UVa Class Schedule - Schedule of Classes with Additional Descriptions

UVa Class Schedules (Unofficial, Lou's List v2.10) New Features

Schedule of Classes with Additional Descriptions - Fall 2025

These data were not obtained from SIS in real time and may be slightly out of date. MouseOver the enrollment to see Last Update Time

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I continue to maintain this list of classes, now with UVA support! -- Lou Bloomfield, Professor Emeritus of Physics

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American Studies
AMST 3500	Topics in American Studies

	Jim Crow America
20065	001	SEM (3 Units)	Open	0 / 15 (0 / 15)	K. Ian Grandison+1	TuTh 12:30pm - 1:45pm	New Cabell Hall 042
	Martin Luther King, Jr. famously called Sunday morning “the most segregated hour in the nation,” referring to church services. How, and to what extent, has racial separation changed since the height of the Jim Crow era, the 1890s through the 1950s? Despite some notable progress such as the military, why has Jim Crow persisted in various ways in so many areas of American life? This course examines how the Jim Crow regime was established in New England during the 1830s, how it was influenced by the institution of slavery, was nationalized after the Civil War, and how it has been perpetuated into the present, despite the passage of 1960s Civil Rights legislation. What have been the changing modes of maintaining Jim Crow, particularly in law (including law enforcement), education, housing, planning, public health, and mass media (newspapers, film, radio, and social media); and what strategies have been used to fight Jim Crow segregation, discrimination, disenfranchisement, and economic exclusion. Taking a place-specific approach to understanding the material practices and consequences of the Jim Crow regime, we’ll examine in depth the overlapping dimensions of everyday life where Jim Crow has been especially prominent, including: 1) personal and collective mobility; 2) the struggle over public education; 3) planning and access to public facilities; 4) housing and employment; and 5) the justice (or injustice) system. Course materials from various disciplines will include maps, planning documents, films, radio, and readings from literature, sociology, urban planning, history, political science, and journalism. Focus will be placed on Charlottesville, Richmond, and Washington, D.C. as case studies, as well as a comparison with South Africa’s apartheid system. Requirements include a midterm, final, a critical essay, and a term team project
AMST 3559	New Course in American Studies

	MENASA American Comics
20215	002	Lecture (3 Units)	Open	0 / 15 (0 / 30)	Adrienne Resha	Tu 5:00pm - 7:30pm	New Cabell Hall 338
	This course offers a survey of Middle Eastern, North African, and South Asian American comic books, graphic novels, and graphic memoirs. Reading fiction and nonfiction comics, paired with academic and critical writing and other media, we will think critically about what it means for creators of different diasporas and differently marginalized identities to produce art for readers in the United States.
Anthropology
ANTH 3590	Social and Cultural Anthropology

	Sustainable Communities
	Money and Sustainability
19438	001	Lecture (3 Units)	Open	0 / 25	Nazli Azergun	TuTh 11:00am - 12:15pm	The Rotunda Room 150
	The business sector employs thousands of people and deals with trillions of dollars—it possesses an immense potential power to shift societal dynamics. As such, there is a growing belief that business can help address our ‘big societal challenges’ such as climate change, deforestation, or social inequalities. In this course we focus on sustainable finance, a branch of business that seeks to allocate funds to “good” companies and investment projects, to investigate whether business can really help us solve these big societal challenges.
History of Art and Architecture
ARAH 9565	Seminar in Art Theory, Comparative & Other Topics

	Autobiography in Academic Research & Writing
19153	001	SEM (3 Units)	Open	0 / 12	Christa Robbins	We 3:30pm - 6:00pm	Fayerweather Hall 215
	In this cross-disciplinary graduate seminar we will discuss autobiography, personal narrative, and self-reference as methodologies in academic research and writing. Generally shunned as unscholarly and characterized as anathema to historical research, self-representation in academic writing is increasingly recognized as a legitimate approach. We will discuss the ethical, historical, and political imperative to name the self in scholarly writing as we read through examples of autobiography, personal narrative, auto-ethnography, and self-reference in multiple disciplines, including history, literary studies, and aesthetic theory. Authors we will discuss include Roland Barthes, Saidiya Hartman, Rosalind Krauss, Anne Carson, and Ashon Crawley, among several others. Students will be encouraged to think about self-reference in their own scholarship and in relation to their own research interests.
History of Art
ARTH 3591	Art History Colloquium

	Andy Warhol's Media
12224	001	Lecture (3 Units)	Open	0 / 15	David Getsy	TuTh 11:00am - 12:15pm	Fayerweather Hall 206
	Arguably the most influential American artist of the last century, Andy Warhol was obsessed with media. This colloquium will track Warhol’s career and impact through an examination of his varying use of different artistic media (from printmaking to television) and his appropriation of images and themes from mass and popular media (from advertising to Hollywood). In turn, we will examine the larger cultural themes that Warhol slyly mediated through his work, such as capitalism, queer cultures, gender, ecology, authorship, and technology.
Drama
DRAM 3652	Producing Theatre

Syllabus 19469	001	Lecture (3 Units)	Open	0 / 25	Holly McLeod	TuTh 12:30pm - 1:45pm	Drama Education Bldg 115B
	Course Description on SIS is outdated-from Spring 2024. Lou's List description is correct.
	What does it mean to “produce theater”? Is a theater producer an artist, a business leader, a visionary, or all the above? Participants will collaborate to produce a piece of contemporary theater with hands-on application of artistic, leadership and collaborative practices. Course discussions and projects will cover theater organization, mission, and legal structure, as well as collaborative creation, artistry, and design. Opportunities for practical application of concepts and best practices in producing include, but are not limited to outreach/publicity, production management. Opportunities for artistic contributions include directing, performing, design, casting, digital media development, theater technology and staging.
Electrical and Computer Engineering
ECE 3502	Special Topics in Electrical and Computer Engineering

	Third-Year Design Experience
	FPGA Digital Design
20137	002	Lecture (3 Units)	Permission	0 / 20	Todd Delong	MoWeFr 10:00am - 10:50am	Rice Hall 240
	The course will use a commercial FPGA board that costs $70. You are required to purchase your own board before the first class meeting. The board can be purchased at https://nandland.com/the-go-board/
	This course is an introduction to the use of Field Programmable Gate Arrays (FPGAs) to implement digital hardware designs using a Hardware Description Language (HDL). The course consists of a series of hand’s-on projects to promote experiential learning to achieve course learning objectives. For each project, students are provided with requirements, which define what is required to solve the problem. Students then develop a specification, which specifies how the requirements are satisfied by the solution implementation, with an emphasis on verification using simulation-based and experimental evidence. Prerequisite ECE2330 (Digital Logic Design)
Creative Writing
ENCW 3310	Intermediate Poetry Writing I

	Serious Play
13914	001	WKS (3 Units)	Permission	0 / 12	Kiki Petrosino	MoWe 11:00am - 12:15pm	Bryan Hall 233
	In this intermediate poetry workshop, we’ll connect with playfulness as an approach to composition and revision, and as a key concept for expanding our toolbox of techniques. We’ll read published works of poetry by writers for whom formal experimentation is key. We’ll also think about & explore the physical space of Grounds as a site for reading, writing, and sharing poems. Students in this course will engage in a regular writing practice and will take seriously the processes of composition, critique, and revision. We’ll spend a significant portion of the semester “workshopping” student poems, but we also will devote time to discussing assigned reading and to performing independent & in-class writing challenges. These activities, plus attendance, participation, and a final portfolio, will inform the grading policy. Instructor Permission is required for enrollment in this class: please request enrollment through SIS and email a writing sample of 4-5 poems with a cover sheet including your name, year, email address, major, prior workshop experience, and other workshops to which you are submitting. Submit your application IN A SINGLE DOCUMENT to Prof. Petrosino (cmp2k@virginia.edu). Applications will be considered on a rolling basis once registration opens. For full consideration, email your application as soon as possible.
	ENCW 3310. INTERMEDIATE POETRY WRITING (The Poetics of Childhood)
13918	002	WKS (3 Units)	Permission	0 / 12	Lisa Spaar	Tu 11:00am - 1:30pm	Dawson's Row 1
	Intermediate Poetry Writing: The Poetics of Childhood
	Unlike other conditions of being human—being a parent, a lover, male or female or trans, cis-gendered or non-binary, Black, Latinx, Caucasian ,or Asian, a hip hop artist, a painter, a nuclear physicist, a lily of the field—being a child is a universal experience. Not all of us will have our own children, but each of us has been a child. As Mark Twain wrote, “We haven’t all had the good fortune to be ladies, we haven’t all been generals, or poets, or statesmen, but when the toast comes down to the babies, we all stand on common ground.” What Naomi Nye calls the “flag of childhood” connects human beings across time, space, and culture. In this advanced poetry writing workshop, we will explore in original poems some of the ways in which children’s relationships to the world – to objects, to language, to experience – are akin to the poet’s: mythic, metaphorical, fragmented, primal. What can the experience of childhood tell us about our adult selves? How does it relate to and what can it reveal about poetry itself? Permission of instructor is required and students will be granted permission on a rolling basis. Please request permission in SIS and send five poems in one document to Professor Lisa Russ Spaar (LRS9E@virginia.edu) for consideration.
ENCW 3350	Intermediate Nonfiction Writing

13924	001	WKS (3 Units)	Permission	0 / 12	Kevin Moffett	Tu 11:00am - 1:30pm	Bryan Hall 233
	This is a course in personal narratives. You'll read from a wide swath of nonfiction forms — memoir, literary journalism, oral histories, meditations, screeds, etc. — and use your reading as a springboard for your writing. “Notice what you notice," Allen Ginsberg said. "Catch yourself thinking." We'll use this as a point of reference as you write about yourself and others, reflecting more deeply on what's familiar to you, while exploring knowledge, expertise, and vernaculars currently unknown to you, all in the service of sketching out your own inimitable story. Admission by Instructor Permission. Please send a prose sample and a brief statement of interest to sem9zn@virginia.edu. Writing sample not required for students in the area programs.
ENCW 3500	Topics in Creative Writing

	Small Press Publishing
14134	001	WKS (3 Units)	Permission	0 / 25	Brian Teare	MoWe 6:30pm - 7:45pm	New Cabell Hall 232
	Small press publishing is one of the major forms of literary labor undertaken by writers of all genres; it’s also one of the main means by which contemporary writers form community. As this course will show, a small press publisher has to possess and hone the skills that all writers need: as an editor, they have to be an excellent close reader; as a curator of a list of authors, they need to be an acute critic of their chosen genre; and as a bookmaker and/or typesetter, they have to pay attention to the details of book production. Through in-class tutorials in bookmaking, we’ll acquire some of the pragmatic skills of small press publishing. Through research into four small presses, selected readings from their lists, presentations on the aesthetics and politics of their editorial practices, and prompts for discussion of the day’s readings, we’ll hone our curatorial acumen and gain a sense of the role small presses play in literary community. Through secondary readings we’ll gain a sense of the history and politics of the small press and the handmade object. Through writing and workshopping our own chapbook-length manuscripts and designs, we’ll practice our writerly and editorial skills. And finally, through collaborative publishing ventures that solidify the literary community we’ve created over the semester, we’ll bring our own chapbooks to life! Please note: previous workshop experience in one ENCW course of any genre is required for enrollment.
ENCW 3610	Intermediate Fiction Writing

20413	002	WKS (3 Units)	Permission	0 / 12	Kevin Moffett	TuTh 12:30pm - 1:45pm	Bryan Hall 203
	This class will be taught by a new professor, Corinna Vallianatos
	Admission by Instructor Permission. Please send a prose sample and a brief statement of interest to sem9zn@virginia.edu. Writing sample not required for students in the area programs.
ENCW 4550	Topics in Literary Prose

	Weird Books
	Weird Books: The Strange, the Obscene, the Banned, and the Incomprehensible in Literature
13920	001	SEM (3 Units)	Permission	0 / 12	Micheline Marcom	We 3:00pm - 5:30pm	New Cabell Hall 036
	Instructor Permission Required if not APLP.
	In this class we’ll read an array of works of literature that have been, at different times, derided, banned, ignored, censored, and misunderstood—sometimes for their subject matter, sometimes for the style in which they are written—often for both. Plan to read a lot of strange and wonderful books, to write weekly creative responses, and to wrangle inside that beautiful dense wood we call literature. Some writers we may read: Boccaccio, William Faulkner, Henry Miller, William Burroughs, Tadeusz Borowski, Bohumil Hrabal, JG Ballard, Angela Carter, Nabokov, Gertrude Stein, Lautreamont, and De Sade. Instructor permission required, but all eager readers are welcome to apply. If you’re NOT in the APLP, send me a note (mam5du) saying what draws you to this class.
ENCW 4810	Advanced Fiction Writing I

	Transformations
20414	001	WKS (3 Units)	Permission	0 / 12	Kevin Moffett	TuTh 2:00pm - 3:15pm	Bryan Hall 233
	This class will be taught by a new professor, Corinna Vallianatos
	In this advanced fiction writing workshop, we’ll consider stories of transformation: physical, temporal, and mental. Students will read widely—stories by Jamaica Kincaid, Shirley Jackson, Edward P. Jones, Joy Williams, Lorrie Moore, Denis Johnson, Tatyana Tolstaya, and Julio Cortázar, among others—and write short creative responses. Students will also write two stories for workshop, and substantively revise one of them. Admission by Instructor Permission. Please send a prose sample and a brief statement of interest to sem9zn@virginia.edu. Writing sample not required for students in the area programs.
ENCW 4820	Poetry Program Poetics

	Cutting Up: Collage, Play, Poetry, & Resistance
13917	001	SEM (3 Units)	Permission	0 / 12	Brian Teare	Mo 2:00pm - 4:30pm	Bryan Hall 203
	This seminar will present a capsule survey of Surrealist collage and its revolutionary inheritors. We’ll begin with modernist poets André Breton, Alice Paalen Rahon, Aimé Césaire, and César Moro, before moving on to three mid-century American poets associated with the New York School – Leroi Jones (later known as Amiri Baraka), John Ashbery, and Barbara Guest – and then three contemporary poets – Douglas Kearney, Oli Hazzard, and Kathleen Fraser – whose work repurposes Surrealism’s dual legacy of revolt and artificial paradise for feminist, anticolonial, and aesthetic ends. Alongside the poetry of these ten poets, we’ll study manifestos, interviews, and statements of poetics in order to better understand the theories of making practiced by collage-based poets. Intertwined with this survey of the poetry and poetics of collage will be an experiential learning portion of the course, which will allow us to explore collage techniques literally – through poetics exercises with scissors and glue stick. Together we’ll explore the many iterations of collage over the past century, from Surrealist salvos to anticolonial visions to Camp cut-ups to feminist interventions, while slowly each of us will begin to develop and articulate our own personal version of collage poetics. The course will be capped off with a final portfolio containing a reflective poetics statement and a manuscript of collage-based creative work.
ENCW 4830	Advanced Poetry Writing I

	ENCW 4830: Advanced Poetry Writing (The Big Themes)
13916	001	WKS (3 Units)	Permission	0 / 12	Lisa Spaar	We 12:30pm - 3:00pm	Bryan Hall 233
	In this workshop for advanced poets, the aim of our collective project will be to generate poems that dare to embody, explore, provoke, illuminate, refute, and manifest “large” traditional poetic themes—Eros, Thanatos, Truth, Beauty, God, & Time¬—in fresh, original ways. In addition to writing about a poem a week, students will also be responsible for choosing a trio of “core poets” to read closely throughout the semester: one poet born before 1920, one poet born after 1965, and a poet on the faculty of the University of Virginia. We will be incorporating these readings into our assignments, poems, and class discussion. Permission of instructor is required and students will be granted permission on a rolling basis. Please request permission in SIS and send five poems in one document to Professor Lisa Russ Spaar (LRS9E@virginia.edu) for consideration.
ENCW 7310	MFA Poetry Workshop

13868	001	WKS (3 Units)	Open	0 / 10	Sumita Chakraborty	Mo 2:00pm - 4:30pm	Dawson's Row 1
	In lieu of a traditional course description, I’d like to tell you a brief story. My first published poem is a poem I consider very unsuccessful. I’ve revised it for years post- (and pre-!) publication; it’s never quite right. It is no longer a poem that I try to “perfect.” Instead, it’s become a room in which I go to think and experiment. When I find myself itching to open it again, that means that I want to try out something I do not yet understand or yet know how to do. Very often, particularly as we take steps to professionalize in a discipline or an art, our lives become pitched toward the dream of success: to perfect the poem; to perfect the thesis; to perfect the manuscript; to “perfect,” most insidiously of them all, ourselves. We won’t be able to undo this entirely: after all, this is a poetry workshop in an MFA program, which means that we’re gathering together in an academic context to work on our craft. But through our conversations, readings, and exercises, this workshop will foreground how to embrace the magic of the mistake—the pratfall, the banana peel under the heel, the wrong turn, the swing and a miss—as a cherished companion in your regular writing practice rather than shying away from it as something to be shunned or renounced. Your primary responsibilities will be to write poems, share them with one another, and give each other feedback.
English-Literature
ENGL 2500	Introduction to Literary Studies

	Introduction to Literary Studies
19677	010	SEM (3 Units)	Open	0 / 8	John O'Brien	MoWe 2:00pm - 3:15pm	Bryan Hall 334
	We will read great works of literature and also work on the skills that need to read, describe, critique, and write well about literary texts. But we will also be pursuing the question of what constitutes literature in the first place. We will read texts in a variety of forms (poetry, fiction, drama, essay), and also read what a number of critical thinkers have had to say. Our readings will include works by authors such as William Shakespeare, Edgar Allan Poe, Emily Dickinson, Virginia Woolf, Italo Calvino, and Terrance Hayes. Some short in-class exercises; three written assignments, final examination. All students are welcome to join. This course fulfills the second writing requirement, the prerequisite or the English major, and the AIP disciplines requirement.
	Introduction to Literary Studies
19688	011	SEM (3 Units)	Open	0 / 10	Victor Luftig	TuTh 3:30pm - 4:45pm	Shannon House 111
	We will read poems, plays, fiction, and essays in ways meant to introduce the study of literature at the college level: we’ll focus on how these types of writing work, on what we get from reading them carefully, and on what good and harm they may do in the world. The texts will come from a wide range of times and places, including works by authors such as Sophocles, Shakespeare, Edgar Allen Poe, Virginia Woolf, James Joyce, Jamaica Kincaid, Judith Ortiz Cofer, Li-Young Lee, and Chimamanda Adichie; we will also attend a reading and two plays, one on Grounds and the other at the American Shakespeare Center. The course is meant to serve those who are interested in improving their reading and writing, for whatever reason, who seek an introductory humanities course, and/or who may wish subsequently to major in English. We’ll discuss the works in class, and there will be in class-quizzes, three papers, and a final exam. This course satisfies the English major prerequisite, the second writing requirement, and the AIP disciplines requirement.
ENGL 2506	Studies in Poetry

	Contemporary Poetry
19651	001	SEM (3 Units)	Open	0 / 8	Jahan Ramazani	MoWe 2:00pm - 3:15pm	Shannon House 111
	In this seminar, we will examine an array of postwar idioms, forms, and movements. While devoting much of our attention to some of the most influential American poetry from the second half of the twentieth century, we will also bring ourselves up to date by examining poems published in recent years by poets of diverse backgrounds. To hone our attention to poetics, we will focus on several specific genres, forms, or kinds of poetry, including sonnets, elegies, persona poems, and poems about the visual arts. The seminar will emphasize the development of skills of close reading, critical thinking, and imaginative, knowledgeable writing about poetry.
ENGL 2560	Contemporary Literature

	American Literature in the Twenty-First Century
20180	001	SEM (3 Units)	Open	0 / 8	John Modica	TuTh 5:00pm - 6:15pm	Bryan Hall 330
	In the face of unprecedented global emergencies, what is the role of literature? Why should we read and write literature now? What is American Literature today?
	The twenty-first century is a time of unprecedented global emergencies. Ecological devastation on a world-historical scale. Rampant, unchecked wealth inequality. War, genocide, mass disabling, and forced displacement. Anti-democratic forces on the rise—and, in the face of all these problems and more, growing feelings of hopelessness, disenchantment, alienation, and fear. What, in all of this, is the role of literature? Why should we bother to read and write literature now? How have contemporary writers, in writing about the problems of the twenty-first century, redefined our understanding of these problems, and literature’s place in confronting them? How can we use literature to set a new, better direction for the world? This course offers a unique introduction to the study of literature and culture through an examination of twenty-first century American literature. In the first part of the course, students and the instructor will work together to devise a reading schedule that reflects the interests, questions, and backgrounds of the students in the class. We will then embark on a journey through an exciting and diverse set of contemporary writings with the goal of defining for ourselves the possible meanings of “American literature” as an active and ongoing project. In doing so, we will develop skills and knowledge that can enable us to use literature as a tool for enriching, reflecting on, and transforming our everyday lives. This course satisfies the English major and minor prerequisite, the second writing requirement, and the AIP disciplines requirement. No background in literary studies is expected or necessary.
ENGL 2592	Women in Literature

	Women of Letters: Eighteenth-Century Women Writers
19669	001	SEM (3 Units)	Open	0 / 8	Alison Hurley	TuTh 9:30am - 10:45am	Cocke Hall 101
	In eighteenth-century England young women were taught that their most desirable attribute was modesty and that their destiny lay in marriage. Such an education discouraged women from competing with men in the crowded, unruly, and potentially lucrative public sphere of commercial publishing. Or so one might think. In fact, women authors flourished at this time. By the early 1800s, some men even feared they had come to dominate popular literature. How did this come to be? One of the most effective vehicles by which women infiltrated the world of print was via the humble form of the letter. Letters could express all sorts of things, be addressed to diverse audiences, and be sent from myriad locations. But while letters proved themselves an adaptable form, they were also, at least theoretically, a private one. It was the letter’s association with privacy – with the merely personal – that allowed women to disguise their epistolary compositions as modest, slight, and unthreatening. The letter was the perfect secret weapon for making women’s voices heard. In this class we will explore how British women living in the 1700’s wrote letters to do many different things: address injustice, report on fashionable society, titillate, mock, protest, and, sometimes, just tell a friend she was loved. Our readings will include private correspondence, verse epistles, epistolary novels, foreign correspondence, letters to the editor, and more. This course satisfies the English Major Prerequisite, the Second Writing Requirement, and the AIP Disciplines Requirement.
ENGL 2599	Special Topics

	The Literature of Everyday Life
19672	004	SEM (3 Units)	Open	0 / 8	Taylor Schey	TuTh 5:00pm - 6:15pm	New Cabell Hall 207
	What could be more monotonous than ordinary, everyday life? And yet, since at least the late eighteenth century, the realm of the quotidian has been an extraordinary source of interest and inspiration for many different writers, some of whom have followed William Wordsworth in “awakening the mind’s attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us,” others of whom have been more drawn to what Joan Didion describes as “the peril, unspeakable peril, of the everyday.” This course will explore how everyday life has been mined and imagined in literary writing, from Jane Austen, W. H. Auden, and Elizabeth Bishop to Ross Gay, Christina Sharpe, and Monica Huerta. As we learn to attend to language as students of literature, we’ll hone our skills of close reading and apply them to our own everyday milieus. Plus, through working on a variety of both analytical and creative assignments, we’ll become stronger writers. Readings will include some poems, a handful of essays, a couple of autotheoretical texts, a novel, and at least one film. This course satisfies the English Major Prerequisite, the Second Writing Requirement, and the AIP Disciplines Requirement.
	Monuments and the Aesthetics of Power
19675	005	SEM (3 Units)	Open	0 / 8	K. Ian Grandison	TuTh 5:00pm - 6:15pm	Kerchof Hall 317
	We generally understand monuments as commemorating people and events that are regarded as significant to shaping public knowledge, sense of identity, and social cohesion. We consider the processes by which monuments are proposed, promoted, funded, planned, designed, and erected as politically neutral and communal in their spirit. They are regarded as objects of beauty or even majesty--promoted as “works of art,” a notion that reinforces the perception that they unite and uplift individuals, communities, nations, and even empires. And yet the rupture associated with Confederate monuments that long had pride of place in landscapes North and South betrays the instability of the common perception of monuments as salutary and caused many to view them as apparatuses of ongoing warfare. We consider the role of monuments and memorials, whether public or private, in shaping collective ways of knowing, feeling, acting, and interacting as citizens in relation to state authority. To unearth this politics, we will explore the physical and historical contexts of monuments as well as their aesthetic qualities that are located on campus, in Charlottesville, and beyond--from ancient times to the present, from the Age of Exploration to colonial imperialism to modern nation-building. A few examples include: the Elmina Castle, built in the 1480s, which eventually became a "point of no return" for kidnapped captives in the trans-Atlantic Slave Trade; Cleopatra's Needle, moved from Alexandria, Egypt to London's Victoria Embankment in 1878; the 1921 Stonewall Jackson Confederate Monument that once stood in Charlottesville's Court Square Park; and the Vietnam Veterans Memorial, 1982, and the Martin Luther King, Jr. Memorial, 2011, on the U.S. National Mall. Is Carlos Simon’s 2022 “Requiem for the Enslaved” (which was commissioned by Georgetown University to reckon with the role of slavery in its development) a monument? We will explore how monuments are used to shape local and national landscapes to affect social hierarchies, imperialist ambitions, and struggles for liberation. There will be a midterm and final exam, each including identification items and a critical essay, and a final team research project.
	Literatures of the Nonhuman
19684	007	SEM (3 Units)	Open	0 / 8	Adrienne Ghaly	TuTh 2:00pm - 3:15pm	Bryan Hall 334
	This course explores the nonhuman world in all its richness from Kafka to AI. It is organized around three major themes: objects, nonhuman animals, and alien 'others'. How do modern and contemporary texts envision the nonhuman across different scales, from the strangeness of the nearest everyday objects like a pebble, to what it’s like to be a fox, to 'deep time' planetary processes, to using Artificial Intelligence to reflect on cultural expectations and values? Our focus will be on developing strategies of close reading and introducing the basics of literary critical analysis through shorter forms in poetry and prose that examine the nonhuman across a range of genres from the early twentieth century to the present. Several critical works and the questions they raise will guide our investigations of the capacious category of the nonhuman and the ideas it animates. Throughout we'll ask, what are the stories we tell about the nonhuman world? This course assumes no prior knowledge and satisfies the second writing requirement.
ENGL 3001	History of Literatures in English I

	1st-years, 2nd-years, and non-majors welcome!
10123	100	Lecture (3 Units)	Open	0 / 225	Rebecca Rush	MoWe 12:00pm - 12:50pm	John W. Warner Hall 209
	An introduction to the greatest hits of literature before 1800. Read Beowulf, Chaucer, Wyatt, Spenser, Sidney, Donne, Milton, Pope, and Gray.
	The aim of this course is to introduce you to the rich and strange body of English literature written before 1800 and to the rigorous but rewarding art of close, attentive reading. We begin our adventure with the Old English epic Beowulf, the tale of a Geatish warrior who sets out over the waves for a Danish mead hall, determined to perform a courageous deed or end his days trying. Along the way, we will meet a series of seekers, including Chaucer’s humorous pilgrims, Spenser’s wandering knights, Shakespeare’s bantering lovers, and Milton’s liberty-loving devil. Though we will be moving through nearly a millennium of English literature, we will take the time to linger over the distinctive language of each book and the distinctive image each author sketches of human habits and longings. Readings will include selections from Beowulf, Chaucer’s Canterbury Tales, Spenser’s Faerie Queene, Shakespeare’s Sonnets and Much Ado about Nothing, Milton’s “Lycidas” and Paradise Lost, and shorter poems by Wyatt, Sidney, Donne, Jonson, Pope, Cowper, and Gray, among others. This course is a prerequisite for the English major, but it assumes no prior knowledge of English literature. If you plan to major in economics or biology or computer science but want to enjoy some great literature along the way, please sign up. The only prerequisite is a willingness to read slowly, attentively, and with a dictionary at hand.
ENGL 3161	Chaucer I

19653	001	Lecture (3 Units)	Open	0 / 25	Elizabeth Fowler	TuTh 12:30pm - 1:45pm	Bryan Hall 328
	Canterbury Tales by the wild pops of English--ingenious, comic, feminist. Own your tongue (& the pre-1700 req)!
	We’ll read The Canterbury Tales and perhaps some shorter works looking for the author that the Scots poet Gavin Douglas praised as “evir all womanis frend.” One governing question will be how, for Geoffrey Chaucer and for us, do sexual politics guide political philosophy? This is a course in Middle English, in reading poetry, in considering how fiction shapes political thought, and in thinking alongside someone who lived before modernity and can shake our sense of the world to its roots while telling brilliant stories. We’ll meet under the Scholar’s Tree by Dawson’s Row in camp chairs unless weather prohibits it: bring your sunscreen and hats. Write to Prof Fowler fowler@virginia.edu with questions.
ENGL 3300	English Literature of the Restoration and Eighteenth Century

19678	001	Lecture (3 Units)	Open	0 / 25	John O'Brien	MoWe 3:30pm - 4:45pm	Lower West Oval Room 102
	Social media existed long before Facebook, Twitter, Instagram, and Snapchat. In the seventeenth and eighteenth centuries, a lot of literature could be defined as social media, works initially intended to circulate within defined groups, or produced to constitute community. In this course, we will survey the literature of the period from 1650 to 1800 with an eye towards the way that writers used their works to build communities large and small. Authors will include Anne Bradstreet, Samuel Pepys, Katherine Philips, Joseph Addison, Alexander Pope, Samuel Richardson, James Boswell, Olaudah Equiano, Benjamin Franklin, Susanna Rowson. Our reading will also give us the opportunity to think about digital social media in our own time and its effects on culture and community. Students will write two papers (one short, one longer), take a midterm and final exam, and also collaborate on a digital project where we will edit works to contribute to an open-access digital anthology, a project that stands itself as a form of social media.
ENGL 3434	The American Renaissance

19679	001	Lecture (3 Units)	Open	0 / 25	Christopher Krentz	MoWe 2:00pm - 3:15pm	John W. Warner Hall 113
	In this class we’ll consider the extraordinary growth and flowering of American literature during the early and mid-nineteenth century. How did these authors express America in all its complexity? We’ll read work by such great writers as Emerson, Douglass, Hawthorne, Poe, Melville, Whitman, and Dickinson and explore whatever topics their writing presents. Requirements will include active thoughtful participation, quizzes, a shorter and a longer paper, and a final exam.
ENGL 3540	Studies in Nineteenth-Century Literature

	Romanticism
19673	001	Lecture (3 Units)	Open	0 / 25	Taylor Schey	TuTh 2:00pm - 3:15pm	The Rotunda Room 150
	A time of revolution and reaction, the Romantic era (1784-1832) saw an explosion of literature that both witnessed and shaped new ideas about art, nature, politics, society, and the self, many of which are still with us today. This course explores some of the best works of this briefest and most momentous period in British literary history. We’ll defamiliarize ourselves with the strange lyrical ballads of William Wordsworth and Samuel Taylor Coleridge, listen carefully to the odes and apostrophes of Percy Bysshe Shelley and John Keats, tarry with the darkly comic turns of Charlotte Smith’s sonnets and Lord Byron’s long poems, and examine the constitution—and the afterlife—of Mary Shelley’s “hideous progeny,” Frankenstein. Of particular interest to us will be how Romantic literature not only registers different historical events and developments (e.g. the French, Haitian, and Industrial Revolutions; the emergence of abolitionist and feminist discourses; the Napoleonic Wars and the Peterloo Massacre) but offers its own form of knowledge and prompts a unique, portable way of thinking about the world. Assignments will include a midterm exam, a creative project, and a final paper. This course satisfies the 1700-1900 literature requirement for the English major.
ENGL 3560	Studies in Modern and Contemporary Literature

	US Modernisms in Word and Image
	U.S. Modernisms in Words & Images
19665	002	Lecture (3 Units)	Open	0 / 25	Joshua Miller	TuTh 12:30pm - 1:45pm	New Cabell Hall 395
	How does one write something that’s never been thought? Why would an author write in mixed or invented languages? How do visual images respond to written narratives (and vice-versa)? We will discuss a broad range of novels, short fiction, film, photography, and graphic arts composed between 1898 and 1945 and the historical, political, and cultural trends that they were responding to and participating in. This was an extraordinary and tumultuous period of demographic change, artistic invention, economic instability, racialized violence, and political contestation that witnessed mass immigration, migration, and emigration. In paying particular attention to trends of demographic displacement and change within and across national borders, we’ll consider the heady experiments in language and narrative that took place during the first half of the twentieth century. The historical events of this period—framed by the wars of 1898 and World War II—will provide context for the novels we read. Some of the broad questions that we’ll track throughout the term include the following. How do these authors define the “modern”? What, for that matter, is a “novel” in twentieth-century U.S. literature? How did these authors participate (and resist) the process of defining who counted as an “American”? What role did expatriates and immigrants play in the “new” United States of the twentieth century? How did modernists narrate the past? How did trends in technology (mass production, cinema, transportation), science (relativity), and politics influence novelists’ roles within U.S. modernity? How did these authors reconcile the modernist imperative to “make it new” with the histories of the U.S. and the Americas? What were the new languages of modernity?
	The Literature of Extinction
19685	003	Lecture (3 Units)	Open	0 / 25	Adrienne Ghaly	TuTh 9:30am - 10:45am	Gilmer Hall 245
	Whales, beetles, thylacines! How has the diminishment of species and biodiversity loss been thought about and written about in poems, novels, and essays? How do works of modern and contemporary literature respond to and help us understand the sixth mass extinction the planet may be entering? Where and how do we find evidence of extinctionary pressures in texts that are not explicitly 'about' human impacts on nonhuman life? This course explores biodiversity loss and species extinctions from megafauna to insects and across genres, time periods, and ecosystems to ask how literature thinks about, represents, and can be an unwitting record of the radical diminishment of nonhuman life. We’ll read texts that imagine extinction, grapple with knowledge and feelings around biodiversity decline and species revival, and we'll reframe literature not explicitly ‘about’ extinction as records of widespread impacts on nonhuman life. Finally, we'll explore ways of thinking that could help address the biodiversity crisis meaningfully. Assignments are two essays, some shorter pieces of writing, and engaged participation in discussion.
ENGL 3570	Studies in American Literature

	American Civil Wars
19642	001	Lecture (3 Units)	Open	0 / 40 (0 / 40)	Stephen Cushman+1	MoWe 2:00pm - 3:15pm	Clinical Department Wing 2677
	No moment in United States history has received more recent scrutiny than the American Civil War. Nearly half the respondents to a 2022 poll believe another such war “at least somewhat likely” to break out in the next decade. Comparing the events of 1861-1865 to the divisive politics of the 2020s has become commonplace. Against this fraught backdrop, our course will focus on the conflicting voices and perspectives behind the coming, fighting, and aftermath of war. Among those we may read are Abraham Lincoln, Frederick Douglass, Kate Stone, Phoebe Yates Pember, James Henry Gooding, Ulysses S. Grant, Louisa May Alcott, Mary Chesnut, Susie King Taylor, Walt Whitman, Emily Dickinson, Robert Gould Shaw, Mathew Brady, and Alexander Gardner. While wartime figures will absorb much of our attention, we will also turn to later representations, such as a new graphic novel of Stephen Crane’s Red Badge of Courage, a short story by Eudora Welty, a movie or two, and recent AI animations of famous Civil War photographs. Finally, we will sample recent discussions of prospects for another civil war, with examples drawn from mainstream journalism, online alternatives, and creative media. Assignments will include short papers and at least one exam. Professors Caroline Janney (History) and Stephen Cushman (English) will teach this course together.
	Jim Crow America
19674	100	Lecture (3 Units)	Open	0 / 15 (0 / 15)	K. Ian Grandison+1	TuTh 12:30pm - 1:45pm	New Cabell Hall 042
	Martin Luther King, Jr. famously called Sunday morning “the most segregated hour in the nation,” referring to church services. How, and to what extent, has racial separation changed since the height of the Jim Crow era, the 1890s through the 1950s? Despite some notable progress such as the military, why has Jim Crow persisted in various ways in so many areas of American life? This course examines how the Jim Crow regime was established in New England during the 1830s, how it was influenced by the institution of slavery, was nationalized after the Civil War, and how it has been perpetuated into the present, despite the passage of 1960s Civil Rights legislation. What have been the changing modes of maintaining Jim Crow, particularly in law (including law enforcement), education, housing, planning, public health, and mass media (newspapers, film, radio, and social media); and what strategies have been used to fight Jim Crow segregation, discrimination, disenfranchisement, and economic exclusion. Taking a place-specific approach to understanding the material practices and consequences of the Jim Crow regime, we’ll examine in depth the overlapping dimensions of everyday life where Jim Crow has been especially prominent, including: 1) personal and collective mobility; 2) the struggle over public education; 3) planning and access to public facilities; 4) housing and employment; and 5) the justice (or injustice) system. Course materials from various disciplines will include maps, planning documents, films, radio, and readings from literature, sociology, urban planning, history, political science, and journalism. Focus will be placed on Charlottesville, Richmond, and Washington, D.C. as case studies, as well as a comparison with South Africa’s apartheid system. Requirements include a midterm, final, a critical essay, and a term team project
ENGL 3572	Studies in African-American Literature and Culture

	Multimedia Harlem Renaissance
20049	001	Lecture (3 Units)	Open	0 / 25 (0 / 25)	Marlon Ross	TuTh 9:30am - 10:45am	Astronomy Bldg 265
	Why has the impact of the Harlem Renaissance persisted for a hundred years? This course explores that question from a multimedia perspective in literature, journalism, painting, sculpture, theater, dance, music, photography, film, audio recording, and politics. We’ll study the geopolitics not only of Harlem as a “Mecca of the New Negro” but also cultural centers like Washington, D.C., Richmond, Virginia, and Chicago. Many of the debates of the time are still with us in different ways today. What are the most effective forms and venues for the promotion and production of African American arts and culture? How do African American migrations – both within the U.S. and between America and abroad – contribute to the idea of a cultural renaissance? Then and now, there is a debate about to what extent art should cater to propaganda. During the Renaissance, as now, artists debated elite versus vernacular approaches to artistic production. The prominence of women and queer artists at the center of the Renaissance is another connection with today’s cultural and social movements. Other matters to be examined include the Great Black Mass Migration, the national Negro newspaper, the birth of gospel music, Negro Wall Streets and pioneer towns, race rioting and lynching, urban sociology, trade unionism, the Garveyite Black Pride movement, Negro bohemianism, blackface minstrelsy, and interracial romance and sex. In addition to examining artistic forms like the anthology, the manifesto, the literary periodical, the sonnet, the blues lyric, the stage musical, the problem play, the art mural, and the sketch, we’ll ask how Renaissance advocates exploited modern technologies like print publication, photography, film, audio recording, and radio to promote Negro culture as cosmopolitan and avant-garde. Among those studied are writers Langston Hughes, Zora Neale Hurston, James Weldon Johnson, W.E.B. Du Bois, Nella Larsen; composers Duke Ellington, Thomas Dorsey, Harry Burleigh; artists Aaron Douglas and Augusta Savage; photographers James VanDerZee and Addison Scurlock; dramatists Angelina Grimké and Willis Richardson; actors Bert Williams and Paul Robeson; singers Billie Holiday, Bessie Smith, Roland Hayes; dancer-choreographers Katherine Dunham, Josephine Baker, the Nicholas Brothers; filmmaker Oscar Micheaux, and many others.
ENGL 3922	Deafness in Literature and Film

20412	001	Lecture (3 Units)	Open	0 / 25 (0 / 25)	Christopher Krentz	MoWeFr 12:00pm - 12:50pm	New Cabell Hall 395
	What does deafness signify, especially in a western society that is centered upon speech? In this course we will study some of the contradictory and telling ways that deaf people have been depicted – and have depicted themselves -- over the last three centuries. Our approach will be contrapuntal. We will juxtapose canonical texts by authors such as Dickens and McCullers and mainstream films like Johnny Belinda and Coda with relatively unknown works by deaf writers such as Clerc and Bullard. The class will feature a range of learning strategies, including brief lectures, whole-class discussion, smaller-group discussion, and probably occasional activities to keep us all fresh and engaged. You’ll get the most from the course if you come to class having completed the reading or viewing and ready to talk thoughtfully about it. Requirements will include shorter and longer papers, quizzes, and a final exam.
ENGL 4500	Seminar in English Literature

	Metamorphosing Myth
	Click blue number to the left for full course description.
19664	001	SEM (3 Units)	Open	0 / 18	Clare Kinney	TuTh 11:00am - 12:15pm	New Cabell Hall 068
	Creative artists from 14th century England to 21st century America reshape the beguiling, challenging, and wildly influential material of classical epic and myth. This course satisfies the pre-1700 requirement for the English major.
	This seminar will explore the appropriation and transformation of some of the influential narratives of pagan antiquity: the myths that are kidnapped and remade as artists pursue their own aesthetic, cultural and political agendas. We will start by reading (in translation) Virgil’s great epic of empire, the Aeneid, as well as Ovid’s influential and bewitching tapestry of mythic narratives, the Metamorphoses. We’ll then move on to discuss the ways in which some medieval, Renaissance and contemporary authors metamorphose these powerful archetypes. Our post-classical readings will include works by Chaucer, Christine de Pizan, Christopher Marlowe, and Shakespeare, as well as Mary Zimmerman’s Metamorphoses and Ursula K Le Guin’s Lavinia. With luck, we’ll also hear from some of our own creative writing faculty about the afterlives of myth within their own work. Course requirements: regular attendance and energetic participation in discussion. A series of discussion board postings. A 6-7 page paper, an oral presentation, a longer term paper.
ENGL 4559	New Course in English Literature

	Reading Archives: Gaps, Margins, Erasures
19667	001	Lecture (3 Units)	Open	0 / 18	Sumita Chakraborty	We 2:00pm - 4:30pm	Bryan Hall 203
	How do we tell stories that have been rendered impossible to tell? While no one is voiceless, institutions of power and privilege—including archives—often exclude or marginalize many voices, and philosophers, critics, literary artists, and other artists have long tackled the question of how to responsibly tell those elided stories. In this course, we will explore a range of such methodologies and practices. Our reading list will be comprised of theoretical and critical texts by Michel Foucault, Saidiya Hartman, and Ann Cvetkovich, among others, as well as literary artists like M. NourbeSe Philip, Don Mee Choi, Rick Barot, Solmaz Sharif, Robin Coste Lewis, Tyehimba Jess, Diana Khoi Nguyen, Nicole Sealey, and Victoria Chang. Major assignments will include reading presentations, a brief mid-term take-home written exam, and an imaginative final project that accords with students’ individual intellectual, artistic, and personal interests. The final projects will be developed in consultation with me and with archivists from Special Collections and the Rare Book School on a case-by-case basis; at several key points throughout the semester, we will meet in Special Collections or the Rare Book School to brainstorm and research your projects.
ENGL 4901	The Bible Part 1: Hebrew Bible / Old Testament

19641	001	SEM (3 Units)	Open	0 / 15	Stephen Cushman	MoWe 11:00am - 12:15pm	Dawson's Row 1
	The stories, rhythms, and rhetoric of the Bible have been imprinting readers and writers of English since the seventh century. Moving through selections from the Hebrew Bible / Old Testament, from Genesis through the prophets, this course focuses on deepening biblical literacy and sharpening awareness of biblical connections to whatever members of the class are reading in other contexts. Along the way we will discuss English translations of the Bible; the process of canonization; textual history; and the long trail of interpretive approaches, ancient to contemporary. Our text will be the New Oxford Annotated Bible, 5th ed. All are welcome. No previous knowledge of the Bible needed or assumed. PLEASE NOTE: Professor John Parker will teach a course focusing on the New Testament in spring 2026. Both courses will read the New Testament gospel of Mark, connecting the semesters, but you do not have to take the fall course as a prerequisite for the spring one.
ENGL 5100	Introduction to Old English

	Learn Old English! Translate medieval chronicles, riddles, and poems! Open to Undergrads and Grads!
19645	001	Lecture (3 Units)	Open	0 / 20	Stephen Hopkins	TuTh 12:30pm - 1:45pm	Brooks Hall 103
	*class fulfills the pre-1700 English major requirement*
	In this course (open to undergraduate and graduate students) we will learn to read the Old English language (roughly 500-1100 CE). To arrive at a sound reading knowledge, we will spend the first half of the semester internalizing the basics of Old English grammar and vocabulary, and will practice translating short bits of prose and poetry, from prose works like Bede's history, and later poetry such as the Exeter Book riddles, The Battle of Maldon, The Dream of the Rood, and excerpts from Beowulf. Along the way, we will also study Old English genres, contexts, and critical/theoretical approaches prevalent in the field, with an emphasis on the history of the book and writing technologies. Course work includes weekly translations, midterm and final exams, and a brief research presentation (~10 min) on a topic chosen by each student. Successful completion of this course is required for admission to ENGL 5110 Beowulf and Its Monstrous Manuscript in the Spring.
ENGL 5510	Seminar in Medieval Literature

	Arthurian Romances
19654	001	SEM (3 Units)	Open	0 / 15	Elizabeth Fowler	TuTh 3:30pm - 4:45pm	Kerchof Hall 317
	For graduate students as well as intrepid undergrads with some experience reading Middle English.
	We'll dive into what is probably the most viral fan-fiction canon ever: stories about Arthur, Guenevere, Lancelot, Gawain, Merlin, the Ladies of the Lake, and their friends and enemies and magical stage props. What makes this kind of narrative work? How do different authors transform it? The late medieval Morte Darthur by Thomas Malory will be at the core of our inquiry, and we'll include texts from Marie de France and Chaucer to contemporary film. We'll be looking to describe how (and why) the romance genre offers us experiences of philosophy, emotion, political thought, spirituality, and wit. This is a graduate course with room for undergraduates who have some coursework in Middle English. We will meet outside under the Scholar’s Tree by Dawson’s Row in camp chairs unless weather prohibits it. Contact Prof Fowler fowler@virginia.edu with questions.
ENGL 5560	Seminar in Modern and Contemporary Literature

	Contemporary Poetry
19652	001	SEM (3 Units)	Open	0 / 15	Jahan Ramazani	MoWe 3:30pm - 4:45pm	Shannon House 111
	For graduate students as well as undergraduates with a strong interest in poetry.
	In this seminar, we will read and discuss some of the most influential poetry of the second half of the twentieth century and of the twenty-first century, mostly by American writers from various backgrounds. To hone our attention to poetics, we will focus on several specific genres and forms of poetry, including sonnets, elegies, persona poems, and poems about the visual arts. How do contemporary poets repurpose, transform, and revitalize poetic traditions? What is the value of poetry for writers of diverse ethnicities, races, nations, movements, social classes, and genders? What is distinctive about poetry as a means for addressing preoccupations such as the self, the environment, race, art, nationality, gender, sexuality, grief, violence, and historical memory?
	James Joyce¿s Ulysses
19676	002	SEM (3 Units)	Open	0 / 15	Victor Luftig	TuTh 2:00pm - 3:15pm	Shannon House 111
	This course is designed for first-time readers of Ulysses and is meant to provide a pleasurable introduction to it. We’ll explore the novel’s difficulty and its usefulness, tracking both which of the many available resources for reading it are helpful and what kinds of applications might justify the effort Ulysses summons. Prior to the first class session, please read as much as you can of an annotated edition of Joyce’s A Portrait of the Artist as a Young Man. (The Viking edition with notes by Anderson, which you can easily find used, would be fine.) There will be two papers, one offering the class an account of a resource you’ve sampled and another asking you to think about what contemporary situation you think Ulysses might apply to most meaningfully. There will also be some in-class and/or take-home worksheets focused on contextual information and stylistic particulars. At the end of the course we’ll have a taste of Joyce’s Finnegans Wake to prepare you for future explorations of that book—which too is challenging, rewarding, and “lovesoftfun.”
ENGL 5900	Literature Pedagogy Seminar

13842	001	SEM (3 Units)	Open	0 / 15	Cristina Griffin	TuTh 12:30pm - 1:45pm	Pavilion VIII 108
	This seminar is about how and why teaching literature matters today. How do secondary school and college instructors teach literature in challenging times? How do teachers make tough decisions about what to teach and why? What responsibility do teachers have to promote inclusive excellence through the literature they teach and the methods they use? In this course, we will tackle these big questions together as we explore what it means to pursue a career in teaching literature to middle school, high school, or college students. Each week, we will weave together your existing knowledge of literature and your emerging knowledge of pedagogy. You will be introduced to theories of learning-focused, culturally relevant, and culturally responsive pedagogy, and you will put your newfound knowledge into practice as we work step by step through designing your own teaching philosophy and materials. This course will bring together students who already have experience as classroom instructors, students who are in the process of teaching for the very first time, and students who have yet to step up to the front of a classroom in the role of teacher. We will build on this variety of experiences, learning together how to bring transformative pedagogies into our present and future classrooms.
ENGL 8596	Form and Theory of Poetry

	Memory & Document
19648	001	SEM (3 Units)	Open	0 / 15	Kiki Petrosino	We 2:00pm - 4:30pm	Shannon House 119
	In this graduate seminar, we’ll examine what it means to compose poetry responsive to real places, times, events, and experiences. We'll read several works of contemporary poetry that take a variety of approaches to the concepts of "memory" and "archive," broadly (and capaciously!) defined. Readings will include craft texts and critical inquiry on documentary poetics and other compositional modalities. Coursework, including group learning experiences (one self-guided), will give students the opportunity to produce a critical or creative project engaging themes inspired by the course material. Though this is a readings-based course, students should be prepared and willing to participate in writing exercises, to exchange works-in-progress, and to offer constructive critique. These activities, plus attendance, participation, & the final project, will inform the grading policy. This course is designed for first- and second-year MFA students in Creative Writing. Graduate students from other departments and programs are welcome, pending availability and instructor permission. If you would like to enroll in this course, but are not in the MFA Program, please contact Prof. Petrosino via e-mail (cmp2k@virginia.edu) with a message detailing your interest.
Writing and Rhetoric
ENWR 3740	Black Women's Writing & Rhetoric

19327	001	SEM (3 Units)	Open	0 / 16	Tamika Carey	TuTh 11:00am - 12:15pm	The Rotunda Room 152
	This course explores how Black Women use writing, literacy, speaking, and performance rhetorically to build the worlds they want to live in and the lives they deserve. Specifically, the course will teach you how to understand: 1) rhetoric as techne, or an art, that members of this group use to take action towards their social and political needs; 2) rhetoric as a lens for analyzing and critiquing the choices and consequences of literature, communication, and discourse; and 3) rhetoric as a resource for developing voice, style, and flavor in writing. Projects are likely to include: a discussion-leading presentation, an analytical essay, and a final project.
French
FREN 4682	Baudelaire and Poetic Modernity

20033	001	Lecture (3 Units)	Open	0 / 18	Claire Lyu	MoWe 2:00pm - 3:15pm	New Cabell Hall 291
	Taking as our guide the works of the celebrated French poet Baudelaire, we will pursue one overarching question: How can we live in a poetic relationship with the world? For Baudelaire, poetry fulfilled an existential function: the search for lightness, lucidity, and freedom in response to the weight, dullness, and loss of will that plague life. We will read a selection of writings from Les Fleurs du mal, Les Paradis artificiels, Critiques d'art, and Les Petits poèmes en prose to understand how Baudelaire’s poetry opens to both beauty and pain, doubt and certainty, spleen and ideal through a careful shaping of form and content of language. We will proceed thoughtfully, that is, slowly and carefully, with analytic precision, paying particular attention to the craft of language and experimenting with various compositional practices ourselves. The course invites you to discover poetry as power, as a practice of life that honors and makes possible both thought and feeling.
FREN 7500	Topics in Theory and Criticism

	All You Always Wanted to Know about Theory
19275	001	Lecture (3 Units)	Open	0 / 10	Claire Lyu	Mo 3:30pm - 6:00pm	Pavilion V 110
	FREN 7500 -- Literary Theory: Classic Thoughts, Modern Texts, Contemporary Debates This seminar is an introduction to a selection of important texts of the Western critical narrative and to the diverse objectives, revisions, and polemics that have marked its history from Plato's denunciation of poetry in classical antiquity to the reassessment of modes of critique and reading that is gaining momentum in the twenty-first century. We will examine the successive incarnations of what we now call “literature” (e.g., “poiesis,” “hermeneia,” “belles lettres,” “writing,” “text,” “discourse,” etc.) and how it has been approached. We will pay close attention to the philosophical traditions and ways of thinking that have shaped the evolution of the meta-discourse about literature so as to understand how they gave rise to the development of major theoretical movements of the modern and contemporary era: formalism/ (post)structuralism/ deconstruction, reader response theory, psychoanalysis, Marxism, feminism/ gender studies/ queer theory, eco-criticism/ animal studies. (Due to time constraints, we will not cover various strands of post-colonial theory in the Francophone context, given that several seminars in the department treat the subject.)
French in Translation
FRTR 2084	French Cinema

	Great French Films!
20323	001	Lecture (3 Units)	Open	0 / 30	Ari Blatt	TuTh 9:30am - 10:45am	Nau Hall 141
	Do you have a passion for cinema, or simply like watching films? Want to spend a semester learning about the rich history of world-renowned, award-winning movies from France? Then this is the class for you! FRTR 2084 is designed as an introductory survey of some of the most influential works by famous French directors, from Vigo, Renoir, and Méliès, to Varda, Godard, Truffaut, Audiard, and Triet. Screenings and discussions will encourage you to think deeply about works of art that might initially appear abstract, difficult, sometimes bothersome, or simply different; to ask questions about films, and to take pleasure in analyzing them; and to heighten your sensitivity to the visual and aural nuances, structural quirks, ideological positions, and esthetic choices that comprise a form of representation that has become altogether ubiquitous in our 21st-century lives. Of course, while cinema can be very enlightening, and great films usually make for stimulating conversations, FRTR 2084 is built around the simple idea that studying motion pictures, even for a class, can and should be fun. The course will be taught entirely in ENGLISH and is open to ALL UNDERGRADUATE STUDENTS from all schools at UVa. All films will be available via streaming with ENGLISH subtitles. No prior knowledge of French, French culture, or film analysis/history is necessary. And there will be no final exam (instead, students will work in teams on a filmmaking project, inspired by films on the syllabus). Other work includes lots of in-class discussion and a few short papers. Note that while French majors and minors are certainly eligible to enroll, this is a 2000-level course that does not count toward French major or minor requirements.
German in Translation
GETR 3559	New Course in German in Translation

	Body Horror: From Kafka to Cronenberg and Beyond
19474	001	Lecture (3 Units)	Open	0 / 30	Paul Dobryden	TuTh 3:30pm - 4:45pm	New Cabell Hall 168
	This course explores the terrifying and thrilling experience of being (in) a body through the film genre of “body horror.” Beginning with early influences (Kafka, German expressionism), we will examine ‘80s classics (The Thing, The Fly) and more recent examples (The Skin I Live In, The Substance). Readings in psychoanalysis, disability studies, and gender studies will help us grapple with the question of what makes bodies so fascinatingly scary.
	Refugees and the Holocaust
	Refugees and the Holocaust
19485	005	Lecture (3 Units)	Open	0 / 22	Jeffrey Grossman	Tu 3:30pm - 6:00pm	New Cabell Hall 368
	This course will explore the ways Holocaust refugees experienced the pursuit of refuge, or safe havens, both during the Nazi period (1933-1945) and in its aftermath. It will consider refugees experience of homelessness and their interactions with their new environments and the people they encounter there -- be it in North or South America, Africa, Shanghai, and elsewhere. Study of both historical materials and literary texts. [Though not yet official, the course will meet the Second Writing Requirement]
History-European History
HIEU 1501	Introductory Seminar in Pre-1700 European History

	Crafting Imperial Lives and Life Stories
19205	001	SEM (3 Units)	Open	0 / 18	Jennifer Sessions	TuTh 11:00am - 12:15pm	Nau Hall 142
	How did women and men who lived within European colonial empires build their lives and how can we tell their stories? This course will explore the ways that imperial networks of exploration, conquest, and trade and colonial systems of race, law, and governance created and constrained the options available to individuals. We will examine the historical processes that shaped individuals’ life stories, the ways that these stories can be shared, through academic history, museums, films, comics, music, and more, and what we can learn from these stories about understanding and navigating complex systems of global power. Fulfills the Second Writing Requirement.
History-United States History
HIUS 3559	New Course in United States History

	American Civil Wars
19180	001	Lecture (3 Units)	Open	0 / 36 (0 / 40)	Stephen Cushman+1	MoWe 2:00pm - 3:15pm	Clinical Department Wing 2677
	No moment in United States history has received more recent scrutiny than the American Civil War. Nearly half the respondents to a 2022 poll believe another such war “at least somewhat likely” to break out in the next decade. Comparing the events of 1861-1865 to the divisive politics of the 2020s has become commonplace. Against this fraught backdrop, our course will focus on the conflicting voices and perspectives behind the coming, fighting, and aftermath of war. Among those we may read are Abraham Lincoln, Frederick Douglass, Kate Stone, Phoebe Yates Pember, James Henry Gooding, Ulysses S. Grant, Louisa May Alcott, Mary Chesnut, Susie King Taylor, Walt Whitman, Emily Dickinson, Robert Gould Shaw, Mathew Brady, and Alexander Gardner. While wartime figures will absorb much of our attention, we will also turn to later representations, such as a new graphic novel of Stephen Crane’s Red Badge of Courage, a short story by Eudora Welty, a movie or two, and recent AI animations of famous Civil War photographs. Finally, we will sample recent discussions of prospects for another civil war, with examples drawn from mainstream journalism, online alternatives, and creative media. Assignments will include short papers and at least one exam. Professors Caroline Janney (History) and Stephen Cushman (English) will teach this course together.
Liberal Arts Seminar
LASE 2515	A&S Skills Accelerator-Catalyst

	The Writing Lab
13379	004	WKS (2 Units)	Open	0 / 15	Cristina Griffin	Tu 2:00pm - 3:15pm	Fayerweather Hall 215
	The capacity to clearly communicate ideas in writing is a prerequisite for nearly any career. In this course, students will practice taking a concept from initial idea to final draft with a focus on professional writing. We will tackle some common professional communication modes together, and practice a variety of ways to make every student a stronger and more confident writer. The bulk of the writing in this course will be student-driven and student-designed, individualized to each student’s particular career goals and fields. Our classroom will function both as a simulation of on-the-job writing and as a safe space for writerly experimentation: students will craft career-based writing projects in order to practice future writing tasks, and our classroom will also function as an experiential lab space for writing, revising, experimenting, failing, and writing again. Students will work with MS Word, Copilot, and test out drafting software (such as Worst Draft). Students will leave this class as more confident and more adept writers, ready––and even excited––to incorporate writing into their future careers.
Leadership and Public Policy - Evaluation and Analysis
LPPA 7220	Advance Topics in Impact Evaluations

14474	001	Lecture (3 Units)	Open	0 / 20	Daniel Player	TuTh 5:00pm - 6:15pm	Rouss Hall 403
	Course investigates practical challenges policy researchers face conducting impact evaluations. Develop capacity to replicate prominent empirical research using experimental & quasi-experimental methods & present results in compelling, accessible formats.Course primarily uses Stata (although students are welcome to use R if they prefer). Course assumes prior grad-level instruction in experimental & quasi-experimental methods. A passing grade in LPPA 7160 (RMDA II) or instructor permission is required.