English

Departmental Office: 602 Philosophy; 212-854-3215
http://www.english.columbia.edu

Director of Undergraduate Studies: Prof. Molly Murray, 406 Philosophy; 212-854-4016; mpm7@columbia.edu

Departmental Adviser:
Prof. Molly Murray, 406 Philosophy; mpm7@columbia.edu

The program in English fosters the ability to read critically and imaginatively, to appreciate the power of language to shape thought and represent the world, and to be sensitive to the ways in which literature is created and achieves its effects. It has several points of departure, grounding the teaching of critical reading in focused attention to the most significant works of English literature, in the study of the historical and social conditions surrounding literary production and reception, and in theoretical reflection on the process of writing and reading and the nature of the literary work./p>

The courses the department offers draw on a broad range of methodologies and theoretical approaches, from the formalist to the political to the psychoanalytical (to mention just a few). Ranging from the medieval period to the 21st century, the department teaches major authors alongside popular culture, traditional literary genres alongside verbal forms that cut across media, and canonical British literature alongside postcolonial, global, and trans-Atlantic literatures.

At once recognizing traditional values in the discipline and reflecting its changing shape, the major points to three organizing principles for the study of literature—history, genre, and geography. Requiring students not only to take a wide variety of courses but also to arrange their thinking about literature on these very different grids, the major gives them broad exposure to the study of the past, an understanding of the range of forms that can shape literary meaning, and an encounter with the various geographical landscapes against which literature in English has been produced.

Advising

Students are not assigned specific advisers, but rather each year the faculty members serving on the department’s Committee on Undergraduate Education (CUE) are designated undergraduate advisers (see above). Upon declaring a major or concentration in English, students should meet with the director of undergraduate studies or a delegated faculty adviser to discuss the program, especially to ensure that students understand the requirements.

Students must fill out a Major Requirements Worksheet early in the semester preceding graduation. The worksheet must be reviewed by an adviser and submitted to 602 Philosophy before the registration period for the final semester. The worksheet is available in the English Department or on-line at http://english.columbia.edu/undergraduate/major-requirements. It is this worksheet—not the Degree Audit Report (DAR)—that determines eligibility for graduation as an English major or concentrator.

Course Information

Lectures

Generally, lectures are addressed to a broad audience and do not assume previous course work in the area, unless prerequisites are noted in the description. The size of some lectures is limited. Senior majors have preference unless otherwise noted, followed by junior majors, followed by senior and junior non-majors. Students are responsible for checking for any special registration procedures on-line at http://english.columbia.edu/courses.

Seminars

The department regards seminars as opportunities for students to do advanced undergraduate work in fields in which they have already had some related course experience. With the exception of some CLEN classes (in which, as comparative courses, much material is read in translation), students’ admission to a seminar presupposes their having taken ENGL UN3001 Literary Texts, Critical Methods. During the three weeks preceding the registration period, students should check http://english.columbia.edu/courses for application instructions for individual seminars. Applications to seminars are usually due by the end of the week preceding registration. Students should always assume that the instructor’s permission is necessary; those who register without having secured the instructor’s permission are not guaranteed admission.

Departmental Honors

Writing a senior essay is a precondition, though not a guarantee, for the possible granting of departmental honors. After essays are submitted, faculty sponsors deliver a written report on the essay to the department’s Committee on Undergraduate Education (CUE), with a grade for the independent study and, if merited, a recommendation for honors. CUE considers all the essays, including sponsor recommendations, reviews students’ fall semester grades, and determines which students are to receive departmental honors. Normally no more than 10% of graduating majors receive departmental honors in a given academic year.

The Degree Audit Reporting System (DARS)

The DAR is a useful tool for students to monitor their progress toward degree requirements, but it is not an official document for the major or concentration, nor should it replace consultation with departmental advisers. The department’s director of undergraduate studies is the final authority on whether requirements for the major have been met. Furthermore, the DAR may be inaccurate or incomplete for any number of reasons—for example, courses taken elsewhere and approved for credit do not show up on the DAR report as fulfilling a specific requirement.

Online Information

Other departmental information—faculty office hours, registration instructions, late changes, etc.—is available on the departmental website.

Professors

  • James Eli Adams
  • Rachel Adams
  • Branka Arsic
  • Christopher Baswell (Barnard)
  • Sarah Cole
  • Julie Crawford
  • Nicholas Dames
  • Jenny Davidson
  • Andrew Delbanco
  • Kathy Eden
  • Brent Edwards
  • Stathis Gourgouris
  • Farah Jasmine Griffin
  • Jack Halberstam
  • Saidiya Hartman
  • Marianne Hirsch
  • Jean E. Howard
  • Sharon Marcus
  • Edward Mendelson
  • Frances Negrón-Muntaner
  • Robert O’Meally
  • Julie Peters
  • Ross Posnock
  • Austin E. Quigley
  • Bruce Robbins
  • James Shapiro
  • Gayatri Chakravorty Spivak (University Professor)
  • Alan Stewart
  • Colm Toibin
  • Gauri Viswanathan
  • William Worthen (Barnard)
  • David M. Yerkes

Associate Professors

  • Denise Cruz
  • Patricia Dailey
  • T. Austin Graham
  • Erik Gray
  • Matt Hart
  • Eleanor Johnson
  • Molly Murray
  • Joseph Slaughter
  • Dennis Tenen
  • Jennifer Wenzel

Assistant Professors

  • Joseph Alvarez
  • Lauren Robertson
  • Dustin Stewart
  • Hannah Weaver

Lecturers

  • Paul Grimstad
  • Sue Mendelsohn
  • Aaron Ritzenberg
  • Maura Speigel
  • Nicole B. Wallack

Guidelines for all English and Comparative Literature Majors and Concentrators

Declaring a Major in English

Upon declaring a major in English, students should meet with either the director of undergraduate studies or a departmental adviser to discuss the program. Students declaring a major should obtain a Major Requirements Worksheet from 602 Philosophy or on-line, which outlines the requirements.

Additional information, including events and deadlines of particular relevance to undergraduates, is provided at http://english.columbia.edu/undergraduate, the department’s undergraduate homepage. The sidebar on this page provides links to pages with details about undergraduate advising, major and concentration requirements, course options and restrictions, registration procedures, the senior essay, and writing prizes, as well as links to downloadable worksheets for the major and concentration and to course distribution requirement lists, past and present. For detailed information about registration procedures, students should consult http://english.columbia.edu/courses, which explains the requirements and enables students to monitor their own progress.

Newly declared majors should contact the undergraduate assistant in 602 Philosophy Hall and request that their names be added to the department’s electronic mailing list for English majors and concentrators. Because important information now routinely is disseminated through e-mail, it is crucial that students be on this list.

Literary Texts, Critical Methods

The introductory course ENGL UN3001 Literary Texts, Critical Methods, together with its companion seminar, ENGL UN3011 Literary Texts, Critical Methods seminar, is required for the English major and concentration. It should be taken by the end of the sophomore year. Fulfillment of this requirement is a factor in admission to seminars and to some lectures. This once-a-week faculty lecture, accompanied by a seminar led by an advanced graduate student in the department, is intended to introduce students to the study of literature. Students read works from the three major literary modes (lyric, drama, and narrative), drawn from premodern to contemporary literature, and learn interpretative techniques required by these various modes or genres. This course does not fulfill any distribution requirements.

Senior Essay

The senior essay program is an opportunity for students to explore in depth some literary topic of special interest to them, involving extensive background reading and resulting in an essay (8,000–15,000 words) that constitutes a substantial and original critical or scholarly argument. Students submit proposals in September of their senior year, with acceptance contingent upon the quality of the proposal and the student’s record in the major. Students who are accepted are assigned a faculty sponsor to supervise the project, from its development during the fall semester to its completion in the spring. It is for the spring semester, not the fall, that students officially register for the course, designated as ENGL UN3999 Senior Essay. Senior essays are due in early April.

Course Options and Restrictions

  1. No course at the 1000-level may be counted toward the major.

  2. Speech courses may not be counted toward the major.

  3. Two writing courses or two upper-level literature courses taught in a foreign language, or one of each, may count toward the major, though neither type of course fulfills any distribution requirement. Writing courses that may be applied toward the major include those offered through Columbia’s undergraduate Creative Writing Program and through Barnard College.

  4. Comparative literature courses sponsored by the department (designated as CLEN) may count toward the major. Those sponsored by other departments (e.g. CLFR - Comp Lit French, CPLS - Comp Lit and Society) are not counted toward the major without permission of the director of undergraduate studies. Literature courses taught in English in language departments do not count toward the major.

  5. No more than two courses taken during the summer session may be counted toward the major.

  6. Courses offered through the Barnard English Department may count toward the major or concentration. Before taking Barnard courses, students should verify with the director of undergraduate studies whether and how such courses may count toward the major.

  7. For courses taken abroad or at other American institutions to count toward the major, students must obtain approval of the director of undergraduate studies.

  8. To register for more than 42 points (including advanced standing credit) in English and comparative literature, a student majoring in English must obtain permission of the director of undergraduate studies.

  9. No more than five courses taken elsewhere may be applied to the major, four to the concentration.

  10. One independent study (for at least 3 points) may count toward the major but cannot satisfy any distribution requirements; likewise, the Senior Essay may count toward the major but fulfills no requirements. Students may not count both an Independent Study and the Senior Essay toward the major.

  11. Courses assigned a grade of D may not be counted toward the major.

  12. Only the first course taken to count toward the major can be taken Pass/D/Fail.


Major in English

Please read Guidelines for all English and Comparative Literature Majors and Concentrators above.

Ten departmental courses (for a minimum of 30 points) and, in the process, fulfillment of the following requirements. See course information above for details on fulfilling the distribution requirements.

  1. ENGL UN3001 Literary Texts, Critical Methods and ENGL UN3011 Literary Texts, Critical Methods seminar
  2. Period distribution: Three courses primarily dealing with periods before 1800, only one of which may be a course in Shakespeare
  3. Genre distribution: One course in each of the following three generic categories:
    • Poetry
    • Prose fiction/narrative
    • Drama/film/new media
  4. Geography distribution: One course in each of the following three geographical categories:
    • British
    • American
    • Comparative/global (comparative literature, postcolonial, global English, trans-Atlantic, diaspora)

Course Distribution Lists are available in the department and on-line at http://english.columbia.edu/course-distribution-lists to help students determine which courses fulfill which requirements. A single course can satisfy more than one distribution requirement. For example, a Shakespeare lecture satisfies three requirements at once: not only does it count as one of the three required pre-1800 courses it also, at the same time, fulfills both a genre and a geography distribution requirement (drama and British, respectively). Courses not on the distribution list may count toward the major requirements only with the permission of the director of undergraduate studies. Two writing courses or upper-level literature courses taught in a foreign language, or one of each, may count toward the ten required courses.


Concentration in English

Please read Guidelines for all English and Comparative Literature Majors and Concentrators above.

Eight departmental courses and, in the process, fulfillment of the following requirements. See course information above for details on fulfilling the distribution requirements.

  1. ENGL UN3001 Literary Texts, Critical Methods and ENGL UN3011 Literary Texts, Critical Methods seminar
  2. Period distribution: Two courses dealing with periods before 1800, only one of which may be a course in Shakespeare
  3. Genre distribution: Two courses, each chosen from a different genre category (see above)
  4. Geography distribution: Two courses, each chosen from a different geography category (see above)

See the Course Distribution Lists, available in the department or on-line at http://english.columbia.edu/course-distribution-lists, to determine which courses fulfill which requirements. All of the restrictions outlined for the English major also apply for the concentration in English.


Comparative Literature Program

Students who wish to major in comparative literature should consult the Comparative Literature and Society section of this Bulletin.

Fall 2020

Introduction to the Major

ENGL UN3001 Literary Texts, Critical Methods. 4 points.

Prerequisites: Students who register for ENGL UN3001 must also register for one of the sections of ENGL UN3011 Literary Texts, Critical Methods.

This course is intended to introduce students to the advanced study of literature. Students will read works from different genres (poetry, drama, and prose fiction), drawn from the medieval period to the present day, learning the different interpretative techniques required by each. The course also introduces students to a variety of critical schools and approaches, with the aim both of familiarizing them with these methodologies in the work of other critics and of encouraging them to make use of different methods in their own critical writing. This course (together with the companion seminar ENGL UN3011) is a requirement for the English Major and Concentration. It should be taken as early as possible in a student's career. Fulfillment of this requirement will be a factor in admission to seminars and to some lectures.

Fall 2020: ENGL UN3001
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3001 001/10013 W 4:10pm - 5:25pm
Online Only
Edward Mendelson 4 72/80
Spring 2021: ENGL UN3001
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3001 001/11045 W 4:10pm - 5:25pm
Room TBA
Jenny Davidson 4 0/75

ENGL UN3011 Literary Texts, Critical Methods seminar. 0 points.

Prerequisites: Students who register for ENGL UN3011 must also register for ENGL UN3001 Literary Texts, Critical Methods lecture.

This seminar, led by an advanced graduate student in the English doctoral program, accompanies the faculty lecture ENGL UN3001. The seminar both elaborates upon the topics taken up in the lecture and introduces other theories and methodologies. It also focuses on training students to integrate the terms, techniques, and critical approaches covered in both parts of the course into their own critical writing, building up from brief close readings to longer research papers.

Fall 2020: ENGL UN3011
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3011 001/12216 M 12:10pm - 2:00pm
Online Only
Ameya Tripathi 0 14/15
ENGL 3011 002/12217 M 12:10pm - 2:00pm
Online Only
Lindsey Cienfuegos 0 13/15
ENGL 3011 003/12218 M 4:10pm - 6:00pm
Online Only
Alec Joyner 0 15/15
ENGL 3011 004/12219 M 4:10pm - 6:00pm
Online Only
Katrina Dzyak 0 16/18
ENGL 3011 005/12220 M 12:10pm - 2:00pm
Online Only
Emily Foster 0 13/15
Spring 2021: ENGL UN3011
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3011 001/11046 M 12:10pm - 2:00pm
Room TBA
Christine Klippenstein 0 0/15
ENGL 3011 002/11047 M 12:10pm - 2:00pm
Room TBA
Yea Jung Park 0 0/15
ENGL 3011 003/11048 M 4:10pm - 6:00pm
Room TBA
Francois Olivier 0 0/15
ENGL 3011 004/11049 M 4:10pm - 6:00pm
Room TBA
Walter Gordon 0 0/15
ENGL 3011 005/11050 M 4:10pm - 6:00pm
Room TBA
Abby Schroering 0 0/15

Medieval

ENGL UN3018 DESPAIR AND APOCALYPSE IN MEDIEVAL LITERATURE. 4 points.

The Middle Ages are perhaps not the first place we look for relief from despair. In popular culture, we tend to imagine them either as an idyllic time of pastoral, Shire-like simplicity, or a barbaric pre-modernity of endless plagues and crusades. But medieval European culture was acutely attuned to the problems of creeping meaninglessness and disaffection. In a society putatively organized around the theological virtues of faith, hope, and love, the opposite of hope —despair, the “noonday demon,” or “wanhope” as it is often called in Middle English—had to be guarded against at any cost. This course will mine the rich anti-despair resources of this earlier age, with special attention to the imaginative literature that gave those resources their most nuanced articulation. How do those works give voice to personal and sociopolitical despair, and how do they attempt—especially in their endings—to return their readers to the world with a recharged sense of its significance?


Our study will be divided into three sections: personal despair, sociopolitical despair (apocalypse), and hope. The first will center on isolated depictions of melancholy and mourning, including the dream vision Pearl and excerpts from the Prik of Conscience—the most widely circulated poetical work in Middle English, and yet one which has gone largely unstudied. The second section joins the Canterbury Tales pilgrims at the end of their strangely unravelling pilgrimage, then builds toward an apocalyptic reading of the politically incendiary poem Piers Plowman, where personal and societal collapse blur together in a harrowing vision of the end times. A final section on hope will highlight what is always adumbrated in medieval treatments of despair: the possibility of redemption, and the sacrifices it may demand.

Fall 2020: ENGL UN3018
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3018 001/14058 M 12:10pm - 2:00pm
Online Only
Adam Horn 4 11/18

ENGL GU4091 Introduction to Old English Language & Literature. 3 points.

(Lecture). This class is an introduction to the language and literature of England from around the 8th to the 11th centuries. Because this is predominantly a language class, we will spend much of our class time studying grammar as we learn to translate literary and non-literary texts. While this course provides a general historical framework for the period as it introduces you to the culture of Anglo-Saxon England, it will also take a close look at how each literary work contextualizes (or recontextualizes) relationships between human and divine, body and soul, individual and group, animal and human. We will be using Mitchell and Robinson's An Introduction to Old English, along with other supplements. We will be looking at recent scholarly work in the field and looking at different ways (theoretical, and other) of reading these medieval texts. Requirements: Students will be expected to do assignments for each meeting. The course will involve a mid-term, a final exam, and a final presentation on a Riddle which will also be turned in.

Fall 2020: ENGL GU4091
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4091 001/10015 M W 6:10pm - 7:25pm
Online Only
Patricia Dailey 3 8/54
Spring 2021: ENGL GU4091
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4091 001/12423 T 8:10am - 10:00am
Room TBA
David Yerkes 3 0/18

ENGL GU4791 Visionary Drama. 3 points.

(Lecture). This class is designed to interrogate the genre-boundary that has traditionally separated visionary writings from dramatic ones in the study of English medieval literature. Although this separation has long existed in scholarship, it is deeply problematic, and produces an understanding of the relationship between private devotion and publically performed religious ritual that is untenable, and does considerable violence to our understanding of the medieval imagination. As we will see, notionally "private" visionary writings and notionally "public" dramatic writings have a great deal in common, not just in terms of their overt content, but also in terms of their formal construction, their poetic devices, their favorite rhetorical maneuvers, and their articulated relationship with history and English literature. The works we will read this term are all phenomenally strange, many of them extremely difficult because of their unfamiliarity. For this reason, we will divide the semester into three sections: the first will deal with the famous medieval cycle dramas, which narrate events from the New Testament. The second section will transition to examine three important visionary texts that were written between 1370 and 1430, contemporaneous with the efflorescence of dramatic composition and performance in England, and two late Antique visionary texts that inspired them. The final section of class will turn to examine the so-called "morality plays," which emerge just slightly after the cycle dramas and after the visionary works we will have read. Since all of these works are linguistically challenging, we will work with translations in certain instances (Piers Plowman, Julian of Norwich, Margery Kempe). For all of the other works, we will be reading in Middle English, but you are welcome to consult translations, online summaries, or anything else that helps you get up to speed on what´s going on in the plays. Bear in mind, however, that your midterm and final will be based on the Middle English texts, so you do need to make a serious effort to read them (except in the case of Piers Plowman, which will be in modern English).

Fall 2020: ENGL GU4791
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4791 001/10016 T Th 11:40am - 12:55pm
Online Only
Eleanor Johnson 3 40/54

ENGL GU4812 Conquests, Colonialism, and the Normans. 4 points.

The fearsome Normans, descended from the Viking Rollo, wrested territory from the king of France, established outposts in Sicily and Antioch, and – most famously – conquered England in 1066. This course asks questions about these Norman conquests, about the Normans’ role as colonizers, and the persistence (or lack thereof) of the Norman identity over time. We will encounter familiar objects, like the Bayeux Tapestry, and texts more often talked about than read, like Wace’s Roman de Rou and Orderic Vitalis’s Ecclesiastical History. Many of our readings will fall under the category of historiography (=writing about history); another project of the course is the consideration of how to evaluate and analyze questionably literary texts. All required readings will be made available in modern English translation, though familiarity with French, Latin, and/or Arabic could be useful. If you take this course, you will learn not only about the Normans, but about the interactions between northern and southern Europe and the Mediterranean from the tenth to the early thirteenth century. Along the way, you’ll also hone skills of writing, source evaluation, and oral communication.

Fall 2020: ENGL GU4812
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4812 001/10120 T 12:10pm - 2:00pm
Online Only
Hannah Weaver 4 10/18

Renaissance

ENGL UN3262 English Literature 1500-1600. 3 points.

(Lecture). This course aims to introduce you to a selection of sixteenth-century English verse and prose, from major works such as More's Utopia, Spenser's Faerie Queene and Sidney 's Defense of Poesie, to more occasional but illuminating excerpts. Although the classes will range widely across social, political and historical concerns, the focus will be on close reading of the texts. [NB This course fulfills the poetry requirement]

Fall 2020: ENGL UN3262
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3262 001/10017 M W 4:10pm - 5:25pm
Online Only
Kathy Eden 3 29/54

ENGL UN3335 Shakespeare I. 3 points.

Enrollment is limited to 60.

(Lecture). This course will cover the histories, comedies, tragedies, and poetry of Shakespeare’s early career. We will examine the cultural and historical conditions that informed Shakespeare’s drama and poetry; in the case of drama, we will also consider the formal constraints and opportunities of the early modern English commercial theater. We will attend to Shakespeare’s biography while considering his work in relation to that of his contemporaries. Ultimately, we will aim to situate the production of Shakespeare’s early career within the highly collaborative, competitive, and experimental theatrical and literary cultures of late sixteenth-century England.

Fall 2020: ENGL UN3335
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3335 001/10018 M W 10:10am - 11:25am
Online Only
James Shapiro 3 39/55

ENGL GU4211 MILTON IN CONTEXT. 3.00 points.

This course will look at the major works of the poet and revolutionary John Milton in the context of seventeenth-century English (and European) religious, political, and cultural events. In addition to reading Milton’s shorter poems, major prose (including Areopagitica), and the full text of Paradise Lost, we will look at the authors and radicals whose activities and writings helped to provide the contexts for Milton’s own: poets and polemicists, natural scientists and utopians, sectarians and prophets, revolutionaries and regicides. The course has one required textbook: The Complete Poetry and Major Prose of John Milton, eds. Kerrigan et al

Fall 2020: ENGL GU4211
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4211 001/13013 T Th 1:10pm - 2:25pm
Online Only
Julie Crawford 3.00 35/54

ENGL GU4232 TRADE AND TRAFFIC WITH EARLY MODERN ENGLAND. 3 points.

This lecture course explores England’s sense of itself in relation to the rest of the world in the late sixteenth and seventeenth centuries. It will examine the hopes and fears provoked by the trade and traffic between the English and other peoples, both inside and outside the country’s borders, and raise questions of economics, race, ethnicity, religion, nationality, immigration, and slavery. The central materials are familiar and unfamiliar English plays, by William Shakespeare, Christopher Marlowe, Philip Massinger, John Fletcher, and others, which we will study alongside economic treatises, acts and proclamations, and travel narratives.

Spring 2021: ENGL GU4232
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4232 001/11052 M W 10:10am - 11:25am
Room TBA
Alan Stewart 3 0/54

18th and 19th Century

ENGL UN3475 Aestheticism: Art and Life. 4 points.

A host of developments in the art cultures of nineteenth-century Europe and America prompted a widespread, manifold debate about the nature and function of art and aesthetic experience. Expanding access to art in great public collections and exhibitions, which offered newly immediate and arresting contact with artworks, left many viewers in a puritanical culture grappling with the sheer power of these works. What sort of satisfactions did these images afford? Were the pleasures they aroused in some way dangerous, at odds with conventional morality and belief, even with the values ostensibly inherent in the images they presented? How might those provocations by received by different portions of an increasingly large and variegated audience? Might their challenges to convention be a stimulus to new modes of organizing life and experience, both personal and social? Or was their cultivation a symptom of social decadence or decline?

These challenges were taken up in a wide and varied array of literature and art that has become known as “aestheticism.” This seminar focuses on the development of aestheticism in England, with glances at France and America, over the period of roughly 1830-1900. We’ll begin with early poetic musings on the moral burdens of art and the artist’s relations to society, particularly in the works of Tennyson and Browning. These works also introduce a recurrent preoccupation of the course, the power of art and aesthetic pleasure to unsettle conventional norms of gender and sexuality. We’ll then move to an array of critical reflection prompted by the new prominence of visual art in England, most notably John Ruskin—the single most influential of all English art critics—and Walter Pater, whose 1873 volume, The Renaissance, became the most important text of English aestheticism (Oscar Wilde called it “the Golden Book”; George Eliot pronounced it “poisonous”). We’ll see these concerns further developed in mid-century painting, most notably the aesthetic movement known as “Pre-Raphaelitism,” and a host of poetry associated with the movement (D.G. Rossetti was a major figure as both a painted and a poet). The work of Ruskin and William Morris directed aesthetic reflection towards reflection on labor and social reform, which flourished in the ideals attached to the “Arts & Crafts” movement near the end of the century. The career of Oscar Wilde captures the increasing visibility of aestheticism, both as it became affiliated with varieties of commodity culture, and as it aroused increasing hostility, some of it satiric, some of it deeply threatened by Wilde’s moral provocations, above all his homosexuality. Finally we’ll read two important novels that register the impact of aestheticism, Wilde’s The Picture of Dorian Gray and Henry James’s The Tragic Muse.

Fall 2020: ENGL UN3475
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3475 001/12881 T 2:10pm - 4:00pm
Online Only
James Adams 4 9/18

ENGL UN3709 American Transcendentalism. 4 points.

(Seminar). The class is an intensive reading of the prose and poetry of Emerson, Thoreau, Margaret Fuller, and Emily Dickinson. Through detailed analysis of Emerson's Essays we will try to understand his philosophy as an effort to radically reformulate traditional concepts of identity, thinking, and everyday living, and investigate the politics that guided his philosophical efforts, especially his stance on slavery and his activism against the Cherokee removals. In reading Fuller, we will investigate her thinking on dreams, visions, mental transports and headaches, in order to ask how those experiences come to model her understanding of personal identity, as well as processes of writing and translating. Additionally, we will investigate her political theories concerning the 19th century through the prism of her writings on women. In Thoreau, we will look closely into ideas about the art of living and his theory of architecture, as well as quotidian practices of dwelling, eating or cooking, as ways to come to terms with one's own life. We will pay special attention to Thoreau's understanding of thinking as walking, as well as the question of space vs. time. And we will try to understand how ideas and values of transcendentalist philosophy fashion poetry of Emily Dickinson. Application instructions: E-mail Prof. Arsic (ba2406@columbia.edu) with your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Admitted students should register for the course; they will automatically be placed on a wait list from which the instructor will in due course admit them as spaces become available.

ENGL GU4402 Romantic Poetry. 3 points.

Open to all undergraduates and graduate students.

(Lecture). This course examines major British poets of the period 1789-1830. We will be focusing especially on the poetry and poetic theory of William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Shelley, and John Keats. We will also be reading essays, reviews, and journal entries by such figures as Robert Southey, William Hazlitt, and Dorothy Wordsworth.

Fall 2020: ENGL GU4402
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4402 001/12657 T Th 10:10am - 11:25am
Online Only
Erik Gray 3 46/100

ENGL GU4801 HISTORY OF ENGLISH NOVEL I. 3.00 points.

This course on the eighteenth-century emergence of the modern novel centers on a work that is only loosely a novel and may in fact be an anti-novel or a parody of novels: The Life and Opinions of Tristram Shandy, Gentleman (1759­–67). Laurence Sterne wrote his brilliant, zany, and moving work of experimental fiction sporadically over a stretch of more than seven years, leaving its shape open and its conclusion unresolved. A story about life and also about the difficulty of telling a life story, the tale ends before it begins; it's postmodern way ahead of time. It eventually won the hearts of readers as different as Thomas Jefferson, Karl Marx, and Virginia Woolf. In its own day Tristram Shandy was published one or two volumes a time, so that Sterne could address in later parts of the story the reactions that his contemporaries—both the fans and the haters—voiced about earlier parts. We will try to replicate this reading experience over the span of the semester, working through the nine-volume text in its original installments. In the gaps in between, we will sample other works to establish a partial history of the novel’s development both before Sterne and after him. Among our topics of recurring interest: reading and education, satire and emotion, selfhood and memory, religion and home, sex and marriage, race and captivity

Spring 2021: ENGL GU4801
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4801 001/11054 T Th 11:40am - 12:55pm
Room TBA
Dustin Stewart 3.00 0/54

20th and 21st Century

ENGL UN3520 Introduction To Asian American Literature and Culture. 3 points.

This course is a survey of Asian North American literature and its contexts.  To focus our discussion, the course centers on examining recurring cycles of love and fear in Asian North American relations from the late nineteenth to the twenty-first centuries. We will first turn to what became known as “yellow peril,” one effect of exclusion laws that monitored the entrance of Asians into the United States and Canada during the late nineteenth and twentieth centuries, and the corresponding phenomenon of Orientalism, the fascination with a binary of Asia and the West. The second section of the course will focus on how Asian North American authors respond to later cycles of love and fear, ranging from the forgetting of Japanese internment in North America and the occupation of the Philippines; to the development of the model minority mythology during the Cold War. The final section will examine intimacies and exclusions in contemporary forms of migration, diaspora, and community communities.

Fall 2020: ENGL UN3520
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3520 001/10021 T Th 11:40am - 12:55pm
Online Only
Denise Cruz 3 106/115

ENGL UN3648 Comics, Health, and Embodiment. 4 points.

Deformed, grotesque, super/transhuman and otherwise extraordinary bodies have always been a central feature of comics. However, the past ten years have seen a surge of graphic narratives that deal directly with experiences of health and illness, and that are recognized as having significant literary value. This course will focus on graphic narratives about healthcare, illness, and disability with particular attention to questions of embodied identities such as gender, sexuality, race, and age. Primary texts will include the work of Alison Bechdel, Roz Chast, CeCe Bell, David Small, Allie Brosch, and Ellen Fourney. We will study the vocabulary, conventions, and formal properties of graphic literature, asking how images and text work together to create narrative. We will consider whether graphic narrative might be especially well suited to representations of bodily difference; how illness/disability can disrupt conventional ideas about gender and sexuality; how experiences of the body as a source of pain, stigmatization, and shame intersect with the sexualized body; and how illness and disability queer conventional sexual arrangements, identities, and attachments. While studying the construction of character, narrative, framing, color, and relationship between visual and print material on the page, students will also produce their own graphic narratives.

Fall 2020: ENGL UN3648
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3648 001/13016 T 2:10pm - 4:00pm
Online Only
Rachel Adams 4 16/18

ENGL UN3714 Henry James and James Baldwin. 4 points.

Prerequisites: Instructor's permission.

(Seminar). Not well-known is the fact that in the mid-sixties James Baldwin hung a photograph of Henry James above his writing desk, a kind of tribute to the novelist whose writings about the "complex fate' of being an American in Europe deeply influenced Baldwin. The Portrait of a Lady and The Ambassadors were treasured books for Baldwin, who occasionally lectured about them to college audiences. This seminar will examine this initially improbable literary kinship between these two great artists, exploring how a shared commitment to a literary art of complexity and multiple identity, to cultural critique and analysis (Baldwin greatly admired James's The American Scene, his on the ground evocation of early 20th century America) produced such distinctly different bodies of vital work. Baldwin's essays and his novel Another Country will be discussed, as well as the James texts mentioned above. Application instructions: E-mail Professor Ross Posnock (rp2045@columbia.edu) with the subject heading "James and Baldwin seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.

Fall 2020: ENGL UN3714
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3714 001/10023 W 4:10pm - 6:00pm
Online Only
Ross Posnock 4 8/18

ENGL UN3734 American Literature and Corporate Culture. 4 points.

Prerequisites: the instructor's permission.

(Seminar). "It is not expected of critics as it is of poets that they should help us to make sense of our lives; they are bound only to attempt the lesser feat of making sense of the ways we try to make sense of our lives." - Frank Kermode This seminar will focus on American literature during the rise of U.S. corporate power in the nineteenth and twentieth centuries. The legal and economic entity of the corporation established new social hierarchies and systems of power, changed the roles of government and families, and wrought new forms of relationships between individuals. American culture demonstrated both an enchantment with the possibilities of a growing economy and a looming anxiety about the systematization of personal relationships. Authors and critics grappled with an American society that seemed to offer unprecedented opportunity for social rise but only within a deeply threatening and impersonal structure. We'll examine the ways that literary and popular culture depicted corporations and the ways that corporate structure influenced literary aesthetics and form. Application instructions: E-mail Professor Aaron Ritzenberg (ajr2186@columbia.edu) with the subject heading "American Literature and Corporate Culture seminar". In your message, include basic information: name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Admitted students should register for the course; they'll automatically be placed on a wait list, from which the instructor will in due course admit them as spaces become available.

Fall 2020: ENGL UN3734
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3734 001/10024 Th 2:10pm - 4:00pm
Online Only
Aaron Ritzenberg 4 11/18

ENGL UN3740 Toni Morrison. 4 points.

Not offered during 2020-21 academic year.

Prerequisites: Instructor's permission.

(Seminar). Application Instructions: E-mail Professor Griffin (fjg8@columbia.edu) with the subject heading, "Toni Morrison seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Admitted students should register for the course; they will automatically be placed on a wait list, from which the instructor will in due course admit them as spaces become available.

Fall 2020: ENGL UN3740
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3740 001/10022 T 12:10pm - 2:00pm
Online Only
Farah Griffin 4 19/19

ENGL UN3984 Film and Politics. 4 points.

A survey of American film and politics.

Fall 2020: ENGL UN3984
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3984 001/10025 Th 6:10pm - 8:00pm
Online Only
Maura Spiegel 4 24/29

ENGL GU4604 American Modernism. 3 points.

(Lecture). This course surveys cultural responses to the historical, technological, intellectual, and political conditions of modernity in the United States. Spanning the period from the turn of the century to the onset of World War II, we will consider the relationship between key events (U.S. imperialism, immigration, World War I, the Jazz age, the Great Depression); intellectual and scientific developments (the theory of relativity, the popularization of Freudian psychoanalysis, the anthropological concept of culture, the spread of consumer culture, Fordism, the automobile, the birth of cinema, the skyscraper); and cultural production. Assigned readings will include novels, short stories, and contemporary essays. Visual culture--paintings, illustrations, photography, and film--will also play an important role in our investigation of the period. Past syllabus (which will be somewhat revised).

Fall 2020: ENGL GU4604
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4604 001/10026 T Th 2:40pm - 3:55pm
Online Only
Ross Posnock 3 23/54

ENGL GU4619 African-American Literature I. 3 points.

(Lecture). This lecture course is intended as the first half of the basic survey in African-American literature. By conducting close readings of selected song lyrics, slave narratives, fiction, poetry, and autobiography, we will focus on major writers in the context of cultural history. In so doing, we will explore the development of the African- American literary tradition. Writers include, but are not limited to, Wheatley, Equiano, Douglass, Jacobs, Harper, Dunbar, Chestnutt, Washington, Du Bois, and Larsen. Course requirements: class attendance, an in-class midterm exam, a five-page paper, and a final exam.

Fall 2020: ENGL GU4619
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4619 001/10027 T Th 10:10am - 11:25am
Online Only
Robert O'Meally 3 32/54

Special Topics

CLEN UN3720 Plato the Rhetorician. 4 points.

Prerequisites: Instructor's permission

(Seminar). Although Socrates takes a notoriously dim view of persuasion and the art that produces it, the Platonic dialogues featuring him both theorize and practice a range of rhetorical strategies that become the nuts and bolts of persuasive argumentation. This seminar will read a number of these dialogues, including Apology, Protagoras, Ion, Gorgias, Phaedrus, Menexenus and Republic, followed by Aristole's Rhetoric, the rhetorical manual of Plato's student that provides our earliest full treatment of the art. Application instructions: E-mail Prof. Eden (khe1@columbia.edu) with your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Admitted students should register for the course; they will automatically be placed on a wait list from which the instructor will in due course admit them as spaces become available.

Fall 2020: CLEN UN3720
Course Number Section/Call Number Times/Location Instructor Points Enrollment
CLEN 3720 001/11937 T 2:10pm - 4:00pm
Online Only
Kathy Eden 4 14/18

CLEN GU4199 Literature and Oil. 3 points.

This course will investigate the connections between literary/cultural production and petroleum as the substance that makes possible the world as we know it, both as an energy source and a component in the manufacture of everything from food to plastic. Our current awareness of oil's scarcity and its myriad costs (whether environmental, political, or social) provides a lens to read for the presence (or absence) of oil in texts in a variety of genres and national traditions. As we begin to imagine a world "beyond petroleum," this course will confront the ways in which oil shapes both the world we know and how we know and imagine the world. Oil will feature in this course in questions of theme (texts "about" oil), of literary form (are there common formal conventions of an "oil novel"?), of interpretive method (how to read for oil), of transnational circulation (how does "foreign oil" link US citizens to other spaces?), and of the materiality (or "oiliness") of literary culture (how does the production and circulation of texts, whether print or digital, rely on oil?). 

Fall 2020: CLEN GU4199
Course Number Section/Call Number Times/Location Instructor Points Enrollment
CLEN 4199 001/10036 M W 2:40pm - 3:55pm
Online Only
Jennifer Wenzel 3 45/70

CLEN GU4550 Narrative and Human Rights. 3 points.

(Lecture). We can't talk about human rights without talking about the forms in which we talk about human rights. This course will study the convergences of the thematics, philosophies, politics, practices, and formal properties of literature and human rights. In particular, it will examine how literary questions of narrative shape (and are shaped by) human rights concerns; how do the forms of stories enable and respond to forms of thought, forms of commitment, forms of being, forms of justice, and forms of violation? How does narrative help us to imagine an international order based on human dignity, rights, and equality? We will read classic literary texts and contemporary writing (both literary and non-literary) and view a number of films and other multimedia projects to think about the relationships between story forms and human rights problematics and practices. Likely literary authors: Roberto Bolaño, Miguel de Cervantes, Assia Djebar, Ariel Dorfman, Slavenka Drakulic, Nuruddin Farah, Janette Turner Hospital, Franz Kafka, Sahar Kalifeh, Sindiwe Magona, Maniza Naqvi, Michael Ondaatje, Alicia Partnoy, Ousmane Sembène, Mark Twain . . . . We will also read theoretical and historical pieces by authors such as Agamben, An-Na'im, Appiah, Arendt, Balibar, Bloch, Chakrabarty, Derrida, Douzinas, Habermas, Harlow, Ignatieff, Laclau and Mouffe, Levinas, Lyotard, Marx, Mutua, Nussbaum, Rorty, Said, Scarry, Soyinka, Spivak, Williams.

Fall 2020: CLEN GU4550
Course Number Section/Call Number Times/Location Instructor Points Enrollment
CLEN 4550 001/10035 M W 5:40pm - 6:55pm
Online Only
Joseph R Slaughter 3 59/90

CLEN GU4560 Backgrounds to Contemporary Theory. 3 points.

Intended for both undergraduates and graduate students.

(Lecture). In chapter 4 of Hegel’s Phenomenology of Mind, a story is told about a confrontation between a Lord (Herr) and a Bondsman (Knecht). The story conveys how consciousness is born. This story, subsequently better known as the confrontation between Master and Slave, has been appropriated and revised again and again in figures like Marx and Nietzsche, Sartre, De Beauvoir, and Fanon, Freud and Lacan, Emmanuel Levinas, Carl Schmitt, Slavoj Zizek, and Judith Butler. The premise of this course is that one can understand much of which is (and isn’t) most significant and interesting in contemporary cultural theory by coming to an understanding Hegel’s argument, and tracing the paths by which thinkers revise and return to it as well as some of the arguments around it. There are no prerequisites, but the material is strenuous, and students will clearly have an easier time if they start out with some idea of what the thinkers above are doing and why. Helpful preparatory readings might include Genevieve Lloyd, The Man of Reason: “Male” and “Female” in Western Philosophy and Judith Butler, Gender Trouble. Requirements: For undergraduates: two short papers (6-8 pages). For graduate students, either two short papers or one longer paper (12-15 pages).

Fall 2020: CLEN GU4560
Course Number Section/Call Number Times/Location Instructor Points Enrollment
CLEN 4560 001/10033 M W 10:10am - 11:25am
Online Only
Bruce Robbins 3 25/54

ENGL UN3792 Film and Law. 4 points.

Prerequisites: the instructor's permission.

From its beginnings, film has been preoccupied with law: in cops and robbers silent films, courtroom drama, police procedural, judge reality show, or all the scenes that fill our media-saturated world. What do films and other audio-visual media tell us about what it’s like to come before the law, or about such substantive issues as what counts as murder, war crimes, torture, sexual abuse? How do films model the techniques that lawyers use to sway the passions of their audiences? How do they model the symbolism of their gestures, icons, images? If films and other audio-visual media rewrite legal events, what is their effect: on law? on legal audiences? How is the experience of being a film spectator both like and unlike the experience of being a legal subject? This course investigates such questions by looking at representations of law in film and other audio-visual media. We will seek to understand, first, how film represents law, and, second,how film attempts to shape law (influencing legal norms, intervening in legal regimes). The seminar’s principal texts will be the films themselves, but we will also read relevant legal cases and film theory in order to deepen our understanding of both legal and film regimes.

Fall 2020: ENGL UN3792
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3792 001/10039 Th 12:10pm - 2:00pm
Online Only
Julie Peters 4 18/18

ENGL UN3943 English Translations of the Bible. 4 points.

A survey on English translations of the Bible from Tyndale to the present.

Fall 2020: ENGL UN3943
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3943 001/13578 M 10:10am - 12:00pm
Online Only
David Yerkes 4 15/18

ENGL GU4561 Children's Literature. 3 points.

This is a historical survey of literature written principally for children (primarily narrative), which will explore not only the pleasures of imagination but the varieties of narrative and lyric form, as well as the ways in which story-telling gives shape to individual and cultural identity. Drawing on anonymous folk tale from a range of cultures, as well as a variety of literary works produced from the late 17 th century to the present, we’ll attend to the ways in which changing forms of children’s literature reflect changing understandings of children and childhood, while trying not to overlook psychological and formal structures that might persist across this history. Readings of the primary works will be supplemented by a variety of critical approaches—psychoanalytic, materialist, feminist, and structuralist—that scholars have employed to understand the variety and appeal of children’s literature.

Fall 2020: ENGL GU4561
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 4561 001/10034 M W 2:40pm - 3:55pm
Online Only
James Adams 3 52/70

ENTA UN3701 Drama, Theatre, Theory. 4 points.

Prerequisites: Instructor's permission.

(Seminar). Theatre typically exceeds the claims of theory. What does this tell us about both theatre and theory? We will consider why theatre practitioners often provide the most influential theoretical perspectives, how the drama inquires into (among other things) the possibilities of theatre, and the various ways in which the social, spiritual, performative, political, and aesthetic elements of drama and theatre interact. Two papers, weekly responses, and a class presentation are required. Readings include Aristotle, Artaud, Bharata, Boal, Brecht, Brook, Castelvetro, Craig, Genet, Grotowski, Ibsen, Littlewood, Marlowe, Parks, Schechner, Shakespeare, Sowerby, Weiss, and Zeami. Application Instructions: E-mail Professor Austin Quigley (aeq1@columbia.edu) with the subject heading "Drama, Theatre, Theory seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Admitted students should register for the course; they will automatically be placed on a wait list, from which the instructor will in due course admit them as spaces become available.

Fall 2020: ENTA UN3701
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENTA 3701 001/10040 W 4:10pm - 6:00pm
Online Only
Austin Quigley 4 15/18

University Writing

ENGL GS1010 University Writing. 3 points.

Prerequisites: Non-native English speakers must reach Level 10 in the American Language Program prior to registering for ENGL GS1010.

University Writing helps undergraduates engage in the conversations that form our intellectual community. By reading and writing about scholarly and popular essays, students learn that writing is a process of continual refinement of ideas. Rather than approaching writing as an innate talent, this course teaches writing as a learned skill. We give special attention to textual analysis, research, and revision practices. University Writing offers the following themed sections, all of which welcome students with no prior experience studying the theme. Students interested in a particular theme should register for the section within the specified range of section numbers. UW: Contemporary Essays (sections from 001 to 069). Features contemporary essays from a variety of fields.  UW: Readings in American Studies (sections in the 100s). Features essays that explore the culture, history, and politics that form American identity. UW: Readings in Gender and Sexuality (sections in the 200s). Features essays that examine relationships among sex, gender, sexuality, race, class, and other forms of identity. UW: Readings in Film and Performing Arts (sections in the 300s). Features essays that analyze a particular artistic medium (music, theater, film, photography...). UW: Readings in Human Rights (sections in the 400s). Features essays that investigate the ethics of belonging to a community and issues of personhood, identity, representation, and action. UW: Readings in Data Sciences (sections in the 500s). Features essays that study how our data-saturated society challenges conceptions of cognition, autonomy, identity, and privacy. UW: Readings in Medical-Humanities (sections in the 600s). Features essays that explore the disciplines of biomedical ethics and medical anthropology, to challenge our basic assumptions about medicine, care, sickness, and health. University Writing for International Students (sections in the 900s). Open only to international students, these sections emphasize the transition to American academic writing cultures through the study of contemporary essays from a variety of fields. For further details about these classes, please visit: http://www.college.columbia.edu/core/uwp.

Fall 2020: ENGL GS1010
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 1010 002/22199 T Th 8:40am - 9:55am
Online Only
Julie Moon 3 13/14
ENGL 1010 004/24545 T Th 10:10am - 11:25am
Online Only
Hannah Kauders 3 13/14
ENGL 1010 006/22200 M W 11:40am - 12:55pm
Online Only
Leo Amino 3 14/14
ENGL 1010 007/22201 T Th 11:40am - 12:55pm
Online Only
Ilana Gilovich 3 14/14
ENGL 1010 008/22202 T Th 11:40am - 12:55pm
Online Only
Sarah Ward 3 13/14
ENGL 1010 009/22203 T Th 11:40am - 12:55pm
Online Only
Francois Olivier 3 14/14
ENGL 1010 012/22204 M W 1:10pm - 2:25pm
Online Only
Meredith Tracey 3 14/14
ENGL 1010 014/24547 T Th 1:10pm - 2:25pm
Online Only
Christina McCausland 3 14/14
ENGL 1010 016/22205 M W 2:40pm - 3:55pm
Online Only
Brianne Baker 3 14/14
ENGL 1010 021/24595 M W 5:40pm - 6:55pm
Online Only
Jason Ueda 3 14/14
ENGL 1010 022/22206 M W 5:40pm - 6:55pm
Online Only
Peter Kalal 3 12/14
ENGL 1010 023/22207 T Th 5:40pm - 6:55pm
Online Only
David Jamieson 3 13/14
ENGL 1010 025/22208 M W 7:10pm - 8:25pm
Online Only
Andrea Penman-Lomeli 3 13/14
ENGL 1010 027/24546 T Th 7:10pm - 8:25pm
Online Only
Adam Winters 3 12/14
ENGL 1010 220/22210 T Th 4:10pm - 5:25pm
Online Only
Rachel Finn-Lohmann 3 14/14
ENGL 1010 224/24606 T Th 5:40pm - 6:55pm
Online Only
Allen Durgin 3 11/14
ENGL 1010 303/22211 M W 10:10am - 11:25am
Online Only
Abby Schroering 3 12/14
ENGL 1010 305/22212 T Th 11:40am - 12:55pm
Online Only
Alessia Palanti 3 13/14
ENGL 1010 411/22213 M W 1:10pm - 2:25pm
Online Only
Shannon Hubbard 3 13/14
ENGL 1010 501/22214 M W 8:40am - 9:55am
Online Only
Reid Sharpless 3 11/14
ENGL 1010 613/22215 T Th 1:10pm - 2:25pm
Online Only
Kristie Schlauraff 3 14/14
ENGL 1010 618/24590 T Th 2:40pm - 3:55pm
Online Only
Kristie Schlauraff 3 14/14
ENGL 1010 710/22216 M W 1:10pm - 2:25pm
Online Only
Valeria Tsygankova 3 13/14
ENGL 1010 915/24544 M W 2:40pm - 3:55pm
Online Only
Andrew Slater 3 11/14
ENGL 1010 917/22217 T Th 2:40pm - 3:55pm
Online Only
Raffi Wartanian 3 14/14
ENGL 1010 919/22218 M W 4:10pm - 5:25pm
Online Only
Amber Paulen 3 14/14

ENGL CC1010 University Writing. 3 points.

University Writing helps undergraduates engage in the conversations that form our intellectual community. By reading and writing about scholarly and popular essays, students learn that writing is a process of continual refinement of ideas. Rather than approaching writing as an innate talent, this course teaches writing as a learned skill. We give special attention to textual analysis, research, and revision practices. University Writing offers the following themed sections, all of which welcome students with no prior experience studying the theme. Students interested in a particular theme should register for the section within the specified range of section numbers. UW: Contemporary Essays (sections below 100). Features contemporary essays from a variety of fields. UW: Readings in American Studies (sections in the 100s). Features essays that explore the culture, history, and politics that form American identity. UW: Readings in Women's and Gender Studies (sections in the 200s). Features essays that examine relationships among sex, gender, sexuality, race, class, and other forms of identity. UW: Readings in Sustainable Development (sections in the 300s). Features essays that ask how we can develop global communities that meet people's needs now without diminishing the ability of people in the future to do the same. UW: Readings in Human Rights (sections in the 400s). Features essays that investigate the ethics of belonging to a community and issues of personhood, identity, representation, and action. UW: Readings in Data Sciences (sections in the 500s). Features essays that study how our data-saturated society challenges conceptions of cognition, autonomy, identity, and privacy. University Writing for International Students (sections in the 900s). Open only to international students, these sections emphasize the transition to American academic writing cultures through the study of contemporary essays from a variety of fields. For further details about these classes, please visit: http://www.college.columbia.edu/core/uwp.

Fall 2020: ENGL CC1010
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 1010 001/22134 M W 8:40am - 9:55am
Online Only
Lin King 3 14/14
ENGL 1010 002/24589 M W 8:40am - 9:55am
Online Only
Austin Mantele 3 14/14
ENGL 1010 005/24610 M W 10:10am - 11:25am
Online Only
Samuel Granoff 3 11/14
ENGL 1010 011/22135 M W 11:40am - 12:55pm
Online Only
Christine Klippenstein 3 12/14
ENGL 1010 012/24651 M W 11:40am - 12:55pm
Online Only
Antonia Blue-Hitchens 3 11/14
ENGL 1010 016/22137 M W 2:40pm - 3:55pm
Online Only
Valeria Tsygankova 3 13/14
ENGL 1010 021/22138 M W 4:10pm - 5:25pm
Online Only
Veronica Belafi 3 14/14
ENGL 1010 024/22139 M W 5:40pm - 6:55pm
Online Only
Walter Gordon 3 13/14
ENGL 1010 026/22140 M W 5:40pm - 6:55pm
Online Only
Joseph Romano 3 14/14
ENGL 1010 027/22141 T Th 8:40am - 9:55am
Online Only
Rachel Rueckert 3 12/14
ENGL 1010 030/22142 T Th 10:10am - 11:25am
Online Only
Kristie Schlauraff 3 14/14
ENGL 1010 037/22144 T Th 11:40am - 12:55pm
Online Only
Martin Larson-Xu 3 14/14
ENGL 1010 038/24612 T Th 11:40am - 12:55pm
Online Only
Victoria Rucinski 3 9/14
ENGL 1010 041/22145 T Th 1:10pm - 2:25pm
Online Only
Matthew Johnston 3 14/14
ENGL 1010 042/22146 T Th 1:10pm - 2:25pm
Online Only
Conor Macvarish 3 13/14
ENGL 1010 050/24604 T Th 4:10pm - 5:25pm
Online Only
Celine Aenlle-Rocha 3 6/14
ENGL 1010 053/24591 T Th 5:40pm - 6:55pm
Online Only
Emily Weitzman 3 11/14
ENGL 1010 103/22147 M W 8:40am - 9:55am
Online Only
Sheila Byers 3 11/14
ENGL 1010 108/22148 M W 11:40am - 12:55pm
Online Only
Kiley Bense 3 14/14
ENGL 1010 112/22149 M W 1:10pm - 2:25pm
Online Only
Shanelle Kim 3 13/14
ENGL 1010 123/22150 M W 4:10pm - 5:25pm
Online Only
Anna Krauthamer 3 14/14
ENGL 1010 139/22151 T Th 1:10pm - 2:25pm
Online Only
Alex Valin 3 14/14
ENGL 1010 144/22152 T Th 2:40pm - 3:55pm
Online Only
Job Miller 3 13/14
ENGL 1010 207/22154 M W 10:10am - 11:25am
Online Only
Stephanie Philp 3 14/14
ENGL 1010 210/22155 M W 11:40am - 12:55pm
Online Only
Mia Florin-Sefton 3 14/14
ENGL 1010 218/22157 M W 2:40pm - 3:55pm
Online Only
Elliott Eglash 3 14/14
ENGL 1010 228/22159 T Th 8:40am - 9:55am
Online Only
Evyan Gainey 3 12/14
ENGL 1010 236/22161 T Th 11:40am - 12:55pm
Online Only
Andrea Jo 3 13/14
ENGL 1010 249/24593 T Th 4:10pm - 5:25pm
Online Only
Frances Wood 3 11/14
ENGL 1010 304/22165 M W 10:10am - 11:25am
Online Only
Neda Jebelli 3 12/14
ENGL 1010 319/22166 M W 2:40pm - 3:55pm
Online Only
Fiona Gorry-Hines 3 14/14
ENGL 1010 331/22363 T Th 10:10am - 11:25am
Online Only
Alessia Palanti 3 14/14
ENGL 1010 338/22167 T Th 1:10pm - 2:25pm
Online Only
Catherine Suffern 3 13/14
ENGL 1010 346/22168 T Th 2:40pm - 3:55pm
Online Only
Eduardo Pavez 3 14/14
ENGL 1010 348/22169 T Th 4:10pm - 5:25pm
Online Only
Adrian Guo-Silver 3 14/14
ENGL 1010 415/22172 M W 1:10pm - 2:25pm
Online Only
Marcelle Shehwaro 3 13/14
ENGL 1010 420/22173 M W 4:10pm - 5:25pm
Online Only
John Fitzgerald 3 14/14
ENGL 1010 422/22175 M W 4:10pm - 5:25pm
Online Only
Alexandra Loeser 3 13/14
ENGL 1010 425/22176 M W 5:40pm - 6:55pm
Online Only
Kathleen Tang 3 14/14
ENGL 1010 513/22177 M W 1:10pm - 2:25pm
Online Only
Adrian Muoio 3 14/14
ENGL 1010 545/22178 T Th 2:40pm - 3:55pm
Online Only
Ji Hyun Joo 3 13/14
ENGL 1010 547/22179 T Th 4:10pm - 5:25pm
Online Only
Emma Hitchcock 3 14/14
ENGL 1010 614/22180 M W 1:10pm - 2:25pm
Online Only
Lilith Todd 3 14/14
ENGL 1010 617/22181 M W 2:40pm - 3:55pm
Online Only
Christopher Williams 3 14/14
ENGL 1010 632/22182 T Th 10:10am - 11:25am
Online Only
Sarah Rosenthal 3 14/14
ENGL 1010 635/22183 T Th 11:40am - 12:55pm
Online Only
Kelley Hess 3 14/14
ENGL 1010 640/22184 T Th 1:10pm - 2:25pm
Online Only
Benjamin Hulett 3 14/14
ENGL 1010 706/22191 M W 10:10am - 11:25am
Online Only
Aya Labanieh 3 14/14
ENGL 1010 729/22185 T Th 8:40am - 9:55am
Online Only
Patrick Anson 3 14/14
ENGL 1010 733/22186 T Th 10:10am - 11:25am
Online Only
Lindsay Stewart 3 12/14
ENGL 1010 751/22187 T Th 5:40pm - 6:55pm
Online Only
Brett Mcmillan 3 13/14
ENGL 1010 752/24592 T Th 5:40pm - 6:55pm
Online Only
Daniel Lefferts 3 11/14
ENGL 1010 909/22189 M W 11:40am - 12:55pm
Online Only
Eva Dunsky 3 13/14
ENGL 1010 934/22190 T Th 11:40am - 12:55pm
Online Only
Kevin Wang 3 12/14
ENGL 1010 954/24594 T Th 8:00pm - 9:15pm
Online Only
Justin Snider 3 6/14

Spring 2020 - please see the department website for curriculum summary. 

Introduction to the Major

ENGL UN3001 Literary Texts, Critical Methods. 4 points.

Prerequisites: Students who register for ENGL UN3001 must also register for one of the sections of ENGL UN3011 Literary Texts, Critical Methods.

This course is intended to introduce students to the advanced study of literature. Students will read works from different genres (poetry, drama, and prose fiction), drawn from the medieval period to the present day, learning the different interpretative techniques required by each. The course also introduces students to a variety of critical schools and approaches, with the aim both of familiarizing them with these methodologies in the work of other critics and of encouraging them to make use of different methods in their own critical writing. This course (together with the companion seminar ENGL UN3011) is a requirement for the English Major and Concentration. It should be taken as early as possible in a student's career. Fulfillment of this requirement will be a factor in admission to seminars and to some lectures.

Fall 2020: ENGL UN3001
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3001 001/10013 W 4:10pm - 5:25pm
Online Only
Edward Mendelson 4 72/80
Spring 2021: ENGL UN3001
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3001 001/11045 W 4:10pm - 5:25pm
Room TBA
Jenny Davidson 4 0/75

ENGL UN3011 Literary Texts, Critical Methods seminar. 0 points.

Prerequisites: Students who register for ENGL UN3011 must also register for ENGL UN3001 Literary Texts, Critical Methods lecture.

This seminar, led by an advanced graduate student in the English doctoral program, accompanies the faculty lecture ENGL UN3001. The seminar both elaborates upon the topics taken up in the lecture and introduces other theories and methodologies. It also focuses on training students to integrate the terms, techniques, and critical approaches covered in both parts of the course into their own critical writing, building up from brief close readings to longer research papers.

Fall 2020: ENGL UN3011
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3011 001/12216 M 12:10pm - 2:00pm
Online Only
Ameya Tripathi 0 14/15
ENGL 3011 002/12217 M 12:10pm - 2:00pm
Online Only
Lindsey Cienfuegos 0 13/15
ENGL 3011 003/12218 M 4:10pm - 6:00pm
Online Only
Alec Joyner 0 15/15
ENGL 3011 004/12219 M 4:10pm - 6:00pm
Online Only
Katrina Dzyak 0 16/18
ENGL 3011 005/12220 M 12:10pm - 2:00pm
Online Only
Emily Foster 0 13/15
Spring 2021: ENGL UN3011
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3011 001/11046 M 12:10pm - 2:00pm
Room TBA
Christine Klippenstein 0 0/15
ENGL 3011 002/11047 M 12:10pm - 2:00pm
Room TBA
Yea Jung Park 0 0/15
ENGL 3011 003/11048 M 4:10pm - 6:00pm
Room TBA
Francois Olivier 0 0/15
ENGL 3011 004/11049 M 4:10pm - 6:00pm
Room TBA
Walter Gordon 0 0/15
ENGL 3011 005/11050 M 4:10pm - 6:00pm
Room TBA
Abby Schroering 0 0/15

Medieval

CLEN UN3125 ENGLISH & COMPARAIVE LITERATURE. 4 points.

Though often thought of in mainstream culture as closed, conservative, and backwards, the medieval world was actually a place where the circulation of people and ideas resulted in generative encounters. This course will consider texts that brush up against the unfamiliar. We’ll read travelogues containing Western views of the East and Muslim views of Christian society, plus texts of questionable literary merit and difficult, artful poetry. Via our course readings, you’ll cross borders into strange lands with unaccountable customs, experience the possibilities of the marvelous, and interact with the afterlife and its denizens. Along the way, you’ll be having your own medieval encounter with worldview(s) that require contextual analysis to recuperate.

ENGL GU4729 Canterbury Tales. 3 points.

(Lecture). Beginning with an overview of late medieval literary culture in England, this course will cover the entire Canterbury Tales in the original Middle English.  We will explore the narrative and organizational logics that underpin the project overall, while also treating each individual tale as a coherent literary offering, positioned deliberately and recognizably on the map of late medieval cultural convention.  We will consider the conditions—both historical and aesthetic—that informed Chaucer’s motley composition, and will compare his work with other large-scale fictive works of the period.  Our ultimate project will be the assessment of the Tales at once as a self-consciously “medieval” production, keen to explore and exploit the boundaries of literary convention, and as a ground-breaking literary event, which set the stage for renaissance literature.

Renaissance

ENGL UN3336 Shakespeare II. 3 points.

(Lecture). Shakespeare II examines plays from the second half of Shakespeare’s dramatic career, primarily a selection of his major tragedies and his later comedies (or “romances”).

Spring 2021: ENGL UN3336
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 3336 001/11051 T Th 10:10am - 11:25am
Room TBA
Jean Howard 3 0/54

ENGL UN3343 The Surveillance of Women in Renaissance Drama & Culture. 4 points.

Concentrating on the drama of early modern England, this course will investigate a culture of surveillance regarding women’s bodies in the period. We will give special focus to the fear of female infidelity, the theatrical fascination with the woman’s pregnant body, and the cultural desire to confirm and expose women’s chastity. We will read plays in which women are falsely accused of adultery, in various generic contexts (such as William Shakespeare’s 


Cymbeline and Much Ado About Nothing), along with plays in which women actually commit infidelity (such as the anonymous Arden of Faversham and Thomas Middleton’s A Chaste Maid in Cheapside). Focusing on a different play each week, we will ask: what does it take, ultimately, to believe women about their fidelity? At the same time, what is the effect of being doubted on women themselves? We will also give consideration to the particular resources of dramatic form, paying attention to moments in plays that coerce spectators themselves into mistaken judgments about women.


We will supplement our reading of drama with pamphlets, advice literature, poems, church court cases, and ballads, in order to place these plays within a broader and more varied culture of female surveillance in early modern England. Finally, we will work to recover past strategies of liberation from this surveillance in the plays we read, in women’s writing that warns against male betrayal, and in dramatic and historical instances of female cross-dressing.

ENGL GU4104 Renaissance Literature and (the History of) Sexuality. 4 points.

This class is an introduction both to the study of the literature of the English Renaissance or early modern period, and to the study of the history of sexuality. While we will be looking at issues of sexuality in the literary texts that are at the center of this class, we will also be thinking about the history of sexuality as a field of study in its own right, how it’s been conceived of and practiced, its promises and pitfalls. We will be examining the humanist histories and methodologies that inform much Renaissance thought about  human sexuality – theories about bodies, desire, relationships between and among the sexes, materialism, and spirituality – as well as more recent critical approaches. We will think closely about the genres that (we think) privilege sexuality – eclogues, plays (especially those performed by boy players), erotic verse, verse letters, utopia and creation stories.

ENGL GU4248 Literature and Science in Early Modern England. 3 points.

This lecture course explores the relationship between literature and science in the period immediately before and during the so-called “Scientific Revolution.” It examines representation of inquiry into the unknown; the relationship between magic and science; the central role of alchemy; the emergence of the virtuosi; the formation of the Royal Society, and challenges to it. Throughout, attention will be paid to the active contribution of the “literary” to this supposedly “scientific” realm—although those terms will come under considerable pressure. Texts will range from Christopher Marlowe's play Doctor Faustus, to scientific writings by Francis Bacon and William Harvey, to less easily defined hybrids by Francis Godwin, Thomas Browne and Margaret Cavendish.

18th and 19th Century

ENGL UN3231 SNAKE OIL: CON ARTISTS OF AMERICAN FICTION. 4 points.

This course traces the recurrence of the con artist in American fiction. Focusing largely on nineteenth century texts, we'll use classic con artist characters to help identify the ways con artists unsettle the categories of identity, truth, and nature. But this course focuses not only on the genuine article (the scoundrels who earn your confidence and intimacy in order to rob you blind) but also on novels featuring characters wrongfully accused of deception because they can pass between multiple social types. What is threatening about these figures? We'll look at the ways tricksters make use of their environments in Contact, Abolitionist, and Southern literature to question what might be ontologically at stake when a person dissembles. Finally, we turn to three novels about passing to examine how the con artist haunts these narratives, and how the threat of being accused of running a con shapes the formal and theoretical richness these novels contain.

ENGL UN3255 Victorian Relations. 4 points.

Victorian literature, as one of its leading critics writes, is concerned above all with “relationships and their representation.”  Relationships between individuals, groups, or nations are of course central to literature from all periods, but they figure with particular prominence in Victorian British writing, for two reasons.  First, the Victorian period follows an era that often fetishized the solitary individual: if Romantic writers frequently focused on figures in isolation, Victorian writers responded by panning out to consider human beings primarily in their social relations.  Second, the later nineteenth century witnessed revolutions in the conceptualization of relations between different classes, races, sexes, and species.  The new ideas were not limited to philosophers or scientists but permeated public discourse to an unprecedented extent.


In this course we will study a representative sampling of Victorian writing about relationships, possibly including such topics as relations between men and women, Britons and others nationalities, humans and animals, or past and present.  In addition we will consider the relation between different literary genres as we compare the way each topic is represented in fiction, poetry, drama, and non-fictional prose.

CLEN UN3851 SPCL TPCS IN LITERARY STUDIES. 4 points.

This seminar explores great writing about three important 19 th -century cities: Paris,Manchester, and London. The nineteenth-century was known as the age of great cities, and as such, witnessed an explosion of urban literature. This course will introduce you to major genres of city writing, including the novel, the poem, the physiognomy, the sociological inquiry, and the urban lyric. It will familiarize you with 19 th -century urban types: the concierge, the courtesan, the artist, the financier, the flâneur, the fashionista, the worker, the socialite, the sexual outlaw, and the urban eccentric. Readings will include recent scholarship on urban literature; classic essays about cities by writers including Walter Benjamin, Georg Simmel, and Jane Jacobs; and the following 19 th -century works: Cousin Bette (Balzac); The Kill (Zola); The Condition of the Working Class in England (Engels); Mary Barton (Gaskell); Bleak House (Dickens);  and selected poems by Amy Levy. Weekly writing assignments; an in-class presentation of a visualization; and three 8-10 page papers; no final exam.

ENGL GU4215 Epic Histories: Gibbon/Benjamin. 4 points.

We will immerse ourselves over the semester in two major works of history that also have claims to significant literary status and influence, Edward Gibbon's History of the decline and Fall of the Roman Empire and Walter Benjamin's Arcades Project. We won’t engage in true “slow reading, ” in the sense that it will be beyond us to consume these two enormous books chapter by chapter from start to finish, but we will consider the possibilities of slow reading and the imperatives and realities of reading selectively, including the fear of missing out that inhibits an embrace of abridgment in an era after the post structuralist emphasis on the “text” gave new weight to the idea that literary works, even ones that are gigantic and/or fractured, should be read either in their entirety or not at all. We'll consider questions of modern versus postmodern history, historiography and methodology, status and standards of evidence, among other things; written work will include three short assignments, some of them experimental and/or creative in nature and with a strong emphasis on archives and methods, and a longer essay (10-12pp.) at the end of the semester. 

ENGL GU4404 Victorian Poetry. 3 points.

Open to all undergraduates (regardless of major) and graduate students.

(Lecture). This course examines the works of the major English poets of the period 1830-1900. We will pay special attention to Alfred Tennyson and Robert Browning, and their great poetic innovation, the dramatic monologue. We will also be concentrating on poems by Elizabeth Barrett Browning, Gerard Manley Hopkins, Christina Rossetti, Matthew Arnold, A. E. Housman, and Thomas Hardy.

ENGL GU4415 Victorian Novel. 3 points.

On a frosty day in February 1841, fervent American readers swarmed the piers of New York Harbor, frantically calling out to British sailors aboard a ship carrying the most recent installment of a Dickens novel, “Is Little Nell dead??!!” Such was the Victorian Novel: a transatlantic public sensation. This course will trace the development of the novel during its most formative period, mapping its central concerns (self, community, love, gender, family, race, nation, empire) on a conceptual grid where representational strategies (realism, romanticism, historicism, melodrama, serialization) intersect with cultural thinking about poverty, work, faith, care, social justice, and globalism.

ENGL GU4750 Clarissa. 4 points.

Almost a million words long, Samuel Richardson's Clarissa took eighteenth-century readers by storm; it has a strong claim to be considered the single most important novel of the period. We'll begin with some brief excerpts from Richardson's first novel Pamela and one of the more virulent contemporary attacks on this new mode of popular fiction, then proceed through Clarissa in regular chunks, interspersed with bits and pieces of other relevant epistolary fictions, critical discussions and historical accounts. This seminar has no prerequisites other than your own eagerness to embark on a demented and potentially transformative program of extreme reading; topics for discussion will include the novel in letters, the first-person voice, the psychology of families and the sociology of inheritance in eighteenth-century England, the languages of sexuality, eighteenth-century burial customs, madness in literature, providential narratives and life after death, suffering, rewritings of Job, the rise of the novel, etc. etc.

20th and 21st Century

ENGL UN3042 Ulysses. 4 points.

The seminar will look at the structure of the novel, its plan, with special attention paid to ‘The Odyssey’, but also to the variations in tone in the book, the parodies and elaborate games becoming more complex as the book proceeds. We will examine a number of Irish texts that are relevant to the making of ‘Ulysses’, including Robert Emmett’s speech from the dock, Yeats’s ‘The Countess Cathleen’ and Lady Gregory translations from Irish folk-tales.

ENGL UN3270 BRITISH LITERATURE 1950-PRESENT. 3 points.

The class on post-war British literature focuses on fiction written since the end of the Cold War, with a particular emphasis on the twenty-first century. Lectures are structured around the theme of “Britain and its Belongings,” with three main historical and thematic emphases. First, the question of “the contemporary” or “belonging together in time”: What, if anything, makes the period since the 1990s hang together as a cultural, and more narrowly literary-historical, category? Second, the question of Europe: Is British literature a subset of European literature? How, in the era of Brexit and the ongoing migration crisis in Europe, have British novelists represented the country’s relationship to the continent? Finally, the linked problems of economic globalization and Britain’s complex post-imperial history: How have British novelists attempt to represent a world in which “domestic” experiences seem inextricably, if inconceivably, linked to events taking place thousands of miles away? Our answers to these questions will be aesthetic, as well as historical, focusing particularly on how novelists have thought to reimagine their sense of belonging by innovating at the level of narrative structure, point of view, and generic form.


Authors discussed include a mixture of established and emerging writers, with a particular emphasis on novels by women and by members of ethnic and national minority communities. Assignments include weekly reading, a midterm, a final, and two critical essays.

CLEN UN3390 The Art of the Novel. 4 points.

Prerequisites: the instructor's permission.

(Seminar). The phrase "the art of the novel," a reminder that the ascension of the genre to the status of "high art" rather than merely popular entertainment is still relatively recent, comes from Henry James, himself both a novelist and an influential critic of the novel. The premise of this co-taught seminar is that it is intellectually productive to bring together the perspectives of the novelist and the critic, looking both at their differences and at their common questions and concerns. In addition to fiction and criticism by Orhan Pamuk, students will read novels by Stendhal, Dostoevsky, and Tolstoy. Application instructions: E-mail Professor Robbins (bwr2001@columbia.edu) with the subject heading "Art of the Novel seminar". In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Admitted students should register for the course; they will automatically be placed on a wait list, from which the instructor will in due course admit them as spaces become available.

ENGL UN3394 How Writers Think: Pedagogy and Practice. 4 points.

Prerequisites: Permission of instructor.

(Seminar). This course uses contemporary philosophies of research and writing to train students to become writing center and library consultants. Readings will highlight major voices in rhetoric and composition research, with an emphasis on collaborative learning theory. We will ground our study in hands-on teaching experiences: students will shadow Columbia Writing Center consultants and research librarians and then practice strategies they learn in consultation with other students. Those who successfully complete this course will be eligible to apply for a peer writing consultant job in the Columbia Writing Center. This course is co-taught by the director of the Writing Center and the undergraduate services librarian.

ENGL UN3710 The Beat Generation. 4 points.

Limited to seniors. Priority given to those who have taken at least one course in 20th-century American culture, especially history, jazz, film, and literature.

Prerequisites: Permission of instructor.

(Seminar). Surveys the work of the Beats and other artists connected to the Beat movement. Readings include works by Jack Kerouac, Allen Ginsberg, William Burroughs, Amiri Baraka, and Joyce Johnson, as well as background material in the post-World War II era, films with James Dean and Marlon Brando, and the music of Charlie Parker and Thelonius Monk. Application instructions: E-mail Professor Ann Douglas (ad34@columbia.edu) with the subject heading "The Beat Generation". In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Admitted students should register for the course; they will automatically be placed on a wait list, from which the instructor will in due course admit them as spaces become available.

ENGL UN3715 Bellow, Ellison, and Roth. 4 points.

Prerequisites: the instructor's permission.

(Seminar). These three major post-war American novelists are each challenging and transgressive in their own way; they comprise a natural grouping given their common preoccupations that grew out of high personal regard. Bellow and Ellison were close friends and Roth was a friend of Bellow's and a great admirer of Ellison. Indeed, Roth's The Human Stain is a sustained meditation upon and homage to Ellison's Invisible Man. These shared concerns include a resistance to the pressure to be representative of one's racial or ethnic group, skepticism of the political and ideological uses of art, and fascination with how an ethnic or racial outsider makes his way into WASP American high culture. One does so by a process of initiation that proceeds less by the sacrifice demanded by assimilation and more by playing the "game" of "appropriation" in which culture is conceived as public, open and accessible to anyone, and culture goods are available to be enjoyed and re-worked for one's own creative purposes. Application Instructions: E-mail Professor Ross Posnock (rp2045@columbia.edu) with the subject heading "Bellow, Ellison, and Roth seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.

ENGL UN3851 Indian Writing in English. 4 points.

Prerequisites: the instructor's permission.

(Seminar). As the great imperial powers of Britain, France, and Belgium, among others, ceded self-rule to the colonies they once controlled, formerly colonized subjects engaged in passionate discussion about the shape of their new nations not only in essays and pamphlets but also in fiction, poetry, and theatre. Despite the common goal of independence, the heated debates showed that the postcolonial future was still up for grabs, as the boundary lines between and within nations were once again redrawn. Even such cherished notions as nationalism were disputed, and thinkers like the Nobel laureate Rabindranath Tagore sounded the alarm about the pitfalls of narrow ethnocentric thinking. Their call for a philosophy of internationalism went against the grain of ethnic and racial particularism, which had begun to take on the character of national myth. The conflict of perspectives showed how deep were the divisions among the various groups vying to define the goals of the postcolonial nation, even as they all sought common cause in liberation from colonial rule.


Nowhere was this truer than in India. The land that the British rulers viewed as a test case for the implementation of new social philosophies took it upon itself to probe their implications for the future citizenry of a free, democratic republic. We will read works by Indian writers responding to decolonization and, later, globalization as an invitation to rethink the shape of their societies. Beginning as a movement against imperial control, anti-colonialism also generated new discussions about gender relations, secularism and religious difference, the place of minorities in the nation, the effects of partition on national identity, among other issues. With the help of literary works and historical accounts, this course will explore the challenges of imagining a post-imperial society in a globalized era without reproducing the structures and subjectivities of the colonial state. Writers on the syllabus include Rabindranath Tagore, M.K. Gandhi, B.R. Ambedkar, Mulk Raj Anand, Raja Rao, Mahasweta Devi, Bapsi Sidwa, Rohinton Mistry, Amitav Ghosh, and Arundhati Roy.


Application Instructions: E-mail Professor Viswanathan (gv6@columbia.edu ) with the subject heading "Indian Writing in English seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.

ENTA UN3970 Ibsen and Pinter. 4 points.

Prerequisites: the instructor's permission.

(Seminar). The course will trace the pattern of the evolving theatrical careers of Henrik Ibsen and Harold Pinter, exploring the nature of and relationships among key features of their emerging aesthetics. Thematic and theatrical exploration involve positioning the plays in the context of the trajectories of modernism and postmodernism and examining, in that context, the emblematic use of stage sets and tableaux; the intense scrutiny of families, friendships, and disruptive intruders; the experiments with temporality, multi-linearity, and split staging; the issues raised by performance and the implied playhouse; and the plays' potential as instruments of cultural intervention. Two papers are required, 5-7 pages and 10-12 pages, with weekly brief responses, and a class presentation. Readings include major plays of both writers and key statements on modernism and postmodernism.  Application Instructions: E-mail Professor Austin Quigley (aeq1@columbia.edu) with the subject heading "Ibsen and Pinter seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Admitted students should register for the course; they will automatically be placed on a wait list from which the instructor will in due course admit them as spaces become available.

CLEN GU4075 Occultism, Postcoloniality, and Modernism. 4 points.

This course probes the shaping of the modern subject through such “occult” devices as mesmerism, ventriloquism, hypnotism, telepathy, disembodiment, telekinesis, and clairvoyance. We will examine the ways that occultism constituted a crucial enactment of modernity’s contradictions and provided postcoloniality with the tools for critical definitions of selfhood and society, in what Frantz Fanon called a “zone of occult instability.” Some of the questions the course hopes to raise are: How does one account for occultism’s persistence in modernity?  Is occultism a form of residual irrationalism, a mode of thought superseded by Enlightenment rationality? Or is it a constitutive element of modernity itself, reflecting its contradictions and ambiguities? To what extent can occultism be understood as a product of clashing worldviews? What is the relationship between occultism and anthropology, history, philology, science, Darwinian evolution, psychoanalysis, capitalism, and technology? How does occultism become a tool for both relating to the past and imagining future worlds, especially for the decolonizing imagination? In what ways, if at all, does occultism signal the emergence of a postcolonial moment in literature? In what ways, too, does occultism lend itself to the play of power?

ENGL GU4110 Avant-Garde Feminist Poetry. 3 points.

This course will wrangle with three simple-seeming, but actually fraught and electrified questions: what does it mean to be “feminist”? What is “poetry” in the contemporary American poetry world? And what is “avant-garde?” One could read a thousand books of poetry to answer these questions, but in this course, we’ll stick to works written by women between 1990 and today. We will pay sustained, careful attention to poetic form and structure, and we will look at how formal experimentation might intersect with ethical and political realities. And, as a heuristic device, we’ll read two or three works by individual authors, to get a sense of their evolution over the course of a period of their careers.

CLEN GU4564 Plagiarism and Post Colonialism. 3 points.

This course examines practices of literary plagiarism, piracy, kidnapping, cultural appropriation, forgery, and other disparaged textual activities to consider their implication in the power/knowledge complex of (neo)imperial international relations under current capitalist copyright and intellectual property regimes that constitute the so-called "World Republic of Letters.".....

ENGL GU4621 Harlem Renaissance. 3 points.

(Lecture). This course will focus on the arts of the Harlem Renaissance as experiments in cultural modernity and as forms of incipient political empowerment. What was the Harlem Renaissance? Where and when did it take place? Who were its major players? What difference did it make to everyday Harlemites? What were its outposts beyond Harlem itself? Was there a rural HR? An international HR? As we wonder about these problems of definition, we will upset the usual literary/historical framework with considerations of music and painting of the period. How to fit Bessie Smith into a frame with W.E.B. Du Bois? Ellington with Zora Neale Hurston? Aaron Douglas with Langston Hughes? Where is Harlem today? Does it survive as more than a memory, a trace? Is it doomed to be "black no more?" How does Harlem function in "our" "national"/(international?) imagination? Has the Harlem Renaissance's moment come and gone? What continuities might we detect? What institutions from the early twentieth century have endured?

ENGL GU4622 African-American Literature II. 3 points.

(Lecture). This survey of African American literature focuses on language, history, and culture. What are the contours of African American literary history? How do race, gender, class, and sexuality intersect within the politics of African American culture? What can we expect to learn from these literary works? Why does our literature matter to student of social change? This lecture course will attempt to provide answers to these questions, as we begin with Zora Neale Hurston's Their Eyes Were Watching God (1937) and Richard Wright's Native Son (1940) and end with Melvin Dixon's Love's Instruments (1995) with many stops along the way. We will discuss poetry, fiction, drama, and non-fictional prose. Ohter authors include Ralph Ellison, James Baldwin, Gwendolyn Brooks, Malcom X, Ntzozake Shange, Audre Lorde, and Toni Morrison. There are no prerequisites for this course. The formal assignments are two five-page essays and a final examination. Class participation will be graded.

CLEN GU4644 Revolution in/on the Caribbean . 4 points.

Although a geographically small area, the Caribbean has produced major revolutionary movements, and two globally influential revolutions: the Haitian Revolution (1791-1804) and the Cuban Revolution (1959-1976). It has also produced literature and poetic discourse that has sought to revolutionize politics through language. In this course, we will examine texts that reflect on revolution and/or attempt to revolutionize by writers such as Aimé Césaire, CLR James, Derek Walcott, Alejo Carpentier, Frantz Fanon, Reinaldo Arenas, Michelle Cliff, and V.S. Naipaul, among others.


We will also read essays by Hannah Arendt, André Breton, Paul Breslin, A. James Arnold, Phyllis Taoua, Robin D.G. Kelley, Brad Epps, Kimberle Lopez, Bruce King, Maria Elena Lima, Yoani Sánchez, and Audre Lorde. In addition, we will listen to a variety of music by Caribbean and African American musicians that take revolution as its theme in form and/or content.

Fall 2020: CLEN GU4644
Course Number Section/Call Number Times/Location Instructor Points Enrollment
CLEN 4644 001/22087 W 4:10pm - 6:00pm
Online Only
Frances Negron-Muntaner 4 24/20

ENTA GU4725 Technologies of Modern Drama. 4 points.

This seminar will consider theatre intermedially, taking up its use of dramatic writing as one, only one, of its determining technologies. In the first half of the semester we will use a series of philosophical questions—tools vs. technologies, techne vs. medium—to consider several dimensions of modern theatricality as technologies: of gender and genre, of space and place, of the body and its performance. After spring break, we will use the terms generated to consider a series of topics specifically inflected by the design and practice of modern theatricality.


Students will each write one longer essay, and will have the opportunity to receive feedback on a draft, if desired.

CLEN GU4892 Literature and International Law: Sovereignty and Other Fictions. 4 points.

The past decade has seen a steady increase in interdisciplinary scholarship interested in the relationships between literature and international law. Critical international legal scholars often invoke literature (and literary terms) to supplement their analyses, while many comparative literature scholars have attempted to discover what Pascale Casanova calls the “international laws” of literature. However, much of this scholarship remains deeply rooted in the home disciplines of the scholars, who not only operate with the prevailing assumptions and methodologies of their disciplines, but also tend to treat the other discipline as stable and unproblematic. Moreover, most of that scholarship has failed to take account of colonialism and imperialism in the formation of disciplinary knowledge—and, especially, in the formation of both international law and world literature.


International law is always produced in what Mary Louise Pratt has called “the contact zone.” Placing the history of colonialism at the center of inquiry, this course seeks to explore some of the many possible intersections between international law and comparative literature. We will examine some of the approaches that scholars have already taken, but we will also pursue new ways of thinking about how law and literature interact. The course focuses on a number of historical “events” to consider how literature and law both contribute to the logic of world-making and to the imagination of international orders.

Special Topics

CLEN UN3360 Theaters of Gods and Heroes. 4 points.

Two warring clans of cousins meet on a battlefield to decide once and for all who will sit on the throne of Hastinapura. The King of Lanka abducts Rama's wife Sita, and Rama must do everything in his power to find her and bring her home safely. These are the basic plot points of the great Indian epics The Mahabharata and the Ramayana. Yet no summarization can do these poems justice, and their stories have been told time and again across genres: they have been re-imagined as novels, serialized on television, condensed into comic books, and performed on stage. In "Theaters of Gods and Heroes" we will investigate the many ways that these two epics have been conceived in performance during the last two millennia. For each class, students will read selections of the poems in translation paired with examples of theatrical adaptations that correspond to a given episode. An investigation into adaptation theory, as well as an introduction to the diverse range of performance traditions and theatrical styles that comprise the performing arts in India, this course will cover adaptations of the epics in the classical sanskrit dramatic canon, in ritual performances such as the Ramlila, across regional traditions like the Kudiyattam of Kerala, and in contemporary dramas written since India gained independence in 1947. We will also survey international productions of the epics--such as Peter Brook's Mahabharata (1985) and Battlefield (2016) and Yael Farber's Ram: The Abduction of Sita into Darkness (2012)-- and address how audience influences dramatic adaptation, as well as what kind of additional work must be done when the epics are taken out of their immediate cultural context. As we work through the many and varied ways the epics have been reimagined in dramatic literature and performance, students will be asked to think about the formal significance of embodiment as a medium as opposed to oral recitation or literary adaptation. How do stories relate differently in performance as opposed to any of the other ways by which the epics could be recapitulated? And, within the range of theatrical adaptations covered by the class, how do we see the same stories shift across different genres or performances?

ENGL UN3738 Philanthropy and Social Difference. 4 points.

Philanthropy and Social Difference will introduce students to the history of Anglo-American philanthropy, as described in both historical and literary texts by writers including Jane Addams, James Agee, Andrew Carnegie, and George Orwell.  Through reading these texts, students will receive an experiential perspective on the social problems that philanthropy seeks to address.  The course will also focus on best practices in contemporary philanthropy, teaching students how to make informed decisions in making grants to nonprofit organizations.  In addition, students will have the opportunity to practice philanthropy directly by making grants from course funds to nonprofit organizations selected by the class.

ENGL UN3950 Poetics of the Warrior. 4 points.

Prerequisites: Instructor's permission.

(Seminar). This course of distinguished poetry about warriors and warfare goes to the intersection of disciplines, where warrior and poet together compete and excel--ingeniously, formally, passionately, consequentially--as allies in dire contest against annihilation and despair. Homer's Iliad heads our list of exemplary titles selected from ancient and classical, mediaeval and early modern sources, including, among others, Sophocles' Ajax, and Philoctetes; Beowulf; Song of Roland; Sir Gawain and the Green Knight; The Tale of the Heike; Shakespeare's Henry V; and Milton's Paradise Lost. We also will read histories, memoirs, oratory, and guidebooks, from Yuzan's Budoshoshinshu to General Patton's "The Secret of Victory," from Vegetius' De Re Militari to U.S. Army Field Manual (FM) 6-22. Our reading is historically broad enough to prove the range of virtues, precepts, codes and rules of martial character and action. Yet our poetry also excels in vision and in virtuosity quite apart from how it might cultivate the norms of aristeía, chivalry, or bushido, so that certain of our questions about form and style or imaginative effects might differ in kind from other questions about the closeness or disparity of the practical warrior and the poetic warrior, and the extent to which the latter elevates and inspires the former's conception of himself in times of war and peace. We shall consider how battle narratives which excel as poetry and ring true for the warrior, appealing to his wit and outlook, might replenish the aggrieved and battle-weary mind; how a war poem's beautifully formed and lucidly rendered chaos remembers and regains for him the field of action. Toward my interest in the range of possibilities for military literature as a discipline of study, I welcome not only the novice whose interest is avid but the student knowledgeable about military topics in literature, history, political and social philosophy, and especially the student, who, having served in the Armed Forces, can bring to the seminar table a contemporary military perspective and the fruits of practical wisdom. Application instructions: E-mail Professor Giordani (mg2644@columbia.edu) with the subject heading "Poetics of Warrior seminar." In your message, include your name, school, major, year of study, relevant courses taken, and a brief statement about why you are interested in taking the course. Admitted students should register for the course; they will automatically be placed on a wait list, from which the instructor will in due course admit them as spaces become available.

CLEN GU4335 Poetry and Philosophy. 4 points.

Since Plato, poets and philosophers have been at odds as often as they have cross-pollinated. How should we think about the relation between these two discourses? In this seminar we will put the following dictum of Romantic poet and philosophe Samuel Taylor Coleridge’s to the test:  “No man was ever yet a great poet, without at the same time being a profound philosopher.” We will read philosophical poetry, poetic philosophy, and texts that don’t seem to quite fit in any genre. What makes certain poets particularly inspiring to philosophers, and vice versa? How does each group appropriate the tools of the other for their own purposes? We will especially interested in the question of how poetic language offers a mode of thinking that may be philosophical in character, but is also fundamentally different from the conceptual and argumentative constraints of philosophy as it is traditionally conceived.

CLEN GU4728 Literature in the Age of Artificial Intelligence. 3 points.

In this course we will consider the long history of literature composed with, for, and by machines. Our reading list will start with Ramon Llull, the thirteenth-century combinatorial mystic, and continue with readings from Gottfried Leibniz, Francis Bacon, Jonathan Swift, and Samuel Butler. We will read "Plot Robots" instrumental to the writing of Hollywood scripts and pulp fiction of the 1920s, the avant-garde poetry of Dada and OULIPO, computer-generated love letters written by Alan Turing, and novels created by the first generation of artificial intelligence researchers in the 1950s and 60s. The course will conclude at the present moment, with an exploration of machine learning techniques of the sort used by Siri, Alexa, and other contemporary chat bots.  

University Writing

ENGL CC1010 University Writing. 3 points.

University Writing helps undergraduates engage in the conversations that form our intellectual community. By reading and writing about scholarly and popular essays, students learn that writing is a process of continual refinement of ideas. Rather than approaching writing as an innate talent, this course teaches writing as a learned skill. We give special attention to textual analysis, research, and revision practices. University Writing offers the following themed sections, all of which welcome students with no prior experience studying the theme. Students interested in a particular theme should register for the section within the specified range of section numbers. UW: Contemporary Essays (sections below 100). Features contemporary essays from a variety of fields. UW: Readings in American Studies (sections in the 100s). Features essays that explore the culture, history, and politics that form American identity. UW: Readings in Women's and Gender Studies (sections in the 200s). Features essays that examine relationships among sex, gender, sexuality, race, class, and other forms of identity. UW: Readings in Sustainable Development (sections in the 300s). Features essays that ask how we can develop global communities that meet people's needs now without diminishing the ability of people in the future to do the same. UW: Readings in Human Rights (sections in the 400s). Features essays that investigate the ethics of belonging to a community and issues of personhood, identity, representation, and action. UW: Readings in Data Sciences (sections in the 500s). Features essays that study how our data-saturated society challenges conceptions of cognition, autonomy, identity, and privacy. University Writing for International Students (sections in the 900s). Open only to international students, these sections emphasize the transition to American academic writing cultures through the study of contemporary essays from a variety of fields. For further details about these classes, please visit: http://www.college.columbia.edu/core/uwp.

Fall 2020: ENGL CC1010
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 1010 001/22134 M W 8:40am - 9:55am
Online Only
Lin King 3 14/14
ENGL 1010 002/24589 M W 8:40am - 9:55am
Online Only
Austin Mantele 3 14/14
ENGL 1010 005/24610 M W 10:10am - 11:25am
Online Only
Samuel Granoff 3 11/14
ENGL 1010 011/22135 M W 11:40am - 12:55pm
Online Only
Christine Klippenstein 3 12/14
ENGL 1010 012/24651 M W 11:40am - 12:55pm
Online Only
Antonia Blue-Hitchens 3 11/14
ENGL 1010 016/22137 M W 2:40pm - 3:55pm
Online Only
Valeria Tsygankova 3 13/14
ENGL 1010 021/22138 M W 4:10pm - 5:25pm
Online Only
Veronica Belafi 3 14/14
ENGL 1010 024/22139 M W 5:40pm - 6:55pm
Online Only
Walter Gordon 3 13/14
ENGL 1010 026/22140 M W 5:40pm - 6:55pm
Online Only
Joseph Romano 3 14/14
ENGL 1010 027/22141 T Th 8:40am - 9:55am
Online Only
Rachel Rueckert 3 12/14
ENGL 1010 030/22142 T Th 10:10am - 11:25am
Online Only
Kristie Schlauraff 3 14/14
ENGL 1010 037/22144 T Th 11:40am - 12:55pm
Online Only
Martin Larson-Xu 3 14/14
ENGL 1010 038/24612 T Th 11:40am - 12:55pm
Online Only
Victoria Rucinski 3 9/14
ENGL 1010 041/22145 T Th 1:10pm - 2:25pm
Online Only
Matthew Johnston 3 14/14
ENGL 1010 042/22146 T Th 1:10pm - 2:25pm
Online Only
Conor Macvarish 3 13/14
ENGL 1010 050/24604 T Th 4:10pm - 5:25pm
Online Only
Celine Aenlle-Rocha 3 6/14
ENGL 1010 053/24591 T Th 5:40pm - 6:55pm
Online Only
Emily Weitzman 3 11/14
ENGL 1010 103/22147 M W 8:40am - 9:55am
Online Only
Sheila Byers 3 11/14
ENGL 1010 108/22148 M W 11:40am - 12:55pm
Online Only
Kiley Bense 3 14/14
ENGL 1010 112/22149 M W 1:10pm - 2:25pm
Online Only
Shanelle Kim 3 13/14
ENGL 1010 123/22150 M W 4:10pm - 5:25pm
Online Only
Anna Krauthamer 3 14/14
ENGL 1010 139/22151 T Th 1:10pm - 2:25pm
Online Only
Alex Valin 3 14/14
ENGL 1010 144/22152 T Th 2:40pm - 3:55pm
Online Only
Job Miller 3 13/14
ENGL 1010 207/22154 M W 10:10am - 11:25am
Online Only
Stephanie Philp 3 14/14
ENGL 1010 210/22155 M W 11:40am - 12:55pm
Online Only
Mia Florin-Sefton 3 14/14
ENGL 1010 218/22157 M W 2:40pm - 3:55pm
Online Only
Elliott Eglash 3 14/14
ENGL 1010 228/22159 T Th 8:40am - 9:55am
Online Only
Evyan Gainey 3 12/14
ENGL 1010 236/22161 T Th 11:40am - 12:55pm
Online Only
Andrea Jo 3 13/14
ENGL 1010 249/24593 T Th 4:10pm - 5:25pm
Online Only
Frances Wood 3 11/14
ENGL 1010 304/22165 M W 10:10am - 11:25am
Online Only
Neda Jebelli 3 12/14
ENGL 1010 319/22166 M W 2:40pm - 3:55pm
Online Only
Fiona Gorry-Hines 3 14/14
ENGL 1010 331/22363 T Th 10:10am - 11:25am
Online Only
Alessia Palanti 3 14/14
ENGL 1010 338/22167 T Th 1:10pm - 2:25pm
Online Only
Catherine Suffern 3 13/14
ENGL 1010 346/22168 T Th 2:40pm - 3:55pm
Online Only
Eduardo Pavez 3 14/14
ENGL 1010 348/22169 T Th 4:10pm - 5:25pm
Online Only
Adrian Guo-Silver 3 14/14
ENGL 1010 415/22172 M W 1:10pm - 2:25pm
Online Only
Marcelle Shehwaro 3 13/14
ENGL 1010 420/22173 M W 4:10pm - 5:25pm
Online Only
John Fitzgerald 3 14/14
ENGL 1010 422/22175 M W 4:10pm - 5:25pm
Online Only
Alexandra Loeser 3 13/14
ENGL 1010 425/22176 M W 5:40pm - 6:55pm
Online Only
Kathleen Tang 3 14/14
ENGL 1010 513/22177 M W 1:10pm - 2:25pm
Online Only
Adrian Muoio 3 14/14
ENGL 1010 545/22178 T Th 2:40pm - 3:55pm
Online Only
Ji Hyun Joo 3 13/14
ENGL 1010 547/22179 T Th 4:10pm - 5:25pm
Online Only
Emma Hitchcock 3 14/14
ENGL 1010 614/22180 M W 1:10pm - 2:25pm
Online Only
Lilith Todd 3 14/14
ENGL 1010 617/22181 M W 2:40pm - 3:55pm
Online Only
Christopher Williams 3 14/14
ENGL 1010 632/22182 T Th 10:10am - 11:25am
Online Only
Sarah Rosenthal 3 14/14
ENGL 1010 635/22183 T Th 11:40am - 12:55pm
Online Only
Kelley Hess 3 14/14
ENGL 1010 640/22184 T Th 1:10pm - 2:25pm
Online Only
Benjamin Hulett 3 14/14
ENGL 1010 706/22191 M W 10:10am - 11:25am
Online Only
Aya Labanieh 3 14/14
ENGL 1010 729/22185 T Th 8:40am - 9:55am
Online Only
Patrick Anson 3 14/14
ENGL 1010 733/22186 T Th 10:10am - 11:25am
Online Only
Lindsay Stewart 3 12/14
ENGL 1010 751/22187 T Th 5:40pm - 6:55pm
Online Only
Brett Mcmillan 3 13/14
ENGL 1010 752/24592 T Th 5:40pm - 6:55pm
Online Only
Daniel Lefferts 3 11/14
ENGL 1010 909/22189 M W 11:40am - 12:55pm
Online Only
Eva Dunsky 3 13/14
ENGL 1010 934/22190 T Th 11:40am - 12:55pm
Online Only
Kevin Wang 3 12/14
ENGL 1010 954/24594 T Th 8:00pm - 9:15pm
Online Only
Justin Snider 3 6/14

ENGL GS1010 University Writing. 3 points.

Prerequisites: Non-native English speakers must reach Level 10 in the American Language Program prior to registering for ENGL GS1010.

University Writing helps undergraduates engage in the conversations that form our intellectual community. By reading and writing about scholarly and popular essays, students learn that writing is a process of continual refinement of ideas. Rather than approaching writing as an innate talent, this course teaches writing as a learned skill. We give special attention to textual analysis, research, and revision practices. University Writing offers the following themed sections, all of which welcome students with no prior experience studying the theme. Students interested in a particular theme should register for the section within the specified range of section numbers. UW: Contemporary Essays (sections from 001 to 069). Features contemporary essays from a variety of fields.  UW: Readings in American Studies (sections in the 100s). Features essays that explore the culture, history, and politics that form American identity. UW: Readings in Gender and Sexuality (sections in the 200s). Features essays that examine relationships among sex, gender, sexuality, race, class, and other forms of identity. UW: Readings in Film and Performing Arts (sections in the 300s). Features essays that analyze a particular artistic medium (music, theater, film, photography...). UW: Readings in Human Rights (sections in the 400s). Features essays that investigate the ethics of belonging to a community and issues of personhood, identity, representation, and action. UW: Readings in Data Sciences (sections in the 500s). Features essays that study how our data-saturated society challenges conceptions of cognition, autonomy, identity, and privacy. UW: Readings in Medical-Humanities (sections in the 600s). Features essays that explore the disciplines of biomedical ethics and medical anthropology, to challenge our basic assumptions about medicine, care, sickness, and health. University Writing for International Students (sections in the 900s). Open only to international students, these sections emphasize the transition to American academic writing cultures through the study of contemporary essays from a variety of fields. For further details about these classes, please visit: http://www.college.columbia.edu/core/uwp.

Fall 2020: ENGL GS1010
Course Number Section/Call Number Times/Location Instructor Points Enrollment
ENGL 1010 002/22199 T Th 8:40am - 9:55am
Online Only
Julie Moon 3 13/14
ENGL 1010 004/24545 T Th 10:10am - 11:25am
Online Only
Hannah Kauders 3 13/14
ENGL 1010 006/22200 M W 11:40am - 12:55pm
Online Only
Leo Amino 3 14/14
ENGL 1010 007/22201 T Th 11:40am - 12:55pm
Online Only
Ilana Gilovich 3 14/14
ENGL 1010 008/22202 T Th 11:40am - 12:55pm
Online Only
Sarah Ward 3 13/14
ENGL 1010 009/22203 T Th 11:40am - 12:55pm
Online Only
Francois Olivier 3 14/14
ENGL 1010 012/22204 M W 1:10pm - 2:25pm
Online Only
Meredith Tracey 3 14/14
ENGL 1010 014/24547 T Th 1:10pm - 2:25pm
Online Only
Christina McCausland 3 14/14
ENGL 1010 016/22205 M W 2:40pm - 3:55pm
Online Only
Brianne Baker 3 14/14
ENGL 1010 021/24595 M W 5:40pm - 6:55pm
Online Only
Jason Ueda 3 14/14
ENGL 1010 022/22206 M W 5:40pm - 6:55pm
Online Only
Peter Kalal 3 12/14
ENGL 1010 023/22207 T Th 5:40pm - 6:55pm
Online Only
David Jamieson 3 13/14
ENGL 1010 025/22208 M W 7:10pm - 8:25pm
Online Only
Andrea Penman-Lomeli 3 13/14
ENGL 1010 027/24546 T Th 7:10pm - 8:25pm
Online Only
Adam Winters 3 12/14
ENGL 1010 220/22210 T Th 4:10pm - 5:25pm
Online Only
Rachel Finn-Lohmann 3 14/14
ENGL 1010 224/24606 T Th 5:40pm - 6:55pm
Online Only
Allen Durgin 3 11/14
ENGL 1010 303/22211 M W 10:10am - 11:25am
Online Only
Abby Schroering 3 12/14
ENGL 1010 305/22212 T Th 11:40am - 12:55pm
Online Only
Alessia Palanti 3 13/14
ENGL 1010 411/22213 M W 1:10pm - 2:25pm
Online Only
Shannon Hubbard 3 13/14
ENGL 1010 501/22214 M W 8:40am - 9:55am
Online Only
Reid Sharpless 3 11/14
ENGL 1010 613/22215 T Th 1:10pm - 2:25pm
Online Only
Kristie Schlauraff 3 14/14
ENGL 1010 618/24590 T Th 2:40pm - 3:55pm
Online Only
Kristie Schlauraff 3 14/14
ENGL 1010 710/22216 M W 1:10pm - 2:25pm
Online Only
Valeria Tsygankova 3 13/14
ENGL 1010 915/24544 M W 2:40pm - 3:55pm
Online Only
Andrew Slater 3 11/14
ENGL 1010 917/22217 T Th 2:40pm - 3:55pm
Online Only
Raffi Wartanian 3 14/14
ENGL 1010 919/22218 M W 4:10pm - 5:25pm
Online Only
Amber Paulen 3 14/14