in more than one genre. Discussion of work by students and established writers. This is a required course for creative writing concentrators. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. |
| 3033 |
ENGL-207-01 |
Pop Culture Shakespeare |
1.00 |
SEM |
Brown, David |
TR: 2:55PM-4:10PM |
TBA |
|
WEA2
|
|
| |
Enrollment limited to 25 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors, this course fulfills the requirement of a pre-1800 requirement/elective/additional literature or film course. |
| |
Shakespeare was—and still is—an integral and interesting part of popular culture, particularly music, television, marketing and even fashion. However, people don't always catch the references. This course will introduce students to the playwright’s broad influence by tracing understudied, or less obvious, allusions to select plays such as Romeo and Juliet, Othello, Macbeth and Hamlet. For example, the late rapper Tupac Shakur has a song called “Something Wicked,” a Macbeth reference; Adele quotes Hamlet in a song on her album 25; Jordan Peele’s film Get Out has resonances of Othello; and the brand Yoshi has an entire leather goods collection devoted to “honoring” Shakespeare’s iconic plays. But that’s not all. Shakespeare’s seemingly boundless impact touches TV shows, news stories, ad campaigns and more. As such, this course will ask students to identify and investigate where, how and why Shakespeare shows up in our contemporary world as we think expansively about the playwright's influence and its cultural, historical transferability over the centuries. While interrogating allusions to the plays, we will consider the fandom phenomenon, reflecting on what it means to be or not to be a fan of the "great white poet." |
| 2685 |
ENGL-231-01 |
The Rom Com |
1.00 |
LEC |
Bergren, Katherine |
TR: 1:30PM-2:45PM |
TBA |
Y |
HUM
|
|
| |
Enrollment limited to 25 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors, this course fulfills the requirement of a post 1800 requirement/elective/additional literature or film course. |
| |
On the page and on the screen, the genre of the Rom-Com is today seen as fluffy and feminine, a realm of pure escape. This course takes the Rom-Com more seriously, as a genre that reflects and critiques the conventions that govern gender, sexuality, and marriage. We will examine two pivotal periods in the development of the genre: the turn of the 17th century, focusing on William Shakespeare, and the turn of the 19th century, focusing on Jane Austen. Each author's works will be paired with film adaptations that, in reimagining their source material, challenge audiences to rethink the connections between gender, desire, race, class, and social convention. |
| 2686 |
ENGL-231-02 |
The Rom Com |
1.00 |
LEC |
Wheatley, Chloe |
TR: 1:30PM-2:45PM |
TBA |
Y |
HUM
|
|
| |
Enrollment limited to 25 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors, this course fulfills the requirement of a post 1800 requirement/elective/additional literature or film course. |
| |
On the page and on the screen, the genre of the Rom-Com is today seen as fluffy and feminine, a realm of pure escape. This course takes the Rom-Com more seriously, as a genre that reflects and critiques the conventions that govern gender, sexuality, and marriage. We will examine two pivotal periods in the development of the genre: the turn of the 17th century, focusing on William Shakespeare, and the turn of the 19th century, focusing on Jane Austen. Each author's works will be paired with film adaptations that, in reimagining their source material, challenge audiences to rethink the connections between gender, desire, race, class, and social convention. |
| 1290 |
ENGL-265-01 |
Intro to Film Studies |
1.00 |
LEC |
Younger, James |
MW: 1:30PM-2:45PM
M: 6:30PM-9:00PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 25 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: FILM-265-01 |
| |
NOTE: For majors enrolled before December 2023, this course fulfills the requirement of a 200-level elective. For majors enrolled after January 2024, this course fulfills the post 1800 requirement, the elective requirement, or may be an additional literature or film course. This course also serves as a core requirement for the Film Studies major. The Monday evening class meetings are mandatory in-person film screenings. |
| |
This course provides a general introduction to the study of film and focuses on the key terms and concepts used to describe and analyze the film experience. As we put this set of tools and methods in place, we will also explore different modes of film production (fictional narrative, documentary, experimental) and some of the critical issues and debates that have shaped the discipline of film studies (genre, auteurism, film aesthetics, ideology). |
| 2687 |
ENGL-280-01 |
The Marvelous Middle Ages |
1.00 |
SEM |
Staples, James |
TR: 10:50AM-12:05PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors, this course fulfills the requirement of a pre-1800 requirement/elective/additional literature or film course. |
| |
Readers of medieval literature (alongside its characters) often find themselves in fabulous but disorienting settings-from fairy "otherworlds" to the Kingdom of Heaven-where they encounter supernatural beings, unexplainable events, dazzling objects, magic, and the miraculous: in short, medieval texts challenge readers to take "the marvelous" seriously. This course will explore the concept of "the marvelous" in medieval literature, not only what it is, but what it does, what we as readers are invited to do when confronted with the logically or textually unexplainable. Considering such subjects as gender, sexuality, and race alongside accounts of fairies, mystical visions, and otherworlds, we will explore how the marvelous can provide the catalyst necessary for reimagining new possibilities in the "real" world. |
| 2987 |
ENGL-282-01 |
Contemp Native American Lit |
1.00 |
LEC |
Pokross, Benjamin |
MW: 1:30PM-2:45PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 25 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For English Majors, this fulfils the post 1800 requirement/elective/additional literature and film course. It also fulfils the UVSJ requirement. |
| |
Indigenous writers have used fiction, autobiography, and poetry to explore what it means to be a Native person today, whether that is in an urban context or on a reservation. From poetry to historical fiction to dystopian futurist science fiction, Native writers celebrate the resistance and survival that has shaped their lives and communities despite a history of colonization. In this course we will examine a selection of works by Native American writers from across the United States and Canada, using these works to gain insight into the ongoing cultural experience of Native people. |
| 2688 |
ENGL-285-01 |
Writing in the Community |
1.00 |
SEM |
Bacote, Catina |
T: 1:30PM-4:10PM |
TBA |
|
ART
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: This course fulfills the elective, UVSJ & creative writing requirements. |
| |
NOTE: 5 seats reserved for instructor consent. |
| |
In this community engagement writing course, you will have the opportunity to explore the cultural scene in Hartford and write about your experiences. Through experimentation and practice, you will grow in trusting your artistic instinct, cultivating your personal voice, and exercising agency. Ultimately, you will push the boundaries of creative nonfiction to tell real-life stories in authentic and unexpected ways. As a supportive writing community, you will give and receive feedback on ongoing work and delve into the ethical considerations that come into play when writing from real-life experience. We will partner with a Hartford organization to explore the city's cultural life, and the work will culminate in a final project. You will complete 10 hours of direct service outside of class. |
| 2807 |
ENGL-323-01 |
Cinematic Modernism |
1.00 |
SEM |
Younger, James |
MW: 10:00AM-11:15AM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 19 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: FILM-323-01 |
| |
Prerequisite: C- or better in English 265 or Film 265. |
| |
NOTE: Movie screenings will be held online. |
| |
NOTE: For majors, this course fulfills the requirement of a post 1800 requirement/elective/additional literature or film course. It is also a critical reflection course. |
| |
The 30-year period from 1950-1980 is often regarded as the golden age of European cinema and World Cinema. Launched by the post-war epiphanies of Italian Neorealism, a new cinematic language, modernism, was forged by movements of young radicals and older directors eager to transcend their past achievements. Embraced by an expanding audience of cinephiles (self-educated film-lovers), modernist cinema became one of the most dynamic and significant phenomena of 20th century culture. This course offers an introduction to this essential area of film history and will situate key directors and movements within the exciting political and cultural contexts of the times. |
| 2710 |
ENGL-325-01 |
Postmodernism in Film & Lit |
1.00 |
SEM |
Rosen, David |
M: 6:30PM-9:00PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: FILM-325-01 |
| |
NOTE: For undergraduate English majors, this course fulfills the requirements of a post-1800 course/elective/critical reflection/additional literature or film course. This course fulfills the requirements toward the film studies major. Wednesday evening meeting time is for screenings only. |
| |
“Postmodern” is the term used most often to describe the unique features of global culture (art, architecture, philosophy, cinema, literature) since the 1970s. And yet there is practically no agreement about what those features might be: is postmodernism ironic or serious, flat or deep, real or hyper-real, alive or defunct? In this course we will examine competing and often contradictory views of postmodernism, with the goal of developing a historical perspective on the contemporary world we live in now. Texts will be divided evenly between philosophy/theory (Lyotard, Baudrillard, Jameson, Fukuyama, Hutcheon), cinema (possible films: Bladerunner) and literature (possible authors: Borges, Pynchon, Barthelme, Murakami, Foster Wallace). The seminar will culminate with a field trip to New York City. English 425 and English 825 are the same course. |
| 2689 |
ENGL-330-01 |
México by Non-Mexicans |
1.00 |
LEC |
Goldman, Francisco |
W: 1:30PM-4:10PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors, this course fulfills the requirement of a post 1800 requirement/UVSJ/elective/additional literature or film course. |
| |
Non-Mexican authors—and Mexicans who write in English—are rarely addressing a Mexican audience when they set novels or films in Mexico. Their intended readers are “us,” elsewhere in the world, perhaps especially those of us in the Colossus of the North. Some of the last century’s greatest English-language novels—by Malcolm Lowry, Katherine Anne Porter, D.H. Lawrence, and Cormac McCarthy—depict Mexico.
This course, however, turns to works created within the urgency of now, rejecting political simplifications in favor of exploring a culture more ancient than our own, with whom we share both a border and a fraught modernity. A recurring theme through Mexican history is the tension between the "Macho" and "La Malinche" (Malintzin), the Indigenous woman who translated for Cortés—long vilified as a traitor and seductress, now reclaimed as a feminist icon of resilience and intelligence.
We begin with Camilla Townsend’s groundbreaking Malintzin’s Choices, then examine works by Cristina Rivera Garza, Roberto Bolaño, Silvia Moreno-Garcia, Valeria Luiselli, Jennifer Clement, and Óscar Martínez, among others. Readings and films will explore overlapping themes—violence (political, sexual, or narco), coming of age, immigration, identity, class, and the Borderland—through multiple genres and voices. |
| 1024 |
ENGL-334-01 |
Adv Cr Writing:Fiction |
1.00 |
SEM |
Goldman, Francisco |
T: 1:30PM-4:10PM |
TBA |
|
ART
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Prerequisite: C- or better in ENGL 270, ENGL 170 or permission of instructor. |
| |
NOTE: For English creative writing concentrators, this course satisfies the requirement of a 300-level workshop. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. |
| |
Students will write and rewrite fiction. The class is run as a workshop, and discussions are devoted to analysis of student work and that of professional writers. For English creative writing concentrators, this course satisfies the requirement of a 300-level workshop. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. |
| 1078 |
ENGL-336-01 |
Adv Cr Writing:Poetry |
1.00 |
SEM |
Berry, Ciaran |
MW: 11:30AM-12:45PM |
TBA |
|
ART
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Prerequisite: C- or better in ENGL 270 or ENGL 170 or permission of instructor. |
| |
NOTE: This course satisfies the requirement of a 300-level workshop for creative writing concentrators. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. |
| |
Students will do in-class exercises, and write and revise their own poems. The class is run as a workshop, and discussions are devoted to analysis of student work and that of professional writers. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. This course satisfies the requirement of a 300-level workshop for creative writing concentrators. |
| 2690 |
ENGL-345-01 |
Chaucer |
1.00 |
LEC |
Staples, James |
TR: 9:25AM-10:40AM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Prerequisite: C- or better in English 260 or ENGL 160. |
| |
NOTE: For majors, this course fulfills the requirement of a pre-1800 requirement/elective/additional literature or film course. |
| |
A study of The Canterbury Tales and related writings in the context of late medieval conceptions of society, God, love, and marriage. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. This course is research intensive. |
| 2714 |
ENGL-355-01 |
Shakespeare and Film |
1.00 |
SEM |
Wheatley, Chloe |
W: 6:30PM-9:00PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 19 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors, this course fulfills the requirement of a pre-1800 requirement/elective/additional literature or film course. |
| |
Shakespeare has long been celebrated for his 'universality': for being "not of an age, but for all time"; for inventing "the human." In this course, we will study selected films adapted from Shakespeare plays as a way to think about this idea of Shakespeare's universality. We will begin by considering what we mean when we say he is universal, and what is at stake in describing Shakespeare as universal. We will then study a handful of Shakespeare plays and their adaptations, some of which translate Shakespeare's plays to different times, places, and sometimes languages. Plays may be selected from Taming of the Shrew, Much Ado About Nothing, Romeo and Juliet, 1 Henry IV, Hamlet, King Lear, Cymbeline, and The Tempest. |
| 2799 |
ENGL-361-01 |
World Cinema Auteurs |
1.00 |
SEM |
Younger, James |
MW: 11:30AM-12:45PM
W: 6:30PM-9:00PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: FILM-361-01 |
| |
NOTE: Wednesday evening meeting time is for movie screening only. |
| |
This advanced course offers an in-depth exploration of the work of major auteur-directors from the domain of World Cinema, cinema from countries other than the United States or Europe. Three or four auteurs grouped by country, region or culture (e.g. Japan, India, Iran, Brazil, West Africa, or the Three Chinas: PRC, Hong Kong, and Taiwan) will be examined in their aesthetic, cultural and geo-political dimensions using the cutting-edge new methodologies of comparative and experimental cinephilia. Note: This is an advanced undergraduate/graduate hybrid course - while not required, some prior experience with film analysis, film theory, or World Cinema is strongly recommended.This course fulfills the requirements of a post-1800 course, elective, or additional literature or film course. |
| 2691 |
ENGL-379-01 |
Melville |
1.00 |
SEM |
Hager, Christopher |
TR: 10:50AM-12:05PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: For majors enrolled before December 2023, this course fulfills the 1700-1900 requirement. For majors enrolled after January 2024, this course fulfills the requirement of a course in literature after 1800. |
| |
Though a superstar during his early career, Herman Melville watched his reputation decline as his literary ambitions escalated. One review of his seventh novel bore the headline, "Herman Melville Crazy." Not until the 20th century did even his best-known work, Moby Dick, attract considerable attention, but it now stands at the center of the American literary pantheon. Melville's work merits intensive, semester-long study not only because he is a canonical author of diverse narratives—from maritime adventures to tortured romances to philosophical allegories—but also because his career and legacy themselves constitute a narrative of central concern to literary studies and American culture. Through reading and discussion of several of his major works, we will explore Melville's imagination, discover his work's historical context, and think critically about literary form. |
| 2988 |
ENGL-394-01 |
Early American Media |
1.00 |
SEM |
Pokross, Benjamin |
MW: 2:55PM-4:10PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 18 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: This class fulfils the pre-1800 requirement/elective/additional literature or film course. It also fulfils the UVSJ and critical reflection requirement. |
| |
We are inundated with many forms of media in contemporary life: film, tv, movies, books, texts, tweets, Snapchats, dms, etc. While this might seem like a recent development, this class will argue that America has always been a multimedia culture. Returning to the 17th and 18th centuries, we will examine sermons, speeches, pamphlets, diaries, wampum, Bibles, primers and more to reveal the complex communication networks of early America. In particular, we will consider how Black and Indigenous authors brought their own media traditions to writing and printing in English. Authors may include William Bradford, Anne Bradstreet, Benjamin Franklin, Samson Occom, Phillis Wheatley Peters, and Charles Brockden Brown. |
| 1143 |
ENGL-399-01 |
Independent Study |
0.50 - 1.00 |
IND |
TBA |
TBA |
TBA |
Y |
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
A limited number of individual tutorials in topics not currently offered by the department. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and chairperson are required for enrollment. |
| 2933 |
ENGL-401-01 |
Intro to Literary Theory |
1.00 |
SEM |
Mrozowski, Daniel |
W: 6:30PM-9:00PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: This course fulfills the requirements of a post-1800 course/elective/critical reflection/additional literature or film course. |
| |
This seminar is designed to provide a perspective on varied critical vocabularies, and to explore the development of literary theories and methods from classical to contemporary times. Emphasis will be placed on a broad examination of the history and traditions of literary theory, the ongoing questions and conflicts among theorists, and practical applications to the study of works in literature. Students will compose a substantial critical essay based on research and the development of their own perspective on understanding and evaluating a literary text. |
| 1144 |
ENGL-466-01 |
Teaching Assistant |
0.50 - 1.00 |
IND |
TBA |
TBA |
TBA |
Y |
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Students may assist professors as teaching assistants, performing a variety of duties usually involving assisting students in conceiving or revising papers; reading and helping to evaluate papers, quizzes, and exams; and other duties as determined by the student and instructor. See instructor of specific course for more information. Submission of the special registration form, available online, and the approval of the instructor are required for enrollment. Guidelines are available in the College Bulletin.
(0.5 - 1 course credit) |
| 2930 |
ENGL-496-01 |
Literary Creativity |
1.00 |
SEM |
Bilston, Sarah |
MW: 2:55PM-4:10PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
This course is open to senior English majors only. |
| |
NOTE: This course is open to senior English majors only. |
| |
NOTE: This course fulfils the capstone requirement. |
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What is creativity? This capstone invites students to reflect on what they’ve learned about literary innovation as English majors and then consider how to deploy their insights after college. Which writers seem, to you, particularly creative? What makes a work, an artist, an era, creative? Are there particular character traits or circumstances that inspire creativity or can anyone, at any time, be creative? What’s the relationship between creativity and innovation; creativity and tradition; creativity and resistance? Reading a series of secondary works alongside primary texts (by, for instance, William Shakespeare, Jane Austen, William Wordsworth, James Joyce, Virginia Woolf, James Baldwin, and Jericho Brown), we’ll debate these issues in class and in written work (analytic essays and "creative writing"). Trying out new forms, experimenting with structures, our final project will be a manifesto on creativity, a personal guide for each student to use as they work after Trinity to lead reflective, creative, generative lives. |
| 1167 |
ENGL-497-01 |
Creative Writing Snr Thesis P2 |
1.00 |
IND |
TBA |
TBA |
TBA |
Y |
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Individual tutorial in writing of a one-semester senior thesis on a special topic in literature or criticism. Submission of the special registration form and the approval of the instructor and the chairperson are required. |
| 2268 |
ENGL-499-01 |
Senior Thesis Part 2 |
1.00 |
IND |
TBA |
TBA |
TBA |
Y |
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Individual tutorial in the writing of a year-long thesis on a special topic in literature or criticism. Seniors writing year-long, two-credit theses are required to register for the second half of their thesis for the spring of their senior year. Submission of the special registration form and the approval of the instructor and chairperson are required for each semester of this year-long thesis. (2 course credits to be completed in two semesters.) |
| 1107 |
ENGL-954-01 |
Thesis Part I |
1.00 |
IND |
TBA |
TBA |
TBA |
Y |
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| 1116 |
ENGL-955-01 |
Thesis Part II |
1.00 |
IND |
TBA |
TBA |
TBA |
Y |
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Continuation of English 954 (described in prior section). |
| 2695 |
FILM-350-01 |
Film Noir |
1.00 |
SEM |
Corber, Robert |
T: 6:30PM-9:10PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with ENGL |
Cross-listing: WMGS-345-01 |
| |
This course traces the development of film noir, a distinctive style of Hollywood filmmaking inspired by the hardboiled detective fiction of Dashiell Hammett, James Cain, and Raymond Chandler. It pays particular attention to the genre’s complicated gender and sexual politics. In addition to classic examples of film noir, the course also considers novels by Hammett, Cain, and Chandler. |
| 2831 |
JWST-223-01 |
American Jewish Literature |
1.00 |
LEC |
Catlin, Samuel |
TR: 10:50AM-12:05PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 25 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with ENGL |
Cross-listing: RELG-224-01 |
| |
An exploration of the relationship between US Jewish identity and literary form, through the reading of major works in a range of genres such as prose fiction, lyric poetry, drama, graphic novels, and essays, from the late 19th century to the present. We may also view some films and TV episodes. Throughout, we will insistently pose the question of what makes a literary work count as "Jewish" or "American." Readings may address such topics as immigration, assimilation, nationalism, racialization, whiteness, ethnic identity, antisemitism, class and labor
politics, the Cold War and McCarthyism, the impact of the Holocaust, the memory of pre-WWII Europe, Zionism, gender and sexuality, HIV/AIDS, the politics of "Jewish languages," and religious vs. secular textual traditions. |
| 2854 |
LACS-218-01 |
The Task of the Translator |
1.00 |
SEM |
Hubert, Rosario |
TR: 10:50AM-12:05PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 19 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with ENGL |
| |
Completion of a 202 language course or equivalent, or permission of instructor. |
| |
Translation is one of the most critical skills for navigating our globalized world. Whether we are reading news stories from across the globe, watching Netflix shows from other languages and cultures, or studying abroad, we confront situations in which translation matters. In this course, students will develop practical skills in the art of translation, while also studying some of the crucial theories and questions that inform the field of Translation Studies. From infamous translation controversies to contemporary debates around translation and identity, our readings and discussions will analyze the political, ethical, and cultural stakes of translating. Given the practical component of the course, in which students workshop their own translations-in-progress, an intermediate-level knowledge of any language besides English is required (completion of 202 level or equivalent). |
| 2830 |
RELG-224-01 |
American Jewish Literature |
1.00 |
LEC |
Catlin, Samuel |
TR: 10:50AM-12:05PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 25 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with ENGL |
Cross-listing: JWST-223-01 |
| |
An exploration of the relationship between US Jewish identity and literary form, through the reading of major works in a range of genres such as prose fiction, lyric poetry, drama, graphic novels, and essays, from the late 19th century to the present. We may also view some films and TV episodes. Throughout, we will insistently pose the question of what makes a literary work count as "Jewish" or "American." Readings may address such topics as immigration, assimilation, nationalism, racialization, whiteness, ethnic identity, antisemitism, class and labor
politics, the Cold War and McCarthyism, the impact of the Holocaust, the memory of pre-WWII Europe, Zionism, gender and sexuality, HIV/AIDS, the politics of "Jewish languages," and religious vs. secular textual traditions. |
| 2694 |
WMGS-345-01 |
Film Noir |
1.00 |
SEM |
Corber, Robert |
T: 6:30PM-9:10PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with ENGL |
Cross-listing: FILM-350-01 |
| |
This course traces the development of film noir, a distinctive style of Hollywood filmmaking inspired by the hardboiled detective fiction of Dashiell Hammett, James Cain, and Raymond Chandler. It pays particular attention to the genre’s complicated gender and sexual politics. In addition to classic examples of film noir, the course also considers novels by Hammett, Cain, and Chandler. |