Loyola University Maryland

Department of English

Course Descriptions

English majors and minors should consult the course cycle before registering for any course.

English majors and minors are encouraged to complete the advising template (PDF) before meeting with their academic advisors. Those who choose to register online might consider filling out the document in Word, saving it to a file, and then e-mailing it to their advisors as part of the "permit to register" request.



EN 090 English Internships
EN 097 Internship in Public School
EN 098 Internship in Private School
EN 099 English Internships

Students interested in pursuing an internship must meet with Dr. Lukacs.  Written or electronic permission of the instructor is required.  Students may take one internship class for degree credit.  It will count as an elective, not as a course fulfilling requirements for an English major or minor.


EN 101: Understanding Literature

EN 101 is an introduction to the serious, college-level study of literature.  It seeks to give students an understanding of imaginative writing, means for reading this writing perceptively, and basic principles for making interpretive judgments. While there is no common text for EN 101, all instructors share the goal of bringing students to an enriched awareness of the power and beauty of our language and of its potential as an expressive and persuasive tool.  The course is, therefore, writing intensive, and seeks to teach students to develop their writing skills with particular attention to the crafting of analytical argument.

A small number of EN 101 sections are theme-based, meaning that in addition to serving as an introduction to literary study as described above, they are organized around a particular theme.  These are described in detail below:

Understanding Literature
EN 101.09 – MWF 9:00-9:50
EN 101.15 – MWF 1:00-1:50
Professor Daniel Mangiavellano

In this class, students will learn analytic strategies central to understanding and writing about literature.  Reading assignments, writing prompts, and class conversation will consistently emphasize links between critical reading and written argumentation. Students will develop a critical vocabulary for literary analysis while practicing writing and argumentative skills that will contribute to thoughtful, nuanced arguments about (1) how a piece of literature works and (2) why an argument about literature matters to a broad, non-specialized audience. This is a writing-intensive course, and our goal will be to develop clear, sophisticated arguments that are not only technically precise, but evocative in their scope and ambition. 

To this end, our course theme will focus on representations of “first encounters” in literature and culture. Reading assignments will emphasize “first encounters” between or among races, genders, and populations. In this class, we use reading and writing assignments to explore provocative connections between literature, the human condition, and tenets of cura personalis at Loyola University Maryland. Our theme will remind us throughout the semester of the dynamic between a writer and an audience—an especially important “first encounter” for all writers to keep in mind.

Understanding Literature: The Body in Writing: Disability Literature
EN 101D.10 – MWF 10:00-10:50
EN 101D.12 – MWF 11:00-11:50
Professor Giuseppina Iacono Lobo

In this course, we will examine how writers imagine and represent disability through a wide variety of poetry, short fiction, and novels.  The literary canon as we know it abounds with disabled characters, from Sophocles’s Oedipus, William Shakespeare’s Richard III, Herman Melville’s Captain Ahab, Charlotte Brontë’s Rochester, to William Faulkner’s Benjy. Despite their ubiquity, these figures tend to be marginalized in literature, often portrayed as either victims, villains, inspirations, or monsters. As we will explore during the first half of the semester, these stereotypes limit the role and our perception of disability in writing, and even tend to project those limitations beyond the text.

After the midterm, we will turn to literature that strives to represent disability not as a marginalizing force, but rather a fundamental part of the human experience. As such, poets and writers like Jim Ferris, Petra Kuppers, Kenny Fries, and Stephen Kuusisto write through—and, at times, even celebrate—disability. Canes, crutches, and wheelchair wheels inspire unique poetic beats, the experience of blindness is reproduced through line breaks, and transliterated ASL revolutionizes storytelling. These innovations thrust disability from the margins of literature to the forefront, demanding that readers see beyond tired tropes and metaphors.

As we consider the still changing role of disability in writing, we will also focus on the formal aspects of poetry, short fiction, and the novel, and work to master the language of literary analysis. Whether extolling “crip” culture, or reproducing limiting stereotypes, or expressing loss (of feeling, of limbs, of mobility), or presenting characters who reveal, revel in, or even try to escape from difference, the authors on our syllabus all imagine the disabled body in writing: bodies that map the full spectrum of the human experience.

Understanding Literature, “The Stranger: Literature and the Ethics of Hospitality”
EN 101.11 SL – MWF 10:00-10:50
EN 101.14 SL – MWF 1:00-1:50
Professor Stephen Park

This course is designed as an introduction to literature through stories of migration, exile, and refuge. The story of the stranger—and how to treat the stranger—is a very old one in literature and it provokes questions that are central to the humanities. What are my moral obligations to someone in need? What are the limits of those obligations? How do I reconcile the differences between my own life experience and that of “the stranger”? These questions take on increasing urgency in the 21st century with the array of refugee crises happening around the globe. Our course themes overlap with the Ignatian Solidarity Network’s current “Campaign for Hospitality,” which challenges us to embrace the stranger. This is a Service-Learning class, and students will have the opportunity to work with immigrants in the Baltimore community as part of our effort to welcome them and to share in their stories.

Literature serves as an important tool for understanding the experiences of others. And so, EN 101 will develop your command of the formal aspects of poetry, short fiction and the novel. We will focus on careful literary analysis as a skill for both talking about and writing about literature. This will be a writing-intensive course, and you will be expected to deploy the terms of literary analysis from the class in order to develop insightful arguments about these texts and about the larger themes of the course. As we read an array of fiction and poetry, it will be our goal not only to analyze these texts but also to consider how each one can serve as an occasion for moral inquiry and as a chance to consider our obligation to migrants, refugees, and all those who are from somewhere else.

Understanding Literature: Baltimore: A Literary Tour
EN 101.13 – MWF 12:00-12:50
EN 101.16 – MWF 2:00-2:50
Professor Emily Yoon Perez

This course serves as an introduction to literature through your current city of Baltimore, Maryland. Baltimore has a rich literary archive that lends itself to an in-depth study of poetry and prose. In addition, the city’s history illuminates larger social and cultural concerns that inform our contemporary moment. We will carefully consider the persisting legacy of slavery in the city’s past and present, especially its social, political, and cultural effects for residents. We will examine how Baltimore is represented from a diverse range of perspectives and think critically about the ways race, class, gender, religion, sexuality, and other socially constructed categories of difference inform how different people experience the city. Through engaging with the course materials, you will cultivate a more sophisticated knowledge of the city through in-depth analysis and close reading of the required texts.

Understanding Literature
EN 101.19 - T/TH 10:50-12:05
EN 101.25 - T/TH 3:05-4:20
Professor Melissa Girard

“It is difficult
    to get the news from poems
           yet men die miserably every day
                 for lack
of what is found there.”
        —William Carlos Williams, Asphodel, That Greeny Flower

In this course, we will begin by asking some foundational questions: What is literature? Who reads it and why? How are literature and literacy changing in the 21st century? As the poet William Carlos Williams suggests, literature is not the same as the news. Poems, short stories, novels, and plays make unique demands on us as readers; they ask us to think, feel, and experience the world in new and sometimes difficult ways. Throughout the semester, we will immerse ourselves in a range of literary works from the nineteenth century to the present in order to examine “what is found” in literature. What is it that makes this art form unique? What can literature offer to our contemporary world? Is literature an essential part of the good life?

As you will soon learn, the study of literature is built around a specific practice known as “close reading.” This method requires immersive attention: it is a careful, patient, and focused form of reading that will help you see the subtlety and nuance of literary works. This semester you should be prepared to read and write intensively about literature. You can expect to complete 2 formal papers, along with regular informal writing assignments and activities. Studying literature is demanding, but the rewards are also many. Through our intensive investigations, you can expect to become better readers, writers, and critical thinkers. You may also find new ways to enjoy the art of literature.

Understanding Literature
EN 101.27 - T/TH 4:30-5:45
Professor Carol Abromaitis

English 101 is a means of mastering the habit of close reading. For all students, no matter the major or career path, the habit of close reading with its insistence on reading carefully, intensely, and attentively is an essential skill.  Only with the practice of close reading will students discern and savor the variety of visions and voices in literature.  For example, learning the techniques that are employed in Orwell’s Animal Farm and Vonnegut’s “Harrison Bergeron” as they address a perdurable concern in literature – freedom, law, and equality -- gives readers the means to see the power of literary techniques.  Among the various authors we read are Flannery O’Connor, William Faulkner, Ernest Hemingway, Charles Dickens, William Shakespeare, John Donne, and T.S. Eliot.  

Requirements: frequent short responses, 2 longer essays, 3 period tests, and a final, each an opportunity to polish your writing skills and display your growth as a reader.

Major English Writers, Bad Men in British Literature
EN 201.01 – MWF 12:00-12:50
EN 201.02 – MWF 1:00-1:50
Professor Erin Wilson

Upon meeting Lord Byron in 1812, Lady Caroline Lamb famously declared him “mad, bad, and dangerous to know.” This sentiment did not stop her from having an affair with him, subsequently stalking him after he ended their relationship, and eventually writing a book about him. In this course, we will ask ourselves why we find ourselves fascinated by wickedness, to the point of admiration, sympathy, and even love. From Byron’s exploits to Breaking Bad’s Walter White, we often find ourselves captivated by tales of bad men committing wicked and often unspeakable acts, sometimes hoping for their redemption and, other times, being drawn in further when they get worse. We will see many examples of “bad men” across this semester, some with good intentions, some charming, and some monstrous. Beginning with Lord Byron, the original bad man of English Literature, we will move through England’s Romantic, Victorian, and Modern eras, ending with the contemporary fiction of John Fowles. Required assignments include quizzes, short papers, a blog assignment, a longer paper, and two exams. 

Major Writers: English Literature – Romance and Epic
EN 201.03 - T/TH 1:40-2:55
Professor Carol Abromaitis

Literary romances and epics continue a tradition of more than 3000 years.  Readings are the following: Beowulf (trans. Seamus Heaney), Gawain and the Green Knight (trans. Simon Armitage), excerpts from Spenser’s The Fairie Queene and from Milton’s Paradise Lost, Tolkien’s The Hobbit and The Fellowship of the Ring, Volume One of The Lord of the Rings. The last two volumes are not required for the class in the expectation that students will finish them after finishing the class. Attention will be paid to the transcendentals (beauty, truth, goodness, and unity) that fill the minds and the hearts of the heroes even as they confront the inevitable fact of evil, individual and societal.  Content, themes, structure, aesthetic qualities, historical context, and generic characteristics are the focus of class.  

Requirements:  frequent brief analyses of lines, an analytical term paper on one of the works in the course, three period tests and a final examination at the end. 

Major Writers: American Literature: Migrant Subjects
EN 203.02 – MWF 9:00-9:50
EN 203.03 – MWF 10:00-10:50
Professor Emily Yoon Perez

This course explores the migrant subject in American Literature as one who traverses oceanic boundaries as immigrants and refugees, but also one who travels within the United States through transit and on foot. In addition, we will consider how bodies in movement complicate and undermine physical and symbolic boundaries, and allow for new ways of thinking about race, class, gender, sexuality, and national identity. In that spirit, this course will help you develop a sense of different literary movements, including Realism, Modernism, and Postmodernism, through reading a wide range of texts from the twentieth to twenty-first centuries. Questions to guide our study include: How does one's identity affect one's mobility within and beyond the nation? How do these texts explore sites of transit as potential sites of reifying or resisting both physical and symbolic boundaries? How do these texts disrupt formal conventions in their exploration of various migrations?

Major Writers – American Literature
EN 203D.04 – MW 4:30-5:45
EN 203D.05 – MW 6:00-7:15
Professor June Ellis

Focusing on the ways writers develop a language and a literary form that is distinctively American, this course examines the ways writers present diversity and solidarity as founding principles of the United States.  We examine writers from many differing communities, creating an ongoing investigation into the way people define themselves and others.  Many of the writers we read provide distinct but complementary perspectives on personal and national identity:  for example, Mark Twain’s The Adventures of Huckleberry Finn and Jacqueline Woodson’s Brown Girl Dreaming create innovative literary forms that depict the ways our ideas about race may affect both black people and white people.  Though the books are written more than 100 years apart, and though one writer is black and the other white, the works share common ground in experimenting with ways to tell stories that promote freedom and justice.  The course offers a strong foundation in both time-honored American fiction, drama, and poetry, and contemporary multi-ethnic classics.

Major Writers: American Literature: Imagining the Nation
EN 203D.06 – T/TH 12:15-1:30
EN 203D.07 – T/TH 1:40-2:55
Professor Sondra Guttman

This course explores the idea of America as an “imagined political community,” one where ideals of unity and a distinctive national identity have often conflicted with the realities of change and diversity. The readings and discussions will enhance your perception of what it means to be an American, because you’ll consider the nation as an idea under constant revision in the literature written about it. Focusing on the 19th and 20th centuries, writers to be studied will include:  Frederick Douglass, Walt Whitman, Nathaniel Hawthorne, Kate Chopin, Zitkala Sa, Zora Neale Hurston, William Faulkner, and Tennessee Williams. This course fulfills your Loyola College core diversity requirement, focusing on diversity in the U.S. 

Major requirements: midterm and final exams, research essay, collaborative group teaching project. 

EN 301.01 - T/TH 3:05-4:20 PM
Professor Kathleen Forni

This is probably the only time in your life that you'll have the chance to learn Middle English. Go for it. We’ll read only the best of the Canterbury Tales, and explore Chaucer’s re-creation in contemporary popular culture. And don’t believe what one of Chaucer’s characters says about his poetry: "Thy drasty rymyng is nat worth a toord."

Shakespeare II
EN 311.01 - MW 4:30-5:45
Professor Thomas Scheye

What else is there to say about Shakespeare?  Perhaps his contemporary and rival, Ben Jonson, said it best: “He was not of an age, but for all time!”  And after 400 years, Shakespeare remains our contemporary, both timeless and timely.  This course will trace the development of his genius from the early sonnets through the mature comedies:

                             In springtime, the only pretty ringtime,
                   When birds do sing, hey ding a ding, ding
                                  Sweet lovers love the spring

    The subject is love, every kind you can think of!

    Shakespeare I is NOT a pre-requisite.

Seminar:  Nasty Women Writing in Early Modern England and America
EN 327.01 - MWF 1:00-1:50
Professor Giuseppina Iacono Lobo

Women have been nasty for quite some time. Long before hashtags, followers, and provocative memes, women were proclaiming their nastiness from the page. “I am obnoxious to each carping tongue,” Anne Bradstreet defiantly writes in 1650, “Who says my hand a needle better fits.” Wielding her “poet’s pen” in place of her needle, Bradstreet would become the first English woman and the first New Englander to publish a book of original poems. Nasty indeed.

In this course, we will examine women’s writing from early modern England and America in its various forms, including closet drama, poetry, captivity narratives, and one of the earliest works of science fiction. Many of the women on our syllabus were pioneers in the world of writing, reimagining well-established literary modes and even inventing new ones. Throughout the semester, we will consider how women construct their identities in and through various forms of manuscript and print. Margaret Cavendish famously deemed her written pages “paper bodies,” textual offspring that she intended to commit to the flames once they were in print.

Likely authors and texts include Elizabeth Cary’s The Tragedy of Miriam, Anne Bradstreet’s poetry, Mary Rowlandson’s The Sovereignty and Goodness of God, Margaret Cavendish’s Blazing World and The Convent of Pleasure, Aphra Behn’s Oroonoko and The Widow Ranter, among others. We will end the semester with a glance at the present with Siri Hustvedt’s Cavendish-esque novel, The Blazing World (2014).

Students will write a close reading essay and a research paper, in addition to completing Moodle posts, presentations, and reading quizzes.

Seminar: The Development of the Novel of Manners
EN 347.01 - MWF 10:00-10:50
Professor Daniel Mangiavellano

In this class, we’ll study the evolution of the novel of manners from Fanny Burney and Jane Austen in the eighteenth century to Kazuo Ishiguro in the twentieth century. We’ll ask how the novel of manners combines together elements of realism and social fantasy that can help us situate how the novel of manners fits within the broader development of the novel genre. Class conversation and writing assignments will address issues such as such as money and exclusivity, class standing and social mobility, and the problematic connection between manners and morality. More than simply offering literary reminders to keep our elbows off the table or not wear white after Labor Day, “EN 347: The Development of the Novel of Manners” will be at its most fascinating when we confront the unspoken codes of conduct that define our everyday life.

Topics in Victorian Literature:  The Brontes—Wild at Heart
EN 361.01 - T/TH 4:30-5:45
Professor Gayla McGlamery

“Girls, do you know that Charlotte has written a book, and it is much better than likely.”
      --The “girls’” father Patrick Bronte, upon reading Jane Eyre

They were an unusual family—three sisters and a brother who grew up in an isolated Yorkshire village with only servants’ gossip, their father’s books and journals, and their own extraordinary imaginations to entertain them.  Over the course of their short lives, Branwell produced little more than some juvenilia and a number of bad paintings, but Anne, Emily, and Jane left distinctive marks upon the literary world, publishing at least five novels of note, among them three acknowledged masterpieces.  In this seminar, we will study five Bronte novels—Anne Bronte’s Agnes Grey and The Tenant of Wildfell Hall, Emily Bronte’s Wuthering Heights, and Charlotte Bronte’s Jane Eyre and Villette, along with selected poems and early writings.  We will examine these strange and wonderful works in the context of the Bronte’s lives, their reading, and the literary, religious, and political movements that define the late eighteenth and early-to-mid-nineteenth century.  We will also view at least one film adaptation.  

Requirements:  weekly responses, a 10-12-page paper, a midterm, and a final.

Seminar: The Catholic Imagination:  Chesterton, Lewis, Tolkien
EN 365.01 - T/TH 10:50-12:05
Professor Carol Abromaitis

One of the most fruitful literary friendships of the 20th century was that of Lewis and Tolkien, both of whom were greatly influenced by Chesterton.  All three confronted the result of the deracination of modern man: the tyranny of solipsism and relativism.  The sacramental imagination, the vision of nature as a bridge between humans and God, imbued their fiction with its lands of enchantment and peril: Middle Earth with its caves, mountains, and forests; Mars and Venus with deep ravines and floating islands; London, Oxford, and the English countryside. Their characters include a skin changer, university professors, talking trees, the devil, wizards, hobbits, hnau, criminals, kings, elves, orcs, policemen in Father Brown and the Ten Commandments, Out of the Silent Planet, Perelandra, That Hideous Strength, Till We Have Faces, The Hobbit, and The Lord of the Rings.  

Requirements:  three period tests, a research presentation, a term paper, and a final examination.

Modern British and American Poetry
EN 372.01 - T/TH 12:15-1:30
Professor Melissa Girard

The “Lost Generation,” Malcolm Cowley said, “belonged to a period of transition from values already fixed to values that had to be created.” This new generation of writers, artists, and activists, who came of age during World War I, published in little magazines like transition, Broom (to make a clean sweep of it), This Quarter (existing purely in the present), and Secession. “They were seceding from the old,” Cowley said, “and they groped their way toward another scheme of life, as yet undefined.”

For modernist writers and artists, the “new poetry” became synonymous with a new world. Their aesthetic innovations—poetic experiments such as Vorticism, Futurism, Imagism, Impersonality, Blues, and Jazz—helped them to discover new ways of thinking and feeling in the modern world. But this is not the only story modernism has to tell. In the early twentieth century, vers libre or “free verse” also became the preferred vehicle for pursuing new political freedoms. Alongside modernism’s new aesthetics, poetry also helped to launch new liberatory political campaigns—for racial, gender, class, and sexual equality—which changed the course of the twentieth century.

This course in Modern British and American poetry will provide you with an opportunity to explore the aesthetic and political experiments of modernism. Although our readings will focus primarily on poetry, modernism impacted all of the arts. Much of the work we will examine experiments with language, as well as painting, photography, dance, and music. Students with an interest in the history and politics of modern art are strongly encouraged to join us. This course does not require any previous background or expertise in modern poetry—only a desire and willingness to explore these difficult and important works together.

Our readings will include selections of poetry and prose by Ezra Pound, T.S. Eliot, Gertrude Stein, William Butler Yeats, Robert Frost, Edna St. Vincent Millay, Mina Loy, Marianne Moore, Langston Hughes, Jean Toomer, Claude McKay, and many others, along with books of poetry by H.D. and William Carlos Williams.

Post-Colonial Literature:  Homelands
EN 376.01 - MW 3:00-4:15
Professor June Ellis

The first step towards changing reality is to re-describe it (Salman Rushdie, following Richard Wright).  Working from this urgent premise, the writers in this course work to discover what it means to be at home in the world, in language, in culture, in spirituality, in creativity, in ourselves.  Who gets to describe reality?  The answer affects what we make of ourselves and our future.  Readings in this course present world-expanding definitions of honor, of compassion, and of justice.  Likely writers include Chandra, Rushdie, Achebe, Mukherjee, Wendt, Hau'ofa, Orange.  Blogs, oral presentations, two exams, good-humored discussion; service-learning option available.

Seminar: Transgression and Transformation in Multiethnic American Literature
EN 388.01 - T/TH 9:25-10:40
Professor Jean Lee Cole

This course examines how life is sustained, nurtured, sparked, and transformed through imaginative and frequently transgressive responses to racialized trauma. Authors will include M. NourbeSe Phillips, Theresa Hak Young Cha, Ana Castillo, Luis Valdez, Leslie Marmon Silko, Zora Neale Hurston, George Herriman, and Charles Chesnutt. Course requirements: active participation in class (including leading one class session), weekly discussion/blog posts, final seminar project. The seminar project may take the form of an independent research paper or a service-learning project. The service-learning option will require students to engage in approximately 20 hours of off-campus service to a local organization.

English Honors Seminar:  Imagined Innocents:  The Child Narrator in Fiction and Film
EN 409.01 - T/TH 1:40-2:55
Professor Nicholas Miller

This seminar will explore the theme of the child as witness to and teller of his or her own story. Observing a variety of child narrators in fiction, non-fiction, and film, we will seek to understand how childhood has been “invented” in these texts and in different periods of history. Child narrators are often supremely (and hilariously) unreliable; can the child’s point of view also be at times uniquely trustworthy? How do fiction and imaginative fantasy enable children to come to terms with experiences of trauma, fear, shame, and the like? How does the act of telling help young people navigate family relationships and the passage to adulthood? Do child narrators gain credibility or authority by assuming particular roles—the precocious savant, the trickster, the innocent—and what might it ultimately mean to become the hero of one’s own story?

Possible texts to be studied include Mark Twain’s Huckleberry Finn, short fiction by James Joyce and Alice Munro, Mark Haddon’s The Curious Incident of the Dog in the Nighttime, Ian McEwan’s Nutshell, Yann Martel’s Life of Pi, Michael Ondaatje’s The Cat’s Table, Emma Donoghue’s Room, Lynda Barry’s Cruddy, and Muriel Barbery’s The Elegance of the Hedgehog.

Possible films include Henry Selick’s Coraline, Bo Burnham’s Eighth Grade, Francois Truffaut’s The 400 Blows, Claude Barras’ My Life as a Zucchini, Sean Fine and Andrea Nix Fine’s Inocente, Benh Zeitlin’s Beasts of the Southern Wild, Rolf de Heer’s The Quiet Room, Richard Linklater’s Boyhood, Stephen Daldry’s Extremely Loud & Incredibly Close, and Steven Spielberg’s E.T. the Extraterrestrial, as well as (possibly) past and current work by students at Baltimore’s Wide Angle Youth Media.

Please note:

1. Following long-standing tradition, the faculty and student members of the English Honors Seminar will work together to plan the Department’s annual literary feast in December, drawing on themes from the course. Students enrolling in EN409 should do so with the understanding that creative feast planning will form a significant part of their course responsibilities, especially in the second half of the semester.

2. EN409 is a pre-requisite for completing a Senior Honors Thesis in the English Department.

3. Enrollment in EN409 is by invitation only.

Anna DeBlasio

Anna DeBlasio

An actor and singer, Anna says she cultivated her career in the arts through grants from Loyola

English, Fine Arts