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 - Spring 2026

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American Studies
AMST 3750	Placed and Displaced in America

20924	001	SEM (3 Units)	Open	0 / 25 (0 / 25)	Lisa Goff	TuTh 3:30pm - 4:45pm
	The history of America is a history of place-making and displacement. Iconic American sites such as Monticello, Walden Pond, and our network of national parks have inspired generations of Americans. But displacement is just as much a part of our national identity—as the stories of Indigenous dispossession, housing discrimination, Japanese internment, redlining, gentrification, and homelessness attest. In this class we’ll critique the “iconic” American places, the ones we brag about, and study the displacement that has characterized our nation since the colonial era—the stories that were long buried, and are still coming to light. We’ll also pay special attention to the placemaking efforts of displaced or marginalized groups—such as Black Americans during the Great Migrations, lgbtq+ communities, immigrants, and survivors of natural disasters such as the Dust Bowl and Hurricane Katrina—who continue to redefine American identity through place-making. To do this we will analyze fiction, journalism, and film, as well as paintings, photographs and other elements of visual culture for insights into race, ethnicity, gender, class, and generation in America.
AMST 3790	Moving On: Migration in/to the US

19275	001	SEM (3 Units)	Open	0 / 30 (0 / 30)	Lisa Goff	TuTh 5:00pm - 6:15pm
	“Moving On: Migration In/To the U.S.” examines the history of voluntary, coerced, and forced migration in the U.S. Students will trace changing attitudes about migration over time using a variety of cultural products, including videos, books, documentaries, poems, paintings, graphic novels, photographs, fashion, digital humanities, and academic scholarship. Class participation/contribution is the core of this class. Students will be required to volunteer 5-10 hours with a migration-related project during the course of the semester.
History of Art and Architecture
ARAH 9510	Seminar in Medieval Architecture

	Everyday Medieval Life
	The Material Culture of Lay Piety: Religion in Everyday Medieval Life
19251	001	SEM (3 Units)	Open	0 / 12	Lisa Reilly	Tu 2:00pm - 4:30pm
	This course will cover all forms of visual culture - painting, sculpture, architecture etc.It can also be used to count towards the Digital Humanities certificate if students choose to do a digital project rather than a paper.
	How did ordinary men and women experience the sacred in their daily lives? This seminar investigates the vibrant world of lay religious practice in later medieval England, where the parish church served as the beating heart of community life. Through close examination of material culture—from rood screens and wall paintings to liturgical vessels and funeral monuments—we will reconstruct how pre-Reformation Christians encountered the divine through their senses, shaped their spiritual identities, and negotiated their relationships with the supernatural. Moving beyond elite ecclesiastical history, we will ask: What did it mean to be a parishioner? How did architecture guide devotional experience? What can churchwardens' accounts, wills, and surviving objects reveal about the religious imagination of the laity? Classes will be discussion-based, engaging with recent scholarship in material religion, sensory history, and the social history of the church. Each student will develop a substantial research project in consultation with the instructor, culminating in either a traditional research paper or a digital humanities project.
Biology
BIOL 4260	Cellular Mechanisms

	Advances in Precision Drug Discovery & Repurposing
11465	001	Lecture (3 Units)	Permission	0 / 40	Mike Wormington	TuTh 11:00am - 12:15pm
	What are precision drugs? Aren't all drugs precise? In simplest terms, a precision drug can be defined as "a drug that is most effective in a defined subset of patients and for which pre-treatment molecular profiling is required for optimal patient selection." Precision drugs have been most exploited in oncology where a number of drugs have been developed that inhibit specific oncogene targets that drive specific cancers. Progress continues to made in precision oncology with the development of next gen drugs such as antibody drug conjugates, oncokinase inhibitors that bind covalently to their targets and novel pan-RAS inhibitors. However, significant advances have also been made in precision therapies that rescue or restore the activity of mutant genes that underlie diverse genetic diseases or chronic conditions. However, in many cases, the "low hanging fruit" of validated targets for many therapeutic indications, especially oncology, have largely been "harvested" and the identification and validation for new precision targets typically takes years and the success rate of new drug development, both precision and nonprecision is alarmingly low...typically less than 20%. Therefore drug repurposing is an increasingly alternative with a significantly shorter time frame, lower costs and greater likelihood of success. Repurposing and repositioning are often used interchangeably, but repurposing most commonly refers to drugs successfully designed and approved to treat one disease & still do so, but are being tested to treat a different one. Their repurposed mechanism of action and target may or may not be the same as for their original therapeutic use. Repositioning (also referred to as recycling) most commonly refers to drugs that were initially designed & successfully used to treat one disease, but were shelved for any of several reasons after their initial approval (e.g., lack of efficacy, unanticipated side effects or commercial failure). Course Objectives This course will use a case study approach to examine several paradigms of precision drug discovery and repurposing. Assigned reading will come from current review articles and primary research papers. A major objective of this course will be to provide you with an opportunity, to learn how to critically read and interpret research papers in a collaborative, discussion-based format. Students will work in groups to present their findings in both informal "whiteboard talks" and formal presentations.
Creative Writing
ENCW 4350	Advanced Nonfiction Writing

	INVENTIVE MEMOIR
20767	001	WKS (3 Units)	Permission	0 / 12	Jane Alison	We 2:00pm - 4:30pm
	How do memoirists look back upon vaporous life and find shapes in it that matter? How do they choose moments and images that reveal those patterns? How do they create the “I” that will see and translate what’s seen? How do they decide what’s “true”? How, above all, do they transform the private to public, transmute life to art? In this class we’ll explore some of the arts of memoir, especially inventive memoir, where voice and formal experimentation might create both truthfulness and wildly original art. A writer might distill personal experience through a color, for instance, or a long-dead poet, or a fish . . . We’ll read long and short texts, among them some classic explorations of a (strand of) life, but also works that call themselves “dreamoir,” “autoportrait,” “memory criticism,” “a life among ghosts,” or “possible lives.” Alongside reading, you’ll prepare first a series of studies and then a longer project, which might be several essays, a series of linked fragments, a single extended work, or an entirely new literary invention. Instructor permission required. Unless you’re in the Area Program in Literary Prose, please send me (jas2ad) a five-page sample of your inventive writing and a note saying what draws you to this class.
English-Literature
ENGL 1590	Literature and the Professions

	Literature and Medicine
20220	001	Lecture (3 Units)	Open	0 / 60	Taylor Schey	MoWe 2:00pm - 3:15pm
	Satisfies both the AIP and SES Disciplines requirements.
	This course introduces students to the intersection of literature and medicine, with a focus on how the skills and competencies developed in literary studies are essential to the medical professions as well. Topics include illness and illness narratives; the doctor-patient relation; the language of pain; the histories of medical misogyny and medical racism; epidemics and pandemics; and popular representations of medical practice. Through engaging with a variety of textual forms—including poetry, fiction, drama, essay, film, and television—students will come to understand why, as the physician-scholar Rita Charon puts it, “good readers make good doctors.”
ENGL 2502	Masterpieces of English Literature

	4 Books, 4 Centuries, 4 Forms
20228	001	SEM (3 Units)	Open	0 / 18	John O'Brien	MoWe 2:00pm - 3:15pm
	We will read devote our time together to studying four great masterpieces, four works produced over the last four centuries, each in a different genre: a play (William Shakespeare’s King Lear, first staged in 1606); a novel (Jane Austen’s Emma, published in 1816); a poem (T. S. Eliot’s The Waste Land, published in 1922); and a film (Alfred Hitchcock’s Rear Window, issued in 1954). We will consider each of these works slowly and carefully. We will also use them as case studies for exploring the strategies that scholars in the disciplines of literature and film criticism have developed to achieve rich understandings of their objects of study. These will include (among other strategies) close reading, source study, comparison of variant editions, and historical contextualization. Our objective is to emerge at the end of the semester with expertise in these four works, and with experience in using different critical strategies to analyze other works in these genres. This course serves as a prerequisite for students who wish to major in English. This course also fulfills the College’s second writing requirement. And of course anyone with an interest in these works or in literature in general is welcome to join us.
ENGL 2508	Studies in Fiction

	The Historical Novel
	The Historical Novel
20216	003	SEM (3 Units)	Open	0 / 18	Debjani Ganguly	TuTh 12:30pm - 1:45pm
	This course will explore the relationship between literature and history. Specifically, we will focus on the emergence of the historical novel in early nineteenth century Britain and trace its global evolution into the twenty-first century. Historical fiction and films have proliferated in recent years. Can any novel set against a recognizable historical backdrop be considered a historical novel? How factual and realistic do historical novels need to be, and how do they navigate the relationship between individual and collective destinies? What specific modes of characterization do such novels call for? How are ‘fact’ and ‘truth’ recalibrated in counter-factual historical novels? The seminar will explore these questions by focusing on five novels that bring alive key revolutionary moments in modern history. They are Walter Scott’s Waverley (the Jacobite Revolution in Scotland in 1745), Charles Dickens’ A Tale of Two Cities (the French Revolution in 1789), Amitav Ghosh’s Sea of Poppies (the British Opium Trade with China between 1791 to 1858), Philip Roth’s The Plot Against America (the rise of fascism in the 1930s), and Chimamanda Adichie’s Half of a Yellow Sun (the Nigerian Civil War from 1967-70). We will also read excerpts from the works of literary theorists who have helped us understand the historical novel and its subgenres. Requirements: two essays and weekly reflections on Canvas. This course satisfies the English Major Prerequisite, the Second Writing Requirement, and the AIP Disciplines Requirement.
ENGL 2527	Shakespeare

	Shakespeare on Film
	Visualizing poetry and passion: cinematic adaptations and reinterpretations of 4 major plays.
20223	001	SEM (3 Units)	Open	0 / 18	Clare Kinney	TuTh 2:00pm - 3:15pm
	Click blue number to the left for detailed course description!
	This course will explore in detail four major works by Shakespeare across several genres and look at some of their cinematic adaptations. How does one translate a Shakespearean work from a highly verbal medium into a highly visual medium? How can the resources of film offer us new insights into the plays—and how do different film adaptations of the same play allow us to rethink the interpretive challenges and pleasures provoked by their original texts? Tentative list of plays: A Midsummer Night’s Dream; Henry V; Macbeth; The Tempest. Requirements: Regular attendance and active participation in discussion; shorter and longer writing assignments together totaling 20 pages; a final exam.
ENGL 2599	Special Topics

	Comedy and Character
	Read Chaucer, Shakespeare, Austen, and Dickens
20206	002	SEM (3 Units)	Open	0 / 18	Rebecca Rush	TuTh 9:30am - 10:45am
	Meet some of the most charming and memorable characters of all time, from the Wife of Bath to Mr. Micawber.
	In this course, we will meditate on the art of character-reading by spending time with four great observers of human nature. We will read Chaucer’s Canterbury Tales (the General Prologue, the Miller’s Tale, and the Merchant’s Tale), Shakespeare’s As You Like It and Twelfth Night, Austen’s Emma, and Dicken’s David Copperfield. All four of these authors agree that it is worthwhile to look closely at the subtle details that make up a character, but they disagree about what kinds of details are worth observing and representing, about what is needed to build a character piece by verbal piece. Do we come to know a character by taking note of her red face and fine scarlet hose, by observing how he responds familial betrayal, by attending to her treatment of garrulous neighbors, or by hearing what happened on the day he was born? How do character writers use exaggeration and caricature not only to entertain us but to reveal something about human foibles and habits we might otherwise be unable to see? How do they use ensemble casts of major and minor characters to depict a full array of humors and habits? How do these authors stage scenes that show the difficult art of sizing up and judging character? No prior knowledge of literature is required; the only prerequisite is a willingness to read slowly, attentively, and with a dictionary at hand. Note that Emma is 453 pages and David Copperfield is 882. The syllabus is designed to spread out your reading of David Copperfield over the course of the semester, but please only take this course if you are prepared to dedicate considerable time to reading on the weekends. I am quite confident the books will reward your efforts. This course satisfies the English major prerequisite, the second writing requirement, and the AIP disciplines requirement
ENGL 3260	Milton

	At the crossroads of antiquity and modernity
20207	001	Lecture (3 Units)	Open	0 / 25	Rebecca Rush	TuTh 12:30pm - 1:45pm
	Is Milton modern or ancient, classical or Christian, on Eve's side or God's?
	Our ultimate aim in this course is to linger over Paradise Lost and its distinctive intellectual and poetic beauties. In order to understand the questions that animate Milton’s epic poem, we will first survey Milton’s youthful poems and controversial prose. Milton dedicated his life as a writer to debating about the nature of liberty. Convinced that it is impossible to be good without choosing goodness rationally and deliberately, Milton argued repeatedly for new and radical ideas that he thought freed the mind from the irrational tyranny of custom and passion; he defended beheading the king, loosening divorce laws, and abandoning pre-publication censorship. But Milton saw himself as a radical in the root sense of the word (radix=root in Latin): he wanted to return to the classical past and what he called the “known rules of ancient liberty.” He wrote in forms like the sonnet and the epic that were downright outmoded by the seventeenth century. And he often based his arguments for radical liberties on appeals to reason, truth, and temperance. Milton’s peculiar brand of radicalism leaves readers wondering whether he is more modern or ancient, more dedicated in classical reason or Christian piety, more sympathetic with Adam and God or with Eve and Satan. As we unravel the intellectual positions of a poet who stood at the crossroads of antiquity and modernity, we will also attend to what makes him distinctive as a poet, including his ear for the rhythms of verse and his dedication to producing lines that are thick with learned allusions, etymological puns, and interpretive ambiguities. No prior knowledge of Milton or the seventeenth century is required; the only prerequisite is a willingness to read slowly, attentively, and with a dictionary at hand. This course satisfies the pre-1700 requirement for the English major.
ENGL 3500	Studies in English Literature

	Conversations with Dead People
20239	002	Lecture (3 Units)	Open	0 / 20	Sumita Chakraborty	TuTh 11:00am - 12:15pm
	Death is often imagined as one of the main topics of interest to poets across literary periods and traditions. But some poems, and some poets, take this interest one step further, positioning themselves as capable of speaking to the dead. In this course, we’ll read poems in which poets reimagine the relationship between the living and the dead—and study the wild history of poets (including W. B. Yeats, Sylvia Plath, James Merrill, and Lucille Clifton) who used material means, such as Ouija boards, mediums, and automatic writing, to communicate with spirits. Our main texts will be poems—largely poetry of the twentieth and twenty-first centuries—but we will also explore academic scholarship, popular writing, and other media about the history of and various ways of imagining “the occult.” Along the way, we’ll also learn strategies of reading and interpreting poems as well as some fundamental literary and poetic devices. Main assignments will include explications, an analytical essay, and a creative project, along with in-class discussions and activities.
ENGL 3560	Studies in Modern and Contemporary Literature

	Global Speculative Fiction
	Global Speculative Fiction
20217	003	Lecture (3 Units)	Open	0 / 25	Debjani Ganguly	TuTh 3:30pm - 4:45pm
	The course will explore the emergence of speculative fiction as a global literary form in our contemporary age. Broadly encompassing the genres of fantasy, science fiction, horror and alternative history, speculative fiction is any kind of fiction that creates a narrative world which may or may not resemble the world we live in. This kind of fiction embodies alternative ideas of reality including magic, space or time travel, alternative realities, or alternative histories. In recent years, there has been a proliferation of speculative fiction from Africa, Latin America, and the Asia Pacific that figure alternative futures for peoples oppressed by centuries-long colonialism. The rapid proliferation of digital technology and the accelerating effects of anthropogenic climate change have given a new edge to this body of fiction. We will study the emergence of counter-factual utopian and dystopian narratives, Afrofuturism and animism, the specter of fossil futures, and apocalyptic fiction on environmental collapse through a range of exciting works. The goal of this course is to understand the rise of speculative fiction as a literary form and a mode of world-making that captures cataclysmic shifts in human and non-human worlds that can no longer be comprehended by social, political, and moral frameworks of our recent past and present. Primary Texts Namwalli Serpell, The Old Drift (ISBN: 978-1-101-90714-6) Nnedi Okorafor Lagoon (ISBN: 978-1-4814-4088-2) Ruth Ozeki, A Tale for the Time Being (ISBN: 978-0-14-312487-0) Omar Elakkad, American War (ISBN: 978-1-101-97313-4) Kim Stanley Robinson, Ministry For The Future (ISBN: 978-0-316-30013-1)
ENGL 3750	Placed and Displaced in America

20923	001	SEM (3 Units)	Open	0 / 25 (0 / 25)	Lisa Goff	TuTh 3:30pm - 4:45pm
	The history of America is a history of place-making and displacement. Iconic American sites such as Monticello, Walden Pond, and our network of national parks have inspired generations of Americans. But displacement is just as much a part of our national identity—as the stories of Indigenous dispossession, housing discrimination, Japanese internment, redlining, gentrification, and homelessness attest. In this class we’ll critique the “iconic” American places, the ones we brag about, and study the displacement that has characterized our nation since the colonial era—the stories that were long buried, and are still coming to light. We’ll also pay special attention to the placemaking efforts of displaced or marginalized groups—such as Black Americans during the Great Migrations, lgbtq+ communities, immigrants, and survivors of natural disasters such as the Dust Bowl and Hurricane Katrina—who continue to redefine American identity through place-making. To do this we will analyze fiction, journalism, and film, as well as paintings, photographs and other elements of visual culture for insights into race, ethnicity, gender, class, and generation in America.
ENGL 3790	Moving On: Migration in/to US

20774	001	Lecture (3 Units)	Open	0 / 30 (0 / 30)	Lisa Goff	TuTh 5:00pm - 6:15pm
	“Moving On: Migration In/To the U.S.” examines the history of voluntary, coerced, and forced migration in the U.S. Students will trace changing attitudes about migration over time using a variety of cultural products, including videos, books, documentaries, poems, paintings, graphic novels, photographs, fashion, digital humanities, and academic scholarship. Class participation/contribution is the core of this class. Students will be required to volunteer 5-10 hours with a migration-related project during the course of the semester.
ENGL 3910	Satire

20229	001	Lecture (3 Units)	Open	0 / 25	John O'Brien	MoWe 3:30pm - 4:45pm
	What is satire? Most of us think that we can more or less identify a satire when we see it, but beyond that, defining satire and talking it about meaningfully have often proven elusive. In this course, we will work to figure out not only what satire is, but what it does, socially and politically. We will read satires from the ancient world to the present, from authors like the Roman poet Juvenal, the Irish cleric Jonathan Swift, the Norwegian novelist Gerd Brandenberg, and the American writer Paul Beatty. We will read about theories of humor and satire: where it comes from, and what problems it raises and attempts to address. We will also consider film and video satires, as well as what crops up in the media in the course of the semester—because we know that something will. Midterm and final exams; two writing exercises; participation.
ENGL 4540	Seminar in Nineteenth-Century Literature

	Creative Collaborations
	Literary Lives, Creative Collaborations
20221	001	SEM (3 Units)	Open	0 / 18	Taylor Schey	MoWe 3:30pm - 4:45pm
	Coleridge and the Wordsworths
	This course offers an in-depth study of the lives and works of Samuel Taylor Coleridge and William and Dorothy Wordsworth, with a focus on their joint creative projects. Although British Romanticism is often associated with the myth of the solitary genius, Lyrical Ballads (1798), its watershed text of literary “experiments,” was produced through collaboration and a whole lot of walking and talking. Reading that text in both its first and second editions, we’ll reflect on the social uses of the ballad form at the turn of the nineteenth century as well as explore its affordances in our own historical moment. We’ll follow in Dorothy Wordsworth’s footsteps, too, not only considering the channels of influence between her Grasmere Journals and her brother’s poetry but also finding inspiration in our own observations of natural and quotidian phenomena. And we’ll immerse ourselves in William Wordsworth’s epic, autobiographical blank-verse poem The Prelude, peruse selections from Coleridge’s Biographia Literaria, and listen to the conversations between the rest of these authors’ greatest hits. Through activities that are both creative and analytical, collaborative as well as individual, students will cultivate their own literary lives and come to appreciate why, more than two hundred years later, Coleridge and the Wordsworths remain such great authors with whom to think. Assignments include a ballad project, a reading journal, a book review, and an in-class presentation. This course satisfies the 1700-1900 literature requirement for the English major.
ENGL 4560	Seminar in Modern and Contemporary Literature

	Contemporary Women's Texts
20198	001	SEM (3 Units)	Open	0 / 18	Susan Fraiman	TuTh 12:30pm - 1:45pm
	ENGL 4560 Contemporary Women’s Texts Susan Fraiman This course takes up recent Anglophone works by women across multiple genres and referencing a range of cultural contexts. Primary texts include visual as well as literary forms. A selection of secondary materials will help to gloss their formal, thematic, and ideological characteristics while giving students a taste of contemporary theory. Possible works (final list still to be determined) include fiction by Jhumpa Lahiri, Carmen Machado, Alice Munro, Doris Lessing, Danzy Senna, Ryu Murakami, and Chimamanda Adichie; memoirs by Suad Amiry, Maggie Nelson, Michelle Zauner, and Sarah Smarsh; a graphic narrative by Roz Chast; a play by Annie Baker; a neo-Western film by Kelly Reichardt; images by South African photographer Zanele Muholi. Among our likely concerns will be the juxtaposition of verbal and visual elements in a single text; depictions of queer, raced, immigrant, and transnational subjectivities; narratives that make “truth claims” and how such claims affect the reader; representations of growing up, aging, migration, maternity, violence, marriage, creativity, sexuality, and work; ties and tensions among women across boundaries of place, generation, class, and race. One project of the course will be to explore its own premise that “women’s texts” is a useful and meaningful category. Two papers and a final exam. This course is intended for 3rd- and 4th-year English majors or other advanced students with a background in literary/cultural/gender studies.
ENGL 5500	Special Topics in English Literature

	Transforming Desire
	Desire, gender, genre, metamorphosis--Medieval and Renaissance erotic poetics.
20222	002	SEM (3 Units)	Open	0 / 15	Clare Kinney	TuTh 11:00am - 12:15pm
	Click on the blue number to the left to get full course description.
	This seminar will focus upon lyric, narrative and dramatic works from the medieval and Renaissance periods which explore the striking metamorphoses and the various (and on occasion very queer) trajectories of earthly—and not so earthly--love. We'll be examining the ways in which desire is represented as transforming the identity and consciousness and language of the lover; we will also be examining (and attempting to historicize) strategies employed by our authors to variously transform, redefine, enlarge and contain the erotic impulse. We'll start with some selections from the Metamorphoses of Ovid; we will finish with two of Shakespeare’s most striking reinventions of love. Along the way we’ll be looking at the gendering of erotic representation and erotic speech, the intermittent entanglement of secular and sacred love, the role of genre in refiguring eros, and some intersections between the discourses of sexuality and the discourses of power. Tentative reading list: selections from Ovid's Metamorphoses; the Lais (short romances) of Marie de France; Chaucer's Troilus and Criseyde; lyrics by Petrarch, Philip Sidney and Lady Mary Wroth; Philip Sidney’s Old Arcadia; Shakespeare's As You Like It and The Winter’s Tale. (All non-English works will be read in translation.) And occasional critical/theoretical readings. Requirements: regular attendance, lively participation in discussion, a series of reflective discussion board postings, a short paper (6-7 pages); a long term paper (14 pages).
ENGL 5559	New Course in English Literature

	American Wild
20194	001	SEM (3 Units)	Open	0 / 15	Stephen Cushman	We 10:00am - 12:30pm
	With biblical images of wilderness in mind, seventeenth-century English colonizers of Massachusetts described what they found as another wilderness, howling, savage, terrible. For them it was to be feared, avoided, and, where possible, tamed. Four centuries later, with eighty percent of U.S. citizens living in cities, many of them exposed to wilderness only through calendar pictures or screensaver photos, what meaning or value does American wildness have? Is it only a fantasy image, part of an American brand, as in the phrase “the wild West.” Are wildness and wilderness the same thing? Has the howling, terrible, untamed wildness of the seventeenth-century forest relocated to another sphere, in the wildness of wildfires in California and elsewhere? Is weather the new frontier, the new wilderness, where Americans encounter untamed wildness in droughts, floods, and violent storms? Have we come full circle to more biblical imagery, with apocalypse replacing wilderness as the rubric under which we encounter the wild? This course will begin with a look at biblical antecedents and their influence on European colonists encountering landscapes inhabited by native people. From there we will move to the literature of westward exploration, and further encounters with indigenous populations and their lands, in selections from the journals of Jefferson-commissioned Lewis and Clark. Then it’s on to the mid-nineteenth pivot toward wildness in the eyes of Romantic beholders, among them Susan Fenimore Cooper, Ralph Waldo Emerson, and Henry David Thoreau, patron saint of the environmental movement. Next comes John Muir, whose vision of wilderness preservation begat the U.S. National Park System. Proceeding to the twentieth century, we’ll add important voices with literary moderns Willa Cather and Ernest Hemingway, before turning to Aldo Leopold and Rachel Carson, as the preservation impulse merges with concern about public health and social justice. Late twentieth- and twenty-first-century writers probably will include Robert Bullard, Alice Walker, Linda Hogan, Jeanne Wakutsaki Houston, Camille Dungy, Robin Wall Kimmerer, Camille Dungy, Carol Finney, Lauret Savoy, J. Drew Lanham, and Garnette Cadogan.
Writing and Rhetoric
ENWR 1510	Writing and Critical Inquiry

	Writing about Digital Media
	Did the Camera Ever Tell the Truth?
11378	030	SEM (3 Units)	Open	0 / 18	Jodie Childers	TuTh 9:30am - 10:45am
	In this class, we will build upon this provocative question posed by documentary filmmakers Maximilien Van Aertryck and Axel Danielson to explore what it means to be a discerning content consumer in the age of digital media. As we become active readers, viewers, and listeners, we will analyze the ways in which content creators attempt to shape our perception, from the Kuleshov effect in a video to the pathos of the sound design in a podcast. We will also apply the tricks of the trade as we make our own digital projects. With the rise of AI-generated media, it’s more important now than ever to grapple with the ethics of digital content creation and consumption.
	Writing about Digital Media
	Did the Camera Ever Tell the Truth?
11713	043	SEM (3 Units)	Open	0 / 18	Jodie Childers	TuTh 11:00am - 12:15pm
	In this class, we will build upon this provocative question posed by documentary filmmakers Maximilien Van Aertryck and Axel Danielson to explore what it means to be a discerning content consumer in the age of digital media. As we become active readers, viewers, and listeners, we will analyze the ways in which content creators attempt to shape our perception, from the Kuleshov effect in a video to the pathos of the sound design in a podcast. We will also apply the tricks of the trade as we make our own digital projects. With the rise of AI-generated media, it’s more important now than ever to grapple with the ethics of digital content creation and consumption.
Environmental Sciences-Hydrology
EVHY 7559	New Course in Hydrology

	Comp Methods in Hydrology
19117	100	Lecture (4 Units)	Open	0 / 30 (0 / 35)	Frederick Cheng	TuTh 2:00pm - 3:15pm
	Introduction to computational methods in hydrology by integrating data-driven analysis and process-based modeling. Topics include large-sample hydrology, hydrologic signatures, and numerical modeling for water quantity and quality. Emphasis is placed on combining top-down and bottom-up modeling approaches to enhance hydrologic understanding. No prior programming experience is required. NOTE: The T/Th meetings will be held with EVSC 4080/7080 and will involve learning the same underlying computational methods in R. EVHY 7559 will have its own set of assignments and a Friday meeting to focus on hydrologic concepts and discussion.
	Introduction to computational methods in hydrology by integrating data-driven analysis and process-based modeling. Topics include large-sample hydrology, hydrologic signatures, and numerical modeling for water quantity and quality. Emphasis is placed on combining top-down and bottom-up modeling approaches to enhance hydrologic understanding. No prior programming experience is required. Recommended: A previous course in hydrology.
French
FREN 3030	Phonetics

13855	001	Lecture (3 Units)	Open	0 / 18	Cecile Rey	TuTh 11:00am - 12:15pm
	This course is designed for beginners in French phonetics: you will dive into the world of French sounds, mastering everything from vowels to the famously tricky "r." You will also get hands-on experience with the International Phonetic Alphabet (IPA), helping you perfect your pronunciation. Through engaging exercises and interactive practice, you will gain confidence and speak French more clearly and naturally. Prerequisite: FREN 2020.
FREN 3043	The French-Speaking World III: Modernities

	What's New?
13797	001	SEM (3 Units)	Open	0 / 18	Claire Lyu	TuTh 12:30pm - 1:45pm
	How do we make something new out of what already exists? How do we nurture originality in amidst mounting pressures to conform? How can we learn from the past without becoming subservient to it? By examining the works of modern and contemporary writers, artists, and intellectuals who engage in explicit dialogue with their predecessors, we will explore different ways in which innovation stems from tradition. We will read the French writer Colette who, in writing a memoir of her parents, comes to discover how her identity is shaped by what she has inherited from each of them; the French-Chinese writer Cheng who, elected to the French Academy, writes in a French imbued with Chinese language and thought; the Belgian-Rwandan musician Stromae who rewrites in the 21stcentury, the aria of Bizet’s 19th-century opera Carmen, which, in turn, was inspired by a short story published earlier by Mérimée.
FREN 4744	The Occupation and After

19298	001	SEM (3 Units)	Open	0 / 18	Ari Blatt	TuTh 9:30am - 10:45am
	While in 2014 the French spent a year commemorating the centenary of the start of the “Great War” (“la Der des Ders,” the so called “war to end all wars”), in the summer of 2014 the nation marked another important anniversary: namely, seventy years since the Liberation of Paris during World War II (for some reason, there was a bit less fanfare in 2024, for the 80th anniversary of the Liberation). The German occupation of France, which lasted from June 1940 until the summer of 1944, was one of the most consequential periods in the nation’s history, one that left an indelible mark on the French national psyche that continues to rouse the country’s collective memory to this day. After an initial examination of the political and social conditions in France under the Nazi regime, this seminar proposes to explore the enduring legacy of those “Dark Years” by investigating how the complex (and traumatic) history of the Occupation has impacted French culture during the last half of the twentieth century and into the first decades of the twenty first. Discussions will focus on a variety of documents, events, historical essays, and artistic sources—short stories, novels, and films, mostly, though we will also explore photography and the graphic novel—that attest to what historians refer to as contemporary France’s collective “obsession” with the past. Readings and films may include (but are not limited to) work by Némirovsky, Vercors, Perec, Duras, Modiano, Salvayre, Daeninckx, Sartre, Clouzot, Melville, Resnais, Ophüls, Berri, Malle, Chabrol, and Audiard. Course conducted in French. Students in this seminar are required to have taken FREN 3031. We strongly recommend that, for all 4000-level courses, students have also taken at least one course (preferably a lit/culture course) "above" FREN 3040.
FREN 5510	Topics in Medieval Literature

	East in Premodern Lit/Culture
	Inventing the East
19196	001	SEM (3 Units)	Open	0 / 10 (0 / 15)	Deborah McGrady	We 3:30pm - 6:00pm
	Edward Said's work on orientalism imposed a radical premodern/modern divide on the study of East-West relations that suppressed earlier intellectual, literary, and cultural traditions crucial to understanding the western invention of the East. This seminar recovers part of this lost history by turning to a medieval francophone corpus in which the East assumed a prominent role in the literary imagination. This corpus encompasses French works from the 12th through the 15th centuries produced in and outside of the French kingdom, including the Chanson de Roland, East-West romances, travel adventures, and late-medieval "alternate histories." Reports of merchants and spies who journeyed east, crusading propaganda, and diplomatic dealings will anchor our reading of these texts as creative responses to an ever-growing interconnected world. While echoes of modern takes on the Orient will emerge, we will discover a world in which western superiority was not a certainty and where contact with the Other often triggered discussion of received values. Western debates about conquest, empire, conversion, collective memory, human nature, gender and ethnicity will deeply inform our reading. This approach will lead to larger questions regarding the complex relationship between creative expression and critical thinking, how fiction constructs time and space, how reading and listening shape understanding, and the unique ways the imaginary processes lived experience (especially concerning collective trauma and cultural shifts). How might this recovered past alter our understanding of Orientalism, disrupt presentist thinking, provide new insights into the role of creative expression in society, and contribute to Global Medieval Studies? Student-led discussion, a mid-semester critical reflection, class presentations, and a final research paper will allow ample opportunity for participants to engage with and contribute to this active field of research.
FREN 8510	Seminar in Medieval Literature

	East in Premodern Lit/Culture
	Inventing the East
19302	001	Lecture (3 Units)	Open	0 / 5 (0 / 15)	Deborah McGrady	We 3:30pm - 6:00pm
	Edward Said's work on orientalism imposed a radical premodern/modern divide on the study of East-West relations that suppressed entire intellectual, literary, and cultural traditions crucial to understanding the western invention of the East. This seminar recovers part of this lost history by turning to a medieval francophone corpus in which the East assumed a prominent role in the literary imagination. This corpus encompasses French works from the 12th through the 15th centuries produced in and outside of the French kingdom, including the Chanson de Roland, East-West romances, travel adventures, and late-medieval "alternate histories." Reports of merchants and spies who journeyed east, crusading propaganda, and diplomatic dealings will anchor our reading of these texts as creative responses to an ever-growing interconnected world. While echoes of modern takes on the Orient will emerge, we will discover a world in which western superiority was not a certainty and where contact with the Other often triggered discussion of received values. Western debates about conquest, empire, conversion, collective memory, human nature, gender and ethnicity will deeply inform our reading. This approach will lead to larger questions regarding the complex relationship between creative expression and critical thinking, how fiction constructs time and space, how reading and listening shape understanding, and the unique ways the imaginary processes lived experience (especially concerning collective trauma and cultural shifts). How might this recovered past alter our understanding of Orientalism, disrupt presentist thinking, provide new insights into the role of creative expression in society, and contribute to Global Medieval Studies? Student-led discussion, a mid-semester critical reflection, class presentations, and a final research paper will allow ample opportunity for participants to engage with and contribute to this active field of research.
German in Translation
GETR 3372	German Jewish Culture and History

	German Jewish Culture and Literature
20093	001	Lecture (3 Units)	Open	0 / 30	Julia Gutterman	TuTh 11:00am - 12:15pm
	No prior knowledge of German or Jewish studies is required!
	This course explores German Jewish culture and literature from 1750 to 1945 and beyond. Through a wide range of philosophical, autobiographical, and literary works, we will examine how Jewish thinkers and writers responded to modernity in Central Europe and how their ideas helped shape modern European thought. We’ll trace the emergence of new forms of Jewish identity and experience, following stories of transformation, tension, and creativity across history. Readings will include texts by Moses Mendelssohn, Rahel Varhagen, Henriette Herz, Heinrich Heine, Karl Marx, Gertrud Kolmar, Else Lasker-Schüler, Franz Rosenzweig, and contemporary authors such as Katja Petrowskaja and Olga Grjasnowa. No prior knowledge of German or Jewish studies is required. The course fulfills the Second Writing Requirement.
GETR 3559	New Course in German in Translation

	Illness and Disability
20820	002	Lecture (3 Units)	Open	0 / 30	Julia Gutterman	TuTh 2:00pm - 3:15pm
	Open to students of all levels and disciplines; no prior knowledge is required.
	This course explores the dynamic relationships between illness, disability, and the literary imagination. We will engage with a wide range of shorter texts to ask: how do narratives convey the lived experiences of health, illness, and disability? What cultural understandings of the body and mind, of health, and of dis/ability do these texts reflect? And what ethical challenges arise in listening to, reading, or writing stories about illness and disability? This course is open to students of all levels and disciplines—whether in the medical and health fields, critical disability and literary studies, or simply with an interest in reading stories. Texts include works from English-speaking contexts and, in translation, from German traditions.
History-General History
HIST 5559	New Course in General History

	Legal History Research Methods
	Legal History Research: Manuscripts, Early Print, and Digital Media
20442	001	SEM (3 Units)	Permission	0 / 8	Paul Halliday+1	Th 3:30pm - 6:00pm
	This course will be taught in the Law School library. Course admission is by instructor permission.
	Using the holdings of the Law School’s Special Collections, this hands-on seminar explores research methods in the legal history of the Anglophone Atlantic world. It emphasizes the identification and interpretation of original manuscripts; the making and use of early printed books; the analysis of the many genres of printed law books, from the 15th to the 19th centuries; and the search for and analysis of such materials in their digitized forms. Will interest Law students wanting to learn historical methods as they might apply to modern jurisprudence and to History students with a broad interest in using legal sources.