uw honors essay examples

My UW essays

Here are all the essays I wrote for admission to the University of Washington. The UW application actually did not allow unicode characters like smart quotes and em-dashes, nor did it accept italics, so the essays as displayed here are in their intended form, not as they were submitted. Note that I don’t necessarily agree with all of what’s said below anymore (hence the belief tag).

Thanks to KL for the extensive feedback I received while writing these essays. I also received minor feedback from others.

General admission essays

Personal statement.

Prompt B. Tell us a story from your life, describing an experience that either demonstrates your character or helped to shape it.

Having lived both in the United States and Japan, I have suffered the common problem of balancing one’s identity: whether to stay essentially in one land and occasionally poke one’s head out to say hello to the other; whether to play the eclectic magician and pull from both roots the cure to the disease of nationalism; whether to proclaim one’s allegiance to humanity and humanity alone, thus avoiding the question altogether. It would be wholly dishonest to say I have dealt with the problem well; but in my personal experience I have seen transformations of my thought, whose culmination isn’t so trite as “I have gained useful experiences from both cultures”!

But allow me to declare that I will approach this topic from the more fragile, Japanese side. My childhood, from years three to ten, was spent in Japan. Strangely, though I lived in Tōkyō—the center of action—my mind recalls almost a pastoral perfection from this period. This does not imply any geographic quality, but rather that life, because of my innocence, seemed detached: the summertime fireworks, with the delicious smoke, were severed from the piling of dark leaves and playing with sticks, and both of these were separate from the long walk along the river with friends, chasing after a milk bottle cap.

Fly forward five years from my last year in Japan, and we are three years behind the present: there is a change; I live in Bothell; the mind is forming an opinion. During a summer visit to Tōkyō, I saw the sultry streets of my old home clearer than in any previous year, with all its ugly connectedness obvious: the odor of cigarettes and urine painted on every surface; people lined up to feed the machines of pleasure with their overtime pay; everyone buying a train ticket to go nowhere and do nothing, only to find a nervous comfort in their own nests again. This impression, almost oddly artistic by now, so thoroughly shattered the idyllic vision of my childhood city that despite the urgings of my family, I did not return to Japan the following year.

Though I would not discover the works of the author Ōe Kenzaburō until much later, I can see now that I was in the process of being uprooted by what Ōe calls the Ambiguous: a dissonance engendered by two contradictory impressions. This particular incarnation of the Ambiguous occupied me for two years, and for these years my only contacts with Japan were conversations with my Japanese mother, and the Japanese school that I attended on Saturdays, which was steadily becoming for me an annoyance. But (if the continued anachronism is to be pardoned) Ōe had spent his life in Japan, so for him the Ambiguous was unavoidable; for me, the situation was quite different: having spent half of my life in the US by this time, I saw myself a refugee, a vehement critic of that derelict nation, who through reason alone had justified the superiority of the country with the global language.

But a slower change came in the autumn of last year: I began to renew my interest in Japan. It is difficult for me to ascertain exactly what caused this change, but two possibilities seem the most likely. First, my increasing frustration with one of my passions, mathematics, convinced me to find an alternative topic of research, so that I could shift back and forth. Second, my interest in literature as an art led me to an obvious starting point: works written in Japanese. But by now the obstacle is obvious: my ability to use the language had thinly escaped destruction. Thus began my intense study of Japan. And here I am, one year later: I am still reading Ōe; I have returned to Japan; I am unsure what the solution is, but endurance—what Ōe calls nintai —is my tentative answer.

Word count: 648/650.

Short Response

Prompt 1. The University of Washington seeks to create a community of students richly diverse in cultural backgrounds, experiences, and viewpoints. How would you contribute to this community?

The word “contribute” invokes in me a discomfort. On the surface, I see zealous students eager to spread their message, and demanding adults prodding them. And below, there is universal indifference, a kind of despair. But I cannot hold inside of me such ostentatious deceit—at least, not for long. For if I value one thing, it is small honesty.

I like to see myself as a stone, sunk at the bottom of a deep and sedulous river. I am breathless, and yet I ever so slightly hold back the current. This current—call it “intolerance” or “apathy”—swims in each of us, and, if we are unlucky, overtakes us. It cannot but seek the lowest elevation. On this riverbed, I am, by any definition, insignificant: I am just a small salience stuck in the mud. But I shall stand resolutely, open to any lifeless provocation; and given time, some others may join, forming a diminutive dam of detritus. No doubt some will become dislodged, and no doubt of those that are left, each of us is unimportant individually. But there is a chance, perhaps, that a fisherman on the bank will notice the current slowing; if not, all is well: the debris can feel it slowing.

Can one observe this river in reality? To be sure, the river exists, but its current is more chaotic; it is harder, then, to spot a pronounced thread. But one context in which I daily encounter it is what may be termed “educational desperation”. Being at times slightly better at navigating class material, I am sometimes asked questions. It may be a quick clarification for a passage in a novel, or an explanation of some concept in chemistry, or tips in computing a tricky integral. The current of questions is strong, and although I want to help, I know that answering these questions will have no effect on the current. To fight the current, one must strive for true understanding, not just a number. Curiosity is a requirement.

At times also I read a Japanese book at school. Then, occasionally, someone will ask me questions: “What language is this?” “So are you reading Sartre in Japanese?” “And which way do the words go?” Most of the time, the conversation will end quickly, and the inquirer will leave with nothing more than the added knowledge that some languages are written in different directions. But even this I find superior to helping with schoolwork, for I respond to a specific curiosity. These questions, moreover, can turn into more: it can propel someone into a promising study of Japanese writing or culture; this is the “true way”, in Kafka’s sense.

By being a stubborn stone in the river, that is, by quietly assisting those wanting to discover and understand, I believe I accomplish something important. In this sense, “contribute” becomes genuine, and becomes something I want to do in high school, university, and beyond.

Words: 488/500.

Honors essays

Interdisciplinarity essay.

Honors 1. Why do you want to incorporate our interdisciplinary liberal arts curriculum into your undergraduate experience? What contributions will you make to our community?

Bertrand Russell wrote in the prologue to his Autobiography of three passions that guided his life: love, intellectual curiosity, and pity for the suffering. In educating oneself, although all three of these passions are important, one’s focus does become more intellectual. What is essential, then, is to allow oneself the freedom of moving between passions while also focusing on specific goals.

Even within intellectual pursuits there are perceived categorizations that can severely limit self-actualization. One such categorization is between the humanities and the sciences. I have always focused my studies on one or the other: when engrossed in the abstract beauty of set theory, I am less aware of literature; when I am engaged in studying James Joyce’s works, I do less mathematical proofs. A certain shift in focus is healthy, but a total severance is catastrophic, for being too narrow renders the mind provincial.

The other harmful categorization I see is between absorption and creation. Intellectual curiosity can mean seeking useful information; however, research is only half of the experience. It is important also to use one’s creativity, to apply one’s learning to bring about something new. Creativity is not simply completing assigned work: it means reading a mathematical proof and trying to attain a more general result; it means reading Joyce and trying to emulate his interior monologues.

Although creativity need not be public, I believe by projecting my work outward I can most contribute. Authors like Ōe Kenzaburō masterfully quote other writers in their works, spreading important insights. But sharing need not be as elaborate; it can be simple, like the illumination of a line of verse, or an obvious yet ingenious trick in proving a theorem. Learning, I believe, is the constant exchange of useful information: one cannot do it alone, for knowledge must be shared.

“Lost its meaning” essay

Honors 2. Identify a word or phrase in common use that you believe has, “lost its meaning.” Explain what you think accounts for the loss of meaning and what might be done to restore appropriate meaning to the word or phrase you have identified.

No word in the English language has more exponentially deteriorated than the word “math”. The word generates an infinite conflict, for its whole geometry is false, and this can be proven algebraically. There are a few factors, but first we must ask “What do we now mean by ‘math’?” The conventional meaning is easy, for we all do “math”: we sit in a “math” class, listen to the teacher talk, scribble with a pen (hello Vi Hart!), “peruse” the “math” book. Now examine the inverse: who are the “mathematicians”? Do they go around reciting the digits of e or solving for the roots of a cubic function? Certainly not: that would be irrational.

The problem is that most people haven’t a clue what “math” really is. People think “math” is what they learn at school. But what they learn at school is … “computation”, which is what computers do (not humans). Real math isn’t a formula; it is an exploration. It is art in its highest form. Real math requires inquiry: how does a computer handle ones and zeroes? How can one deduce an optimal diet? Why does multiplication work in the first place? And so on: all questions that inspire curiosity.

What is in our power to solve this grave matter? To be perfectly honest, there is only an infinitesimal chance that we can contribute. But here is something that almost surely anyone can do: before spitting out, “I’m doing math” (with contempt), ask: “Am I really exploring ideas I am curious about?” If the answer is “No”, stop! Say “I’m doing some computations”. But most importantly: explore! Find an incongruity; seek, and sedulously pursue it. Don’t give up. Report to a friend your progress, and repeat ad infinitum !

Words: 290/300.

Extracurriculars

I believe these were limited to 100 words each.

Seattle Japanese School and Studying Japanese. I have attended the Seattle Japanese School since fifth grade. I have consistently earned good grades, and have also participated in school-wide events like the annual Sports Festival. However, as the school alone is inadequate for leaning Japanese, I also read Japanese literature to increase my knowledge. Most recently, I have been reading the works of Ōe Kenzaburō. It has been stunning to see that the literary techniques I had learned for English could be replicated in Japanese. As Ōe often writes about post-WWII Japan, I have also been influenced by his thoughts on psychological confinement and humanism.

Independent study of mathematics. Not being satisfied by mathematics at school, I have been dedicating my time to understanding the reasons why various concepts in mathematics work. To understand why addition and multiplication work consistently, I read and did exercises in Terence Tao’s Analysis I ; to see why numbers could be defined as sets, I began reading Bertrand Russell’s philosophy of mathematics and Paul Halmos’s Naive Set Theory ; to understand why material implication is defined the way it is, I spent two years reading blogs, PDFs, and various books on logic. Through this, I have trained my mind to be methodical but also creative.

Aikido. I have been participating in the Japanese martial art of Aikido. My current rank is 5th Kyu. Training with the people in my Aikido class has increased my strength and awareness, and practicing the moves in the art has allowed me to react to the various attacks. Psychologically, it has also alleviated my phobias of eye- and bodily-contact. Furthermore the experience has enriched my life even outside of the class. When walking around at school, for example, or when I am in very crowded places, I have an increased awareness of my movements.

Tutoring (various). I have tutored people on various occasions. Last year in school, I tutored students studying Japanese. It is difficult to say how much impact I had, but I was able to help them complete their homework. This year in school I have been tutoring (in Spanish) students that recently arrived from Mexico. Since my command of Spanish is weak, the experience has been refreshing as I fumble for the desired expressions. Outside of school, I have volunteered for the Study Zone program at my local library. Through this I have helped the community by making homework a little more bearable.

Trail party at the Soaring Eagle Park. On three separate occasions, I helped out within a trail party at the Soaring Eagle Park in Sammamish. The work consisted of various trail- maintenance tasks, such as digging trenches to carry eventual rain off the trail, clearing the foliage of a fallen tree, and replacing mud puddles with fresh soil. Learning about trail-maintenance and connecting with the other people there was enlightening. Moreover the raw physical exhaustion on all three days was intoxicating. Philosophically, knowing that all of my accomplishments would soon be washed clean by the rain was disconcerting but also oddly pleasing.

• A few people I know have similarly posted their college application essays online, including Brian Tomasik .

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Sat / act prep online guides and tips, 4 tips for writing perfect university of washington essays.

College Essays

The University of Washington is often ranked among public Ivy Leagues —that is, public schools with the academic clout and selectivity to elevate their reputations. So if you want to be a Husky, it's not just about good grades and test scores. You'll also need to prove yourself with a good University of Washington essay, combining your technical skill with your knowledge of the school and your reasons for wanting to attend to attract attention from admissions officers.

But to do that, you need to know how to write great UW essays. The University of Washington uses the Common Application , which can be submitted to multiple schools and includes an essay section with several different prompts. The supplemental UW essay prompts are pretty standard, but we have all the helpful tips you need to make sure your application is set to impress.

Feature Image: Cody Logan/ Wikimedia

What's Included in the University of Washington Essay Section?

There are two required essays you need to write for the University of Washington, along with an optional third essay. These essays are:

• Common App essay (650 words)
• Short response (300 words)
• Additional information (optional, 200 words)

Part of the Common App includes answering an essay prompt in 650 words or less. While there are seven Common App essay prompts, the University of Washington doesn't allow you to choose which prompt to answer; all applicants must answer the same prompt and submit them as part of their Common Application .  

The University of Washington application also includes a required short response question of 300 words and an optional short essay of 200 words.

Additional space is available, but it's recommended that you don't take it unless you absolutely need it. Show restraint when responding to UW essay prompts; it shows that you can be concise and follow directions , and you won't run the risk of volunteering too much information or making yourself memorable for the wrong reasons. That said, we'll cover some exceptions below!

What Is the Common Application Essay Prompt?

Although there are seven Common App essay prompts , the University of Washington requires you to answer a specific prompt; you don't get to choose. The maximum length of this essay is 650 words, but the University of Washington recommends the essay be closer to 300-400 words.

This is the Common App essay prompt you must answer:

Tell a story from your life, describing an experience that either demonstrates your character or helped to shape it.

This essay prompt is pretty broad; it allows you to focus on any significant experience in your life. To answer it effectively, you'll want to relate a specific anecdote or event that had a strong impact on you as a person and how you define yourself today.

When answering this prompt, you'll want to choose a particularly significant experience. It doesn't need to be super rare, but the experience should hold deep meaning for you. Ask yourself: what defines you? What do you find important? Can you connect a key part of your personality or a goal you have to a specific event in your life?

You should also focus on only one experience. Don't try to cram in as many stories as possible—concentrate on the one incident that's most important to you, and use this essay as a chance to really delve into the specifics of it. How did the experience make you feel at the time? Why did it have such an impact on you?

If you decide to write about a negative experience, try to put a positive spin on it. You don't need to stick with a happy-go-lucky story—maybe you lost a friend because of a heated argument, or forgot to pick up your little brother from school one day. Regardless of the incident, keep the focus on how this situation ultimately taught you something important about life, such as the value of responsibility or the meaning of maturity.

Tips For Brainstorming Topics for Your University of Washington Essay

If you're struggling to come up with an experience to write about, try these brainstorming ideas:

• A time you helped someone in need, such as a friend, a classmate, or a sibling, and how your assistance revealed to you the value of cooperation or compassion. For example, did you tutor a peer in math? Help your sibling recover from a bullying incident?
• A time you made a mistake or acted against your true character and what this taught you about morality and being true to yourself. Perhaps you lied about a grade you got to your parents or said something out of anger to a friend and later regretted it.
• An incident that emphasizes a particular skill or ability you have. For example, you could write about the time you organized a winter holiday food drive at your high school and how it highlights your leadership skills and passion for social work.
• A time you faced a challenge and how you ultimately overcame it. Maybe you struggled severely with geometry and were about to fail your math class, but because of a great friend who encouraged you to keep trying, you eventually raised your grade from a D- to a B.

When writing this essay, make sure to avoid pretending something is more important or unique than it actually is. Don't tell a story the admissions committee has likely heard hundreds of times. Choose an event that speaks to your life and has had a large impact on how you see yourself. Basically, don't write about what you think the admissions committee wants to read. For example, instead of discussing how you've been in Honor Society since 9th grade, it'll be a lot more interesting if you wrote about somebody you met through Honor Society or why you decided to drop out of it.

Also, don't focus too much on the negative part of the story. While it's OK to write about a time when you made a mistake, did something wrong, or faced a challenge, try to avoid writing only about the bad parts. Your story should overall be optimistic and reveal something positive about yourself.

What Is the Short Answer Prompt?

Once you've finished the Common Application essay, the University of Washington has an additional requirement for you—a short response question with a 300 word limit.

The University of Washington suggests that concise writing is particularly valuable, and recommends that the Common App essay be between 300 and 400 words rather than 650. Though they don't offer word count recommendations for the other prompts, it's best to assume they're looking for short answers. Cutting out 100 words might feel excessive, but do try to leave some breathing room within your essay rather than squeaking in right under the allotted 300 words .

Additionally, the University of Washington states that students tend to answer this essay more informally than the longer essay. However, they expect formal, polished essays for both prompts, so don't slack off on proofreading or editing this essay.

For the UW short response essay, here is the required prompt:

Our families and communities often define us and our individual worlds. Community might refer to your cultural group, extended family, religious group, neighborhood or school, sports team or club, co-workers, etc. Describe the world you come from and how you, as a product of it, might add to the diversity of the UW.

UW offers a helpful tip right below the prompt: "Keep in mind that the UW strives to create a community of students richly diverse in cultural backgrounds, experiences, values and viewpoints." What this means is that UW wants to see students who are going to be right at home in that diverse student body. When answering this question, consider specifically what you might add to the community. What perspective do you bring? What traits make you a good fit?

Some students might struggle with this, because it's easy to assume that UW means they're only looking for students from diverse backgrounds, such as students of color, LGBTQ+ students, or students of other marginalized identities. But the prompt doesn't at all mean that you have no chance if you don't belong to one of those communities. Students who fit into those groups may have an easier time of identifying what diversity they bring to the school, but belonging to a marginalized group doesn't in any way guarantee admission.

The University of Washington is looking for students who foster and embrace diversity, so be sure to think on those terms. Consider, for example, how your rambunctious family Thanksgiving taught you to embrace chaos, and how your ability to stop Great Aunt Kathy from throwing mashed potatoes at your cousin for bringing up a sensitive political issue translates to a college campus. Think about how having several different friend groups in high school—nerds and jocks, for example—taught you to move between spaces while always being your authentic self.

For students who are of marginalized backgrounds, the same advice still applies. You likely have different lived experiences than other students, but UW wants to know exactly what you're going to bring to the student community . You can discuss advocacy work, for example, or how your less advantageous upbringing taught you to work hard for everything you want. Always come back to that request to "Describe the world you come from and how you, as a product of it, might add to the diversity of the UW."

Embracing diversity isn't just about being a member of a marginalized community; think about how you participate in your social groups and how your experiences before college will help you have and, more importantly, create a good experience for others. Again, it's not about what identity you do or do not have, but rather about how you build communities and support others. UW is a big school, but you'll still be interacting with people from all walks of life on a daily basis—how will you navigate difference and fit into a student body made up of so many different people?

Let UW know exactly how they're going to help you make a slam dunk.

What Should You Add in the Additional Information Section?

The University of Washington essay prompt offers an additional 200 words for you to talk about yourself and your unique circumstances. This section is optional, and UW advises that the following types of students may benefit from taking the opportunity to expand on their application:

• You have experienced personal hardships in attaining your education
• Your activities have been limited because of work or family obligations
• You have experienced unusual limitations or opportunities unique to the schools you attended

Even if you don't fall into one of these groups, it's wise to take advantage of this additional space. Everyone has a goal that's important to them, after all, which is explicitly included in the second bullet point. However, you only have 200 words, so you'll need to make them count .

Again, UW mentions earlier in their guidelines for the writing section that they value brevity. Don't try to hit that 200 word mark just because it's there—use only the space that you need. Be succinct and clear about any obstacles you've overcome, what draws you to your major, and what makes you want to attend UW specifically.

For example, say you, like many prospective UW students, are interested in becoming a doctor. The University of Washington is highly ranked among medical schools , so saying you want to go there because it's a good medical program isn't doing any legwork in setting you apart from other students . Instead, use this space to talk about why your major is important to you, and why placement at UW is going to help you achieve more.

Following the medical school example, maybe your primary care doctor was a UW grad, and the depth of care they gave you convinced you it wasn't just what you know as a doctor that matters, but also how you deploy that knowledge. Because you want to make the same difference in somebody's life, you're applying to UW to have access to the same information and instruction that your doctor did. In essence, use this space to explain something you didn't have space to explain elsewhere, but make it count .

Be careful not to retread the same ground! This is an opportunity to flesh out your application, not to hammer something home. If you haven't had a chance to discuss that your grades slipped sophomore year because of a family illness or that your local library has a special box for you because of all the engineering books you keep checking out, now's the time to mention it. Keep it short, direct, and original—the admissions office is reading this supplemental section in the context of your application, so you don't need to revisit anything.

Careful not to fall into the trap of using more space than you need.

Should You Use the Additional Space? How?

It can be tempting to use UW's provided additional space to squeeze a few more words into your application, but resist it . Those word counts are there for a reason, and you should aim to get under, not exceed them.

That said, there are legitimate reasons to use this additional space. The University of Washington mentions clarifying answers from elsewhere on the application or providing extra information to the admissions office.

If you have special considerations as a student that you want to be sure the office is aware of, but that you didn't discuss in the previous additional information section, you could include that here. You could also include relevant awards or distinguishing recognition you've received. If your high school had an unusual grading system, it might be useful to explain how to interpret your grades.

But don't take the lack of a word requirement to mean that you can talk about whatever you want, or that you should use this space to expand on one of your earlier essays . Use only what you need, no more. Try to keep it under 200 words. Brevity is important!

Tips and Advice for the University of Washington Essays

Specific advice for each prompt will help you craft a better essay, but there are some general things to keep in mind, too !

Proofread Your UW Essays

It's a small space, so there should be fewer mistakes, right? Nope . You still need to proofread . Consider writing your essays by hand and then transcribing the drafts—it feels like more work, but turning written words into typed words is a great way to spot mistakes. Go through multiple drafts, and read your essay out loud before you submit it.

Don't let typos get through; no matter how good the rest of your essay is, a typo will make it look as though you didn't edit it at all, suggesting you didn't take your time. Do everything you can to avoid the perception that you wrote it up without thinking! On the UW admission website they are very specific that you should “write like it matters, not like you’re texting. This is an application for college, not a message to your friend.”

Get Editing Help

Seek feedback from those you trust, not just those who are going to tell you your essays are great . You want your essays to be as good as possible, so let people who are going to be truthful with you make suggestions. They'll help you write a better essay, and a fresh pair of eyes can spot holes in your logic and errors you might miss after repeated revisions.

Think about going to teachers or counselors rather than friends or family. Though they undoubtedly want to help you, they might also be worried about hurting your feelings. Someone who's a little more objective but still wants to see you succeed is the kind of editor you want.

Be Specific

Always remember that you're applying to the University of Washington. Don't just write an essay that could impress any college (that's what the Common Application essay is for!); write one that ties into UW's core values . Their vision includes an emphasis on discovery, research, community, optimism, and even celebrating the natural beauty of the Pacific Northwest. All of these are angles ripe for exploration in your essays . If one of your answers is lacking, try folding a little of this vision into it by finding parts of your essay that match the mission and making them stand out more.

Read Essays That Got Students Into UW

It can be tricky finding essays that got applicants into UW, but it can also be a great indicator of what the school values in an application. Take these essays by Issa Rice . Though written for a different set of prompts, it's not hard to see why Rice was accepted.

Notice how his essays could only come from him; they're so tied to personal experience that it's unlikely anyone else would have the same essay. That's the kind of personalization you want to strive for. Your essay should speak about your own unique experience and leave the admissions office with a clearer picture of who you are as a person, not just as a collection of grades and test scores.

What's Next?

Crafting a perfect essay is just one part of the admissions process to the University of Washington. Because UW is a moderately selective school, you need to be aware of all admissions requirements before applying to be sure that your application is up to snuff .

As you're writing and rewriting your UW essay, be sure that it meets all the guidelines of a good college essay in addition to the UW requirements. A little extra polish will go a long way to cementing your application in the admission office's memory!

If you're struggling to understand why UW uses the Coalition App and what that means, never fear! We have all the information on what distinguishes one application system from another , helping you plan your college applications with less stress.

Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education.

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Your chance of acceptance, your chancing factors, extracurriculars, help with university of washington honors essays.

Hey guys! I'm planning to apply to the University of Washington's honors program, but I'm unsure about how to approach the honors essays. Can any current honors students or people who've applied in the past share tips or insight into what they're looking for? I would be super grateful!

Hi there! While I'm not a current honors student at the University of Washington, I can offer some advice on how to approach the honors essays. The main goal of these essays is to showcase your intellectual curiosity, passion for learning, and ability to think critically.

1. Be genuine and specific: Honors programs seek students who are genuinely interested in experiencing a more rigorous academic program. Reflect on your academic strengths, extracurricular activities, and personal experiences that demonstrate your intellectual curiosity. Make sure they align with the University of Washington Honors Program's values.

2. Show your passion: Express enthusiasm for the subjects you're genuinely interested in studying, and make connections to experiences or projects that sparked your curiosity. Share why you believe the honors program will be a good fit for you and your educational goals.

3. Demonstrate critical thinking: The honors essays should also show that you can think critically and analytically. Try to share examples of situations where you have used these skills, whether in an academic or non-academic context.

For more tips, you can check out this post from collegevine ( https://blog.collegevine.com/how-to-write-the-university-of-washington-essays) that not only details how to write the honors essay, but also the general UW essays!

About CollegeVine’s Expert FAQ

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Home — Application Essay — Liberal Arts Schools — UW Interdisciplinary Honors: My Vision for Studying in Program

UW Interdisciplinary Honors: My Vision for Studying in Program

• University: University of Washington

About this sample

Words: 308 |

Updated: Nov 30, 2023

Words: 308 | Pages: 1 | 2 min read

Whether we like it or not, life is messy, and the world is messy; it doesn’t make sense to assume that the subjects taught in school are abstract and insular concepts, neatly categorized and inevitably isolated from one another by the five-minute passing periods between them. Debate has exposed me to vast fields of academic scholarship that I never imagined to even exist, and I’m glad for it. From Agamben to Zizek and everything in between, I’ve discovered that oftentimes, whether it’s IR theory, scientific publications, critical race theory or gender studies, interdisciplinary connections within UW Interdisciplinary Honors are not just the products of curiosity and exploration but also crucial to the understanding of the academic subject itself.

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Research my debate partner and I have done, for instance, centers on how the portrayal of Chinese women in the media, in film, and in pop culture reflects the history of American engagement with China in terms of patterns of colonialism, immigration, and economic and racial integration and exclusion. A second key component of our research is concerned with how the above ideas frame and implicate American policymaking apparatuses with regards to political engagement in the domestic sphere, and foreign policy on a global stage. To refuse to investigate these connections in any academic area is to miss key parts of the story, and to severely hinder attempts at taking action.

I think that interdisciplinary studies are central to achieving a holistic worldview, and necessarily relevant beyond academia: for what is a scientist without awareness of the societal implications of research; what is an economist without awareness of how history plays a role in gentrification or racial disparities; what is an engineer without awareness of the public policy that frames her projects; and what is an IP lawyer without awareness of the technology she defends? This is why I choose the UW Honors Program.

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University of Washington Essay Prompts and Tips (2022-23)

July 24, 2022

The University of Washington’s main campus in Seattle isn’t the type of public school that just services local residents. Rather, UW-Seattle attracts twice as many applicants from out-of-state/country than in-state each year. Top-ranked computer science, engineering, business, and nursing programs, in particular, attract an endless stream of high-caliber applicants from around the globe. Great grades and test scores will put aspiring Huskies on strong footing. However, the University of Washington also requires you to address two supplemental essay prompts.

 (Want to learn more about How to Get Into UW? Visit our blog entitled:  How to Get Into the University of Washington: Admissions Data and Strategies  for all of the most recent admissions data as well as tips for gaining acceptance.)

Let’s dive right in and begin examining the one required essay, one required short response, and optional Additional Information section.

University of Washington Essay Prompt #1 (required)

Tell a story from your life, describing an experience that either demonstrates your character or helped to shape it. (maximum length: 650 words)..

This essay prompt succeeds in being both a) simple and straightforward and b) immensely challenging for many applicants. As you brainstorm, remember that the admissions committee is not looking for a rambling list of things you believe in the abstract. Instead, they are specifically asking for one experience that is revealing of your character and/or life story.

For many students, settling on a singular incident in their lives that will speak volumes about the core of their being is not an easy task. You could write about a moment of individual triumph here, but don’t rule out sharing about an incident where, for example: You are not the hero of the story, you had a humbling experience, or you changed a previously held belief.

The good news here is that you have up to 650 words to tell this story, which means you will have plenty of real estate in which to share rich details that will make your essay more compelling.

University of Washington Short Response #1 (Required)

Our families and communities often define us and our individual worlds. community might refer to your cultural group, extended family, religious group, neighborhood or school, sports team or club, co-workers, etc. describe the world you come from and how you, as a product of it, might add to the diversity of the uw. (maximum length: 300 words)..

Straight from the UW admissions staff, “Keep in mind that the UW strives to create a community of students richly diverse in cultural backgrounds, experiences, values and viewpoints.”

Your answer here could be about an ethnic, religious, or neighborhood community/identity or a group of individuals who gather for a club, sport, or service project. Whichever elements you choose to focus on, make sure that you use your writing ability to  show  the admissions officer what type of community member you are rather than merely  telling  them.

You can also discuss how you have engaged with your high school local/community and what you have learned from interacting with people of a different ethnicity, religion, gender, sexual identity, etc. Draw on past evidence of your commitment to being a positive force in your community. You can also speculate how that is likely to manifest on the University of Washington’s campus. Research and cite student-run organizations at UW-Seattle, local nonprofit groups, or anything else you are excited about. The admissions committee wants to understand precisely how you will contribute to their campus community of 35,000+ undergrads. Drawing the link between your past efforts and future aims is critical here.

Additional information about yourself or your circumstances (Optional)

You are not required to write anything in this section, but you may include additional information if something has particular significance to you. For example, you may use this space if:

• You have experienced personal hardships in attaining your education
• Your activities have been limited because of work or family obligations
• You have experienced unusual limitations or opportunities unique to the schools you attended

Maximum length : 200 words

Unlike many optional essays that are not really optional for serious applicants, the UW Additional Info essay is one that you can feel free to skip unless you have a serious hardship/limiting circumstance to report. For more, visit our blog entitled: Should I Use the Common App Additional Info Section?

How important are the essays at the University of Washington?

UW-Seattle only labels three factors as being “very important” to the admissions process. Those factors are: the rigor of your high school coursework, GPA, and your application essays. In fact, the essays are rated as being of greater importance than test scores, extracurricular activities, or talent/ability.

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The Office of Admissions will be closed Friday, May 31, 2024, for in-person walk-in appointments. However, we will be available by phone and email . Campus tours will operate normally.

Freshman writing section

At the UW, we consider the college essay as our opportunity to see the person behind the transcripts and the numbers. Some of the best statements are written as personal stories. In general, concise, straightforward writing is best, and good essays are often 300-400 words in length.

Please note that the UW essay questions must be answered within our application. For the Common App, that means within our UW questions. We do not consider the Common App essay.

Essay prompt [required]

Tell a story from your life, describing an experience that either demonstrates your character or helped to shape it.

Maximum length : 650 words

Short response [required]

Our families and communities often define us and our individual worlds. Community might refer to your cultural group, extended family, religious group, neighborhood or school, sports team or club, co-workers, etc. Describe the world you come from and how you, as a product of it, might add to the diversity of the UW.

Maximum length : 300 words

Tip :  Keep in mind that the UW strives to create a community of students richly diverse in cultural backgrounds, experiences, values and viewpoints.

Additional information about yourself or your circumstances [optional]

You are not required to write anything in this section, but you may include additional information if something has particular significance to you. For example, you may use this space if:

• You have experienced personal hardships in attaining your education
• Your activities have been limited because of work or family obligations
• You have experienced unusual limitations or opportunities unique to the schools you attended

Maximum length : 200 words

Format for the essays

• Content is important, but spelling, grammar and punctuation are also considered.
• We recommend composing in advance, then copying and pasting into the application. Double-spacing, italics and other formatting will be lost, but this will not affect the evaluation of your application.
• We’ve observed most students write a polished formal essay, yet submit a more casual short response. Give every part of the writing responses your best effort, presenting yourself in standard, formal English.
• Proofread, proofread, proofread!

Tip :  Write like it matters, not like you’re texting. This is an application for college, not a message to your friend. Get some hints in the video:

All writing in the application, including your essay/personal statement and short responses, must be your own work.  Do not use another writer’s work and do not use artificial intelligence software (ChatGPT, Bard, etc.) to assist or write your statement.

Per Washington state law and University of Washington policy , all admissions staff are mandatory reporters of child abuse and neglect. Any statements in written materials that give admissions staff reasonable cause to believe abuse or neglect of someone under the age of 18 may have occurred must be reported to Child Protective Services or the police. Learn more about University reporting requirements . 

If you or someone you know is a survivor of sexual assault or other sexual misconduct, RAINN is a national hotline that provides support and referrals. Call 800.656.4673 or visit the website for a chat option. For individuals who have experienced domestic violence or intimate partner violence, the National DV Hotline offers phone, chat, and text options for support.

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How to Write the University of Washington Essays 2020-2021

This post has been updated! Check out the 2021-2022 University of Washington essay guide .

The University of Washington is the state of Washington’s flagship university and its premier public university. U.S. News ranked it as 62nd on the 2020 National Universities List.

UW has a 49% acceptance rate, and of the admitted students, the middle 50% achieved  3.75-3.99 GPAs, 27-33 on the ACT, and 1240-1440 on the SAT. UW is a member of the Coalition for College, so prospective students apply through the Coalition application. 

There are two required essays, one being the first Coalition Application prompt, and the other a standard prompt on diversity and community. There is also an optional space to address any unusual circumstances, as well as two Interdisciplinary Honors Program prompts. For a detailed breakdown of each prompt, read on. Want to know your chances at the University of Washington? Calculate your chances for free right now.

For All Applicants

Required: tell a story from your life, describing an experience that either demonstrates your character or helped to shape it. (500 words).

This prompt is the first of the five options on the Coalition Application and is purposefully phrased nebulously to allow for a wide range of responses. You can relay any experience that reflects or shaped who you are. 

To start, examine your many identities, and choose one that you want to highlight. All experiences are valid, whether they are traditional or unconventional. Focus on the things that make you different from others, and reflect on how they shaped you as a person. Remember that this is your main college essay, so be sure to pick an experience that was integral to your growth throughout high school. 

This is a good chance to tell the story behind any major extracurriculars on your activity list. For example, you might write “debate team captain” as an extracurricular, but this essay is where you can recount the grit and dedication it took for you to reach that position, as you once were extremely shy. You can also use this space to explore identities that don’t appear elsewhere on your application, such as your role within your family. For example, you can write about how you tutor your younger brother in math, and how watching his face light up after understanding a new concept sparked your love of teaching. 

A common theme across all college essays is “show, don’t tell.” This phrase is thrown around frequently, but is easier said than done. A few things to keep in mind when showing rather than telling are vividness and authenticity, which can be created by invoking imagery and specific details. For example, rather than saying “I like tennis and the game has always fascinated me,” try conjuring an image in the reader’s mind such as “At the start of my first official match, I gripped my trusted red racquet tightly, swaying ever so slightly from foot to foot in the ‘ready’ stance that I had practiced for years.” While the first response may be true, it is generic and can apply to any tennis aficionado. The latter response better authenticates your experiences than the former, and demonstrates your sincerity to readers. 

Required: Our families and communities often define us and our individual worlds. Community might refer to your cultural group, extended family, religious group, neighborhood or school, sports team or club, co-workers, etc. Describe the world you come from and how you, as a product of it, might add to the diversity of the UW. (300 words)

This question serves two purposes: it gives UW an opportunity to learn more about how you developed your values, and it allows them to consider how you might interact with others on campus. It is easy to get mired in focusing on describing your community, but remember, UW wants to learn about you through seeing how your community impacted you. Use a description of your community to frame your essay, but always remind yourself to connect the story back to how it changed you. Once you have framed the essay with a description of who you have become as a result of your community’s impact, be sure to extend this thread to your potential future influence on UW.

There are several ways to interpret community. You could interpret it in the literal sense by explaining how your hometown and family have guided your ambitions. For example, maybe growing up on your family’s farm inspired your appreciation for agriculture and working with your hands. You hope to share this appreciation with other students by working on the UW farm and organizing workshops where students can learn how to plant their own flowers or herbs.

Or, perhaps the community you want to highlight is less conventional, such as the coffeeshop you work at. You could discuss how your coworkers are from all walks of life, and how you’ve befriended a retired older couple that picks up weekend shifts. They offer you advice based on their many life experiences, showing you the importance of having an older mentor. This makes you want to join the Big Brothers Big Sisters chapter at UW.

Regardless of what your community is, be sure to highlight how you’ll contribute to UW’s diversity, whether that’s through your perspective, actions, ideas, cultural traditions, etc.

Optional: You are not required to write anything in this section, but you may include additional information if something has particular significance to you. For example, you may use this space if:

You have experienced personal hardships in attaining your education, your activities have been limited because of work or family obligations, you have experienced unusual limitations or opportunities unique to the schools you attended. (200 words).

This portion of the application is optional, and while we recommend that you fill out most “optional” essays, this space is truly optional. If you don’t have any unusual circumstances, you can leave it blank without penalty. If feel that the parameters apply to you, you should fill this section out. This is your chance to explain anything that hasn’t been addressed in other parts of your application. Since the maximum is 200 words and the prompt is straightforward, you can (and should) also be totally straightforward in your response, rather than painting a picture with vivid imagery. 

For the first prompt, an example of a response could be:

“In the sophomore year of high school, my dad was diagnosed with cancer, and it profoundly affected multiple areas of my life, including my academic performance. For that reason, there is a significant dip in my grades in the spring semester of that year.”

For the second:

“Because my parents own a small restaurant, it is often my responsibility to watch my younger siblings while they are working, and even help out by doing the dishes or bussing tables in my free time. For that reason, I was unable to join as many extracurriculars as my after school time went towards helping ensure the family restaurant was running smoothly.” 

For the last prompt, you can briefly state school-related limitations or opportunities, like if your school did not have an AP or IB program, or if it did have a special internship program that you participated in. Keep in mind that some universities designate admissions officers to research your region and know what programs your school has or doesn’t have – this might be something you want to look into before filling out this section. However, you might want to fill out this section if the school you’re applying to does not have regional admissions officers.

If there is a specific school program or opportunity that you wish to mention, we recommend doing so via your activity list or one of your essays, rather than in this short, 200-word window. If you find that you don’t have space in the rest of your application, then this section is fine.

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Our chancing engine factors in extracurricular activities, demographic, and other holistic details.

Our chancing engine factors in extracurricular activities, demographic, and other holistic details. We’ll let you know what your chances are at your dream schools — and how to improve your chances!

UW Interdisciplinary Honors Program

Required: what is your understanding of the uw interdisciplinary honors program and why do you want to be a part of it (300 words).

This prompt is specific to those applying to the honors program, and as such, it should contain a level of interest one notch above a typical admissions essay. Prospective students should research the honors program online to discover its different offerings. Take some time to reflect on which aspects of the honors program appeal the most to you, and how you would realistically take advantage of those opportunities. 

The more specific you are, the better. If there is a certain conference you want to participate in, or class you want to take, mention it! Getting granular demonstrates the research you have done and underscores your interest in both the university and the honors program. Just one caveat: you can mention specific professors, but only do so if you’re truly familiar with their research; otherwise, it will seem like disingenuous name-dropping.

Here’s an example of something to avoid:

Bad: I want to learn more about the way conservation-related engineering affects disadvantaged communities, and the Interdisciplinary Honors Program’s rigorous classes will help me do that. 

Here’s a good example:

Good: I look forward to crafting experiential learning activities via the Interdisciplinary Honors Program. I plan to conduct a community service project centered through an interdisciplinary course such as Science and Engineering for Social Justice. I want to design an architectural structure, such as a public water fountain that filters carcinogens, or a smart streetlight initiative that improves quality of life without negatively disrupting existing community dynamics. Through the Interdisciplinary Honors program, I can combine my different passions by engaging in community projects such as these. 

The bad example mentions “rigorous classes,” which are available at almost every university. The good one lays out the student’s goals and cites resources specific to UW that would allow her to achieve those goals: the interdisciplinary course on Science and Engineering for Social Justice, as well as the community service initiative.

Required: Consider at least two very different subjects you’ve studied in school; tell us how and why you imagine bringing those subjects together in your first year at UW to engage with a pressing global concern. (300 words)

This prompt is incredibly multifaceted. You’ll first want to brainstorm two or more contrasting subjects you’ve studied that:

1. Share more about your background/interests

2. Can be applied to a pressing global issue that you’re passionate about 

For example, maybe you love English and Environmental Science, and you’re concerned about climate change. You could bring these two subjects together to share the stories of the communities impacted by climate change, on a blog or in a print publication. Or, maybe you’re interested in Sociology, Political Science, and Computer Science, and you want to address the concern of automation replacing jobs by engaging in policy around Artificial Intelligence.

Once you have some ideas, you should think of how and why you’ll bring these different subjects together in your first year at UW. Tell us the story of what draws you to your subjects of choice, and your global issue. Research specific Honors Program resources and broader UW resources that will help you synthesize the subjects and engage with the global concern. 

For the first example of the student interested in English and Environmental Science, maybe their town’s water supply was polluted by the textile industry, which is why they want to fight climate change. They could take the honors course Storytelling in the Sciences, which would teach them how to share scientific knowledge in an accessible way. This would help them share the stories of those impacted by climate change more effectively, and equip them with the skills to educate others through writing. They might also want to join the Environmental Law Society to gain experience with the legal side of protecting the environment. 

Regardless of what your story, subjects, and plan are, be sure to share more of who you are and what matters to you, and tie them into specific resources within the UW Interdisciplinary Honors Program.

Want help with your college essays to improve your admissions chances? Sign up for your free CollegeVine account and get access to our essay guides and courses. You can also get your essay peer-reviewed and improve your own writing skills by reviewing other students’ essays.

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Honors in History

The application for Honors in History Spring 2024-Winter 2025 is now open. You will need a UW NetID to access the form via Google Suite . Applications require an unofficial transcript, writing sample, statement of purpose, and one letter of recommendation from a faculty member. The deadline to apply for the 2024-2025 Honors in History program will be January 24, 2024. 

Successful applicants to the History Honors program enjoy a unique opportunity to craft their thesis project from the ground up. Spending two quarters engaged in primary-source research under the guidance of a faculty member specializing in their subject area, students will produce a piece of work similar in structure and analysis to the articles professional historians submit for publication.

Success in history Honors is not predetermined by G.P.A. A student who is considering applying to the program should think deeply about the descriptions below and decide whether or not they want to engage in such intense independent research. Students considering honors may have a project outline or several in mind at the time of their application. These topics should be shared as part of their application. The "With Honors in History" on an honors student's diploma is not an end in itself, but rather marks the rigorous process by which a student becomes better prepared for post-graduate work, or employment which requires such a skill set.

Declaring Honors in the History Major

Admission to the History Honors Program is by application only. See above for latest news about application open dates.

In order to apply to the History Honors Program students must meet these prerequisites before winter quarter of their junior year:

• A minimum cumulative GPA or 3.3
• A minimum cumulative GPA of 3.5 in history
• At least 10 credits of upper division history coursework (300-400 level) completed in residence at the University of Washington

Honors Major Requirements

Students who declared the History major prior to Autumn 2002 have a different set of requirements. Contact History Undergraduate Advising with questions.

To earn a History major and graduate "With Honors in History" you will need a cumulative UW GPA of 3.3, as well as 70 credits of history with a cumulative history GPA of 3.5 and a 2.0 in each history course, broken down as follows:

30 credits of upper division history coursework (300-400 level) completed in residence at the University of Washington. Transfer and AP credit, correspondence courses, and foreign study courses are not classified as "in residence."

5 credits each in four of the following six areas of study:

• Asian History (all HSTAS courses)
• European History (all HSTAM and HSTEU courses)
• Latin American & Caribbean History (all HSTLAC courses)
• Middle Eastern & African History (all HSTAFM courses)
• United States &Canadian History (all HSTAA courses)
• Comparative and Transregional Global History (all HSTCMP courses)

10 credits of approved courses in the Pre-Modern period.

10 credits of approved courses in the Modern period.

5 credits of HSTRY 395: Historical Methods

Instead of HSTRY 388 and HSTRY 494/498, honors students complete a three-quarter sequence: HSTRY 395, Modern Historical Writing, is taken Spring of the student's junior year. This course serves as a rigorous introduction to historiography, "the study of the study of history." HSTRY 395 acquaints students with the numerous ways historians have defined their craft, provides insight on factors which influence historians' perceptions of the past, and introduces students to a broad range of approaches to historical analysis. In HSTRY 395 students learn the skills necessary for HSTRY 491/492: Honors Historical Methods. Students must earn a 3.5 or better in HSTRY 395 in order to continue on to HSTRY 491.

10 credits of HSTRY 491/492: Honors Historical Methods

HSTRY 491 and 492 are taken the Fall and Winter quarters, respectively, of the honors student's senior year. HSTRY 491 and 492 are combined into a working seminar in which students produce a senior thesis to serve as their seminal work. Each student is paired with a faculty member who specializes in her or his particular area of interest. Participants in the seminar act as colleagues, reviewing and critiquing each other's work. Time spent in class generally decreases throughout the course of the sequence, as students become more immersed in their research and consultations with their faculty advisor.

The choice of remaining elective History coursework (to reach a total of 70 credits) is entirely at the student's discretion.

The faculty have determined which of our courses fulfill the above requirements. See the Approved Course list.

Applying to Graduate

Students must complete a Graduation Application no later than the third Friday of the quarter in which they wish to graduate. Failure to adhere to these deadlines will delay your graduation. Graduation applications may be completed up to two quarters in advance; doing so guarantees Graduating Senior Priority (G.S.P.) status for the remaining two quarters.

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English Honors Program

The English Honors Program is open to applicants who have shown exceptional ability in English. English Honors is designed to expand and intensify the academic experiences of advanced English majors through completion of a three-quarter, cohort-based program. The program builds a community of  undergraduate scholars within the English Department, providing them with opportunities to work closely with UW professors in independent study and research, and with special events such as lectures and receptions.

• This Year's Honors Faculty and Topics
• Previous Years' Faculty and Topics
• Admission s

Advising and Administration

Requirements and satisfactory progress.

• ENGL 496: Major Conference for Honors (Honors Thesis)
• Past honors graduates and thesis projects

The Value of English Honors

Other honors.

• Undergraduate Research, Symposia, Conferences,

2024 - 2025 Honors Program

Laura Chrisman

Douglas Ishii

Colette Moore

Alys Weinbaum                     

Fall seminars  

Marxist American Culture: Writing, Art, and Political Activism, Prof. Laura Chrisman

The 1930s saw an explosion of cultural production by artists associated with revolutionary social movements. This course looks at a  cross-section of that work, considering a range of innovative fiction, poetry, journalism, theory, and multimodal (textual/visual) materials. It involves close reading, archival research, and a willingness to interrogate the anti-communist assumptions that became entrenched in American political and academic life during the Cold War and continue into the 21st century. The course materials foreground the contributions of Black, Jewish, and women artists, and considers the at times conflicted and at times symbiotic relationship of modernist experimentation and social realism, the interplay of class, race, and gender, and the shifting meanings of 'the people' and 'the folk'. Primary texts may include works by Hugo Gellert, Margaret Walker, Muriel Rukeyser, Langston Hughes, Mike Gold, Richard Wright, Meridel Le Sueur,  and Clifford Odets.

Fulfills Historical Depth or Power and Difference distribution area.

  Race, Gender, and U.S. Pop Music after 1965, Prof. Douglas Ishii

This Honors seminar will interpret and theorize a form of everyday culture: popular music.  Its centrality to collective memory suggests its power to shape cultural imaginaries, yet its ubiquity belies its power to reflect and refract dominant ideologies.  It is by now a truism that the history of U.S. pop music is a history of race.  This seminar engages difference after the 1965 Civil Rights Act, Voting Rights Act, and Immigration and Nationality Act, when sanctioned racism supposedly ended, through an intersectional analysis of pop genres to query histories of the present.  Genre, as theorists of race, gender, and sexuality have illustrated, is not a value-neutral description, but is a system of classification that ties taxonomies of art to the taxonomies of people.  We will ask: How do genres, despite music’s celebration as universal or transcendent, reveal contexts and tensions that linger in the act of listening?  How do genre categories set expectations of what (and whom) we’re hearing as a result of institutions, industries, and social systems?  How have artists, critics, and scholars addressed these prescriptive and limiting understanding of genres?

Taking specific genres as flashpoints, we will survey a range of scholarship, journalism, essays, interviews, albums, and music videos using cultural studies as a method toward unraveling how cultural power has been naturalized through constructions of difference.  We will apply theoretical frameworks from across the study of language, literature, and culture to which you have likely been exposed, such as cultural materialism, Black feminism, new historicism, queer theory, and postcolonial thought.  We will think about how writing about music engages multiple publics through multiple genres, as well as the relevance of cultural and literary studies toward that end.  Assessments will apply the methodological concerns of this seminar, with the intention of practicing skills toward preparing for the Honors thesis.

Fulfills Power and Difference or Genre, Method, and Language distribution areas. 

Winter Seminars 

Literary Texts and Vernacular English, Prof. Colette Moore

Literary texts are a unique resource for representing spoken varieties of English. In a practice that goes back as far as Chaucer's Reeve's Tale, authors have written poetry and fiction that uses spelling and grammar to recreate features of spoken language that diverge from "standard" written English: called dialect literature, dialect poetry, or nation language (a term offered by the Caribbean poet Kamau Brathwaite). Literary writing, therefore, can be a form of resistance; one that celebrates and promotes local and community-based kinds of English.

This course explores Anglophone literary works that depict global and local varieties of English in their use of language. The choice of language in literary works reflects the cultural legacy of power relationships: whose English gets centered in standardizing practices and whose English gets marginalized; by extension, the question of whose English is being represented and how it is depicted is critical to literary interpretation. We will encounter the cultural environments that frame language choice as a stylistic strategy, charting broad concerns such as nationhood, coloniality/decoloniality, diaspora, race, community, language contact, memory, and identity.

Dialect literature is not always approachable, as Debbie Taylor writes in The Guardian, "Reading work in dialect demands a commitment on the part of the reader, which is as much political as it is artistic. It requires us to stray off the beaten track of received pronunciation and mainstream literature, with its complete words and nicely structured sentences, and into [a] rough and ready linguistic world." But such choices can be engaging and entertaining as well; these works are powerful and fun to read. Authors and poets might include Edmund Spenser, Robert Burns, Mark Twain, Louise Bennett-Coverley, George Washington Harris, Tom Leonard, Paul Laurence Dunbar, Mutabaruka, Ken Saro-Wiwa, Junot Díaz, Amitav Ghosh. We will also look at some discussions of the place of vernacular literature in Kamau Brathwaite, William Wordsworth, Gloria Anzaldúa, Thomas Macaulay and others.

This class will satisfy the English major requirement for historical depth, pre-1945 or the genre, method, and language requirement. 

Dystopia and the Question of History, Prof. Alys Weinbaum

This honors seminar hones in on dystopian fiction, one of today’s most popular genres (think The Handmaid’s Tale or The Hunger Games).  It examines how dystopic representations (both mainstream and less well known) can be read as critiques of current social and political formations, national and global cultures, capitalist processes, and dominant ideas about gender, race, sexuality and class—that is, the collection of ideas that comprise the hegemonic, or “natural” order of things.  “The question of history” in the course title is not really a single question, but rather a series of interrelated questions about how the past is invoked in dystopian fiction, how this fiction engages (and perhaps theorizes?) the complex unfolding of history, and how real dystopian pasts (those that have actually been experienced by some) are recirculated, morphed, and critically examined in and through fictional representations.  Of special concern will be the treatment of Atlantic slavery, settler colonialism, climate disaster, the holocaust of World War II and the modern ascent of fascism.  How are these histories brought into dystopian texts and to what end?  How are they disaggregated and/or constellated and to what end?  Throughout the quarter we will treat a range of theoretical and critical writings that will help us to explore the conventions of the genre, debates about the narration of history, and those about the depiction of collective trauma. While dystopian representations can be bleak, some Marxist critics have argued that they are also illuminating and inspiring insofar as they catalyze unique forms of critical thinking about our present moment of reading.  Indeed, some have argued that dystopian fictions contribute to changes in consciousness, and, ideally, to social transformation—an argument we will weigh carefully as we read. Overall, we will attempt to stay afloat in our bleak present by locating the utopian impulses that lie within dystopian fictions and/or in our collective analysis of them.

Fulfills Genre, Method, and Language or Power and Difference distribution area. 

2023-24 Honors Faculty

Janelle Rodriques

Jesse Oak Taylor

Jeffrey Knight

Frances McCue

2023-24 Honors Topic: Literature & Extraction

This year’s theme explores literature’s entanglements with the concept of ‘extraction,’ understood in multiple senses: the extraction of materials from the earth; the extraction of meaning in poetry, prose, and drama; and extraction in the sense of lineage or kinship. We will explore the idea that literary art is at once extractive and resistant to extractivism: after all, while literature draws upon material resources, it does not exhaust them. We will also think about how meaning is “extracted” from a text, what is gained or lost when we select certain features over others, and how ideas, words, and cultural artifacts are repurposed in different contexts. These courses will showcase how literary reading both participates in and resists the extractive logic of capitalism and empire, and how it opens into questions of kinship and relation, heritage and tradition, offering a chance to think about literature as at once extracted from the world and a means of imagining new worlds into being.

Brief seminar descriptions below:

Sun, Sand, Sea and Sex? Critiquing Literary Tourism in the Peri-Disaster Caribbean

In this seminar, we will read fiction and criticism that both construct and deconstruct the modern Caribbean as a site of pleasure and paradise. We will explore the contingency of leisure on labour, and the relations between the tourist encounter and that of ‘explorer,’ ‘coloniser’ and ‘native.’

Novel Ecologies: Fiction in an Age of Extraction

Victorian Britain was the first fossil fueled society, a pivotal threshold in Earth’s history that we now recognize to be the dawn of a new geological epoch: the Anthropocene. In this course, we will explore the way this epochal shift in both ideas and the Earth system registers in fiction. While storytelling is among the oldest of human art forms, the novel rose to prominence in the midst of the social and ecological transformation of the planet wrought by empire and industrialization. Our discussions will plumb the geohistorical imaginary of Victorian fiction, while also asking what it means to read these novels now , as we attempt to sever the connection to fossil fuels and imagine new worlds into being in the midst of climate emergency and ecosystem collapse. Readings will include Wilkie Collins's The Moonstone  (1868), Bram Stoker's  Dracula  (1897), Joseph Conrad's  Nostromo  (1902), and R. F. Kuang's Babel: An Arcane History  (2022), alongside supplemental material in ecocriticism and the energy humanities. This course fulfills the Department’s Historical Depth requirement (pre-1945).

Loving and Hating (in) Shakespeare: The Merchant of Venice

The Merchant of Venice is at once Shakespeare’s most modern play and his most problematic one. Ostensibly it’s a comedy about risk and reward (i.e., love) in the nascent economic system of global capitalism. But from its very first words, the play gives us something else entirely—something dark and unsettling, a drama of mental illness, proscribed sexuality, racism, antisemitism, xenophobia, sham justice, and forced assimilation. By the end, the play seems ambivalent about itself, at best. We are ambivalent about it too, as we should be. This is an honors course in slow, intensive reading. Our objective will be to take a single text as an entry point not only to Shakespeare’s world—and to a pivotal moment in Shakespeare’s career, presaging the turn to tragedy—but also to broader questions about literary and cultural history: most centrally, what should we do with artworks from the past that convey painful or offensive ideas? After we read and watch the play once or twice, we will proceed through project-based units on Shakespeare’s sources and archetypes, the historical context, and the play’s stage and reception history. Readings will include excerpted primary works by Shakespeare and his contemporaries, and secondary works by modern critics and theorists. Evaluation will be based on seminar participation, short presentations, and an essay. Credit for this course can apply toward the “Historical Depth” (pre-1700) distribution area in the English major. The course is designed to be welcoming and intellectually productive not just for lovers of Shakespeare but for haters of him too.

Documentary Poetics and Other Craft Assemblages in Verse

Frances McCue This course will bring us to poems assembled from bits of journalism, witness statements and other artifacts so that we can explore how these extractions create poetic worlds. We will also look at “telestitching” and other methods that poets use to create poems that honor legacies and question responses to  environmental and historical events. We will create our own poetic assemblages and write short papers about the work of other writers.

Francis McCue

2022-23 Honors Topic

Honors 2022-2023: Imagined Worlds/Possible Worlds

In this course sequence, the ‘speculative’ frames our consideration of imagined and possible worlds. As a framework, the speculative supports numerous concerns, including the production and evolution of narrative genres, such as Arthurian romance, utopian and dystopian fiction, Afrofuturism, and science fiction. Yet, it also supports inquiries about speculative aspects of narratives and objects that represent the real world as we know it. Further still, it frames a variety of critical approaches to reading and interpreting texts, thinking about historical pasts and potential futures. To speculate about what is possible, or to imagine modes of social existence and realities that are not (yet) our own, requires an account of what constitutes the “real,” knowable world. Thus, as part of our collective task, we will examine the underlying presumptions that determine how “worlds” (both imaginary ones and geopolitical realities) and “time” (the past, present, and future) are entangled with each other, and with particular ways of knowing. By engaging with a wide range of textual forms and genres, we will explore what the cultural imagination reveals about visions of social justice, along with the collective desires and aspirations that arise at any given historical moment. With a speculative framework for analyzing culture, we will be attuned to both dominant and nascent expressions of world-building projects, along with what—in another time and place—reality could be.

Kimberlee Gillis-Bridges’s course, “Speculative Worlds,” focuses on the possibilities and limitations of imagined worlds. As we read, view, and immerse ourselves in a range of textual forms—including novels, film, games, and XR narratives—we will explore how texts build imagined worlds, how we position or resist positioning ourselves within imagined worlds, and how we create our own imagined worlds. We will also investigate the contexts shaping speculative worlds, asking how imagined worlds intersect with historical and current realities, showing us institutions, modes of existence, and social structures we have yet to experience. In doing so, we will also consider the limitations of imagined worlds, asking whose speculative worlds receive broad distribution and what different audiences seek—and perhaps do not find—in speculative worlds.

Habiba Ibrahim’ s course, “Imagining Being and Time,” explores how African-American and Black diasporic literary and cultural forms navigate modern conditions for being human by revisiting the historical past and speculating about potential futures. By engaging with a variety of genres and forms, the course tracks the problem of “being” through enslavement, colonialism, and nationalism, while it focuses on where alternative modes of life emerge in the Black literary and cultural imagination.      

Gillian Harkins’s course “Uncommon Senses” will explore changing concepts of common sense, asking how specific approaches to sense-making and sensation, as well as embodiment and imagination, shape what is perceived as possible or real.  Using a range of literary and visual texts, we will ask whose sense, where, and when is considered “common” (more than an isolated experience) and what different experiential commons might be.  This exploration will review Cultural Studies approaches to capitalism, colonialism and imperialism as well as race, gender, sexuality, and embodiment. 

Kate Norako’s Course, “Premodern Worldbuilding” investigates the ways in which medieval English writers conjured aspirational worlds across a variety of genres and textual forms: from mappae mundi and travel narratives, to Arthurian romance, to allegorical prose and verse (e.g. Christine de Pizan’s Book of the City of Ladies and Langland’s Piers Plowman ). Central to our work will be discerning the implications of these acts of imagination: who and what is included/excluded? To what extent does medieval English worldbuilding require not only creation but erasure? And what aspects of this premodern worldbuilding persist in our present?

2022-23 Honors Faculty

Kimberlee Gillis-Bridges

Habiba Ibrahim

Kate Norako

2021-22 Honors Topic

Literary Genres and Social Transformation

English Honors Sequence 2021-2022

Artistic genres both reflect and create social transformation.  For instance, literary scholars and historians agree that the modern novel developed in response to a number of social, political and economic factors resulting in the wider spread of literacy and ideas about individualism, and that, by turn, it altered subsequent reading practices and conceptions of selfhood. This dynamic between reflecting a changing society and creating social change will be equally obvious of other genres and subgenres: of television sitcoms, of slam poetry, of newspaper editorials, of presidential inaugural addresses (which may of course be further subdivided by political party), and so forth.  Genres themselves may include cultural transformations, as we see in examples of the narrative essay or the lyric poem as they are re-made by Claudia Rankine and Zaina Alsous.  But genres can also be challenged by cultural transformation, revealing the limits of modes of representation that embed specific cultural values in the form itself.

This honors sequence will introduce students to a wide variety of texts and theories to explore how social transformation gets registered and created by literary genres.  In order to help create intellectual continuity for students, the AQ courses taught by Professors Kaup and Liu will feature Herman Melville's novella *Benito Cereno* (1855), and the WQ courses taught by Professors Chrisman and LaPorte will include Eve Ewing's new book of poems, *1919* (2019).

Professor Kaup’s “The Novel and the Sea” (AQ 21) examines fiction set on waterways and maritime spaces from Daniel Defoe’s Robinson Crusoe (1719) to Amitav Ghosh’s The Hungry Tide (2004). It shows how the literary representation of aquatic worlds shaped--and is shaped by--social phenomena such as transnational exploration and adventure, colonialism and slavery, and globalization and climate change.  Professor Liu’s “Genre and Social Transformation” (AQ 21) will look at various genres of fiction (like graphic novels, novels, short stories), nonfiction (like podcasts, creative nonfiction, personal narrative, inaugural addresses), and performance (like standup comedy) to think through how genre makes possible, as well as disciplines, cultural transformations in perception of race, gender, and sexuality. To honor the creative spark at the heart of all genre production, students will have the opportunity to practice thinking, writing, and creating in different genres.  Professor Chrisman's "Imagining the Past: Black Historical Fictions" engages with the genre of the historical novel, which has long held an important place in global Black literary production. The course will consider fiction by African and Black diasporic writers that adapts and experiments with the genre, in order to probe the experience of empire, enslavement, resistance, migration, and nation-building. Professor LaPorte's "Genre and Social Transformation in Historical Literature" will look at fiction, poetry, and non-fiction from the nineteenth and early twentieth century to think about the ways that literature influenced and created our ideas about human rights.  

2021-22 Honors Faculty

Monika Kaup

Charles LaPorte

Michelle Liu

2020-21 Honors Topic

Stories In and Out of Place

English Honors Theme 2020-2021

Stories move. They take on lives of their own, and acquire meanings their authors couldn’t have imagined in distant times and places. Stories also stay put, they help root communities in place across centuries. They orient travellers in unfamiliar lands; they connect us to distant places and people we may never meet face to face. They are carried on the breath, on the stage, through undersea cables and across pages and screens. As readers, listeners, and storytellers, the stories we encounter, remember, interpret and pass on inform our perception of the world around us, the futures we imagine into being and the pasts we consider worthy of commemoration.

The courses linked under this theme think about storytelling as both in place and out of place, not only in terms of how stories themselves and the media through which they are conveyed alter, but also the routes through which stories travel and the roots that hold them in place. They ask why certain stories belong to/in certain places and what happens when they are dis- or re-placed. They explore how stories create places and places create stories, whether in storied landscapes or virtual worlds.

2020-21 Honors Faculty

Alys Weinbaum

Juliet Shields

2019-20 Honors Topic

The Honors courses in 2019-2020 will take as their shared thematic focus what might be loosely described as the crisis of progressive time.  In many ways, the modern epoch has been defined by the idea of humanity collectively building a future that improves on the past, in a forward trajectory that tends toward reason, equity, productivity, and technological innovation.  From its inception, this narrative of human progress has collided with competing conceptions of time, many of them forged in the political, economic, and environmental violence that the will-to-progress itself unleashes.  After all, the very insistence on progress generates the idea of backwardness, of peoples and places that must be forcibly subjected to the (supposedly) civilization-building programs of others.   But the idea of progress is perhaps never more in crisis than in our own historical moment, where human misery seems ascendant rather than declining, as qualify of life and of prospects decays across most regions of the globe, and where climate change beckons an existential crisis already underway.

The courses in this sequence are variously concerned with alternative temporalities – alternate ways of thinking our histories, inhabiting our present, and conceiving our futures.  They will consider how old and new emergencies impel and inform new modes of attention to history;  they will highlight narrative forms that refuse the compression of the present into a seemingly singular (or coherent) time;  they will encompass narratives of extinction but also of post-apocalyptic worlds in which radically different forms of human survival and sociality might emerge.

2019-20 Honors Faculty

Jeff Knight

Mark Patterson

2018-19 Honors Topics

Honors 2018-19: Poesis as Place The term poesis describes the process of making.  Derived from Ancient Greek, poesis names cultural or aesthetic activity that brings something into existence.  This Honors sequence explores how poesis relates to place, in particular how various forms, media, and practices of cultural work create place as experience, environment, and territory.  Each course will ask how poetry, novels, performances, or visual texts create a sense of place ranging across the personal and the political.   Our focus will remain on the ways complex political, aesthetic, and epistemological issues are transacted through a poesis of place, or even poesis as place, to see how the contemporary world emerges from longer genealogies of cultural making. In keeping with this historical overview, several of our courses will disclose how a sense of place which seems objective, settled and inert can mutate dramatically over time in response to alternative styles of map-making, shifting political and social agendas, changes in aesthetics, and how these may compete with—and even seek to repress—various kinds of counter-memory. In totality, this quartet of courses reach back into the settler colonial origins of the U.S. and modernist U.K. nostalgia for a rural past through the diverse poetic and narrative experiments associated with late modernism and colonialism from the 1960s onward. 

In “Haunted Landscapes: Sense of Place in Nineteenth-Century America,” Bob Abrams will examine sense of place in nineteenth-century U.S. literature and culture, including a look backward at the precariousness of sense of place at the troubled origins of British colonial America, initial collisions between white colonial and native tribal spatial imaginaries, and other ways in which sense of place remains unsettled throughout nineteenth-century American writing, cartography and painting . In her course “The ‘Shrinking Island’: Changing Responses to Place in 20th Century British Fiction,” Sydney Kaplan will turn to the sense of place created in early twentieth century British fiction, taking up such issues as nostalgia for ‘olde England’ amidst the realities of industrialization and its effect on the landscape, regionalism, and the dominance of the city. In “Triggering Town: The Poetics of Place in a Globalized World,” Frances McCue will engage the concept of the ‘trigging town,’ poet Richard Hugo’s name for places as method to help poets begin new poems, in order to consider shifting conditions of locality and globalization in post-1960s poems of North Cascadia. And in “Neverland: U.S. Empire and the Poesis of Displacement,” Gillian Harkins will explore post-1968 narrative forms generated in or about the United States, asking how experimental narratives about neo-colonial and imperial imaginaries of place-making transform the fictions of nationalized space. 

2018-19 Honors Faculty

Robert Abrams

Gillian Harkins

Sydney Kaplan

2017-18 Honors Faculty and Topics

Humanism and its Discontents

This honors sequence focuses on “Humanism and its Discontents.” Each seminar will explore the cultural production and political struggles that surround the category of “the human" and its many exclusions. All seminars will include engagement with theoretical and literary critical texts that offer ways of situating literature and other forms of cultural production in relation to changing historical and social conditions.  Depending upon each seminar’s historical foci, course materials will reach back into the nineteenth century and forward into the twenty-first. Topics will include settler colonialism, racial slavery, genocide, imperialism, capitalism, sex/gender hierarchies, ecology, and regimes of sexual and bodily normalization. 

Each seminar will be reading and writing intensive and will result in the production of a final research paper or related research based project.  The honors course sequence seeks to provide students with the following skills, important to successful work in advanced literary and cultural studies:

*Ability to close read primary texts––literary, visual, and theoretical

*Ability to enter into constructive and confident discussion about course materials with one’s peers

*Ability to close read critical and philosophical texts and place them into conversation with each other

*Ability to close read cultural, political, literary, visual, and theoretical texts as primary sources that are in conversation across genres and idioms of expression

*Ability to summarize a text’s main claims and evaluate them critically

*Ability to formulate a distinct critical perspective of one’s own

*Ability to situate one’s own ideas and readings within larger critical and political conversations

*Ability to formulate in writing one’s intuitions and emergent ideas

*Ability to produce a coherent and complex argument in writing based on evidence and research

2017-18 Honors Faculty

Stephanie Clare

2016-17 Honors Faculty and Topics

Topic: "Identities and Modernities"

For hundreds of years, anglophone literature has regularly and self-consciously reflected on its own "modernity."   From the start, however, the relationship between identity and the modern has been vexed.  What exactly does our "modernity" distinguish itself from: the traditional, the pre-industrial, the bucolic, the ancient, the religious, the medieval, the Utopian, the "primitive"?  Such questions might show us the difficulty, even the speciousness, of such distinctions.  Further, our conceptions of identity are framed via notions of "the modern," even when those notions are plural and global.  We might say that the modern is a heuristic that enables certain literary discourses to take shape, the sine qua non of our literary and cultural endeavors.

The four honors courses in this sequence aspire to introduce students to different ways of conceiving of the intersection of identity and the modern.  Our hope is that the courses will prove individually fruitful and dovetail with one another in productive ways.

2016-17 Honors Faculty

Kate Cummings

Louis Chude Sokei

2015-16 Honors Faculty and Topics

Topic: "Adaptations"

Adaptation derives from the Latin adaptare , “to fit.” Adaptations enable a thing, person, organism, or idea to fit new or changing circumstances. In biological terms, adaptation refers to the process by which individual mutations enable organisms to fit better into their ecosystem, giving them a comparative advantage and thus ultimately leading to the ongoing evolution of species. Adaptation also occurs at the level of the individual, as we alter our behaviors, tastes, and expectations to fit the world around us. Adaptation also refers to the way that different cultures modify ideas, objects, and practices to fit their own, ever-changing, needs. New technologies arise by repurposing existing tools, or combining them in new ways that in turn create new possibilities that demand new innovations.

In literary terms, authors adapt their own experiences of the world into their work. They also adapt the work of others, playing with genre expectations, established storylines, familiar devices, and even familiar characters. No work of literature--for that matter, no cultural practice or species--is entirely new and original. Instead, all literature arises at least in part out of a process of adapting what has come before into new forms, new contexts, new meanings, and new purposes. Even individual works may be said to adapt, as they take on new meanings when read in context different from those in which they were written, while we speak explicitly of “adapting” books for the stage or the screen.

This year’s English Honors courses will explore the theme of “adaptation” as broadly construed in literary studies. Different courses will trace adaptations of form, of genre, or of specific works across diverse times periods and contexts. In the process, we will discuss the implications of considering adaptation as a process at once aesthetic, ecological, political, and cultural that enables us to think about the persistence and efficacy of literary and cultural practice, and the ways in which different periods, authors, nations, and traditions relate to one another.

2015-16 Honors Faculty

2014-15 honors faculty and topics.

"Form and Politics of Narrative"

How can narrative form and voice tell a story hidden behind the more apparent story? To what extent does the style of a genre have a particular politics? Do forms of narrative themselves have a history? What about narratives that break the boundaries of readers' expectations? How might form and politics affect the making of personal narratives? This year the four courses in our honors sequence will take up such questions with a focus on the form and politics of narrative in literature, film, and popular culture. We will cover a wide range of texts, both written and visual, in historical periods from the eighteenth century to the present.

The honors sequence will work to provide students with the following skills, important to successful work in literary and cultural study:

• close or careful reading of primary textual evidence;
• close or careful reading of critical academic prose;
• ability to summarize the main claims of an academic essay;
• ability to assess and respond to the main claims of an academic essay;
• ability to situate oneself in a critical conversation;
• ability to formulate a distinct critical perspective;
• ability to create a logically coherent and complex thesis;
• ability to develop a coherent and sustained argument to support that thesis.

2014-15 Honors Faculty

Carolyn Allen

Eva Cherniavsky

Gary Handwerk

Thomas Lockwood

2013-14 Honors Faculty and Topics

"Literature and Politics "

This Honors sequence focuses on “literature and politics.” Each seminar will explore the relationship between cultural production and political struggle, with a specific focus on the role of literature. All honors seminars will include theoretical and literary critical texts that offer ways of situating literature in relation to changing historical and social conditions. Course materials will reach back into the nineteenth century and forward into the twenty-first. Topics include settler colonialism, slavery, genocide, imperialism, capitalism, sex/gender hierarchies, and regimes of sexual and bodily normalization. Each seminar will be writing intensive and will result in the production of a final research paper. The honors sequence will work to provide students with the following skills, important to successful work in literary and cultural study:

2013-2014 Honors Faculty

Katherine Cummings

Chandan Reddy

Previous years' faculty and topics:

2012-2013: "Cultural Forms and Social Change" (Faculty: Gillian Harkins, Kate Cummings, Charles LaPorte, Juliet Shields, Caroline Simpson)

2011-2012: "Narratives of Time and Space: Memory, Dislocation and Emotion" (Faculty: Carolyn Allen, Sydney Kaplan, Monika Kaup, Mark Patterson)

2010-2011: "Technologies of Textual Representation" (Faculty: Tom Foster, Laurie George, Tom Lockwood, Miceál Vaughan)

2009-2010: "Aesthetics and Politics" (Faculty: Gillian Harkins, Laura Chrisman, Eva Cherniavsky, Alys Weinbaum)

2008-2009: "History and Imagination" (Faculty: Herbert Blau, Sydney Kaplan, Tom Lockwood, Michelle Liu)

2007-2008: "Reading Genres of (Post)Modernity" (Faculty: Carolyn Allen, Tom Foster, Charles LaPorte, Nikolai Popov)

2006-2007: "The Object(s) of Literature" (Faculty: Sydney Kaplan, Mark Patterson, Shawn Wong, Laura Chrisman)

2005-2006: "Aesthetics and Politics" (Faculty: Alys Weinbaum, Mark Patterson, Chandan Reddy, Zahid Chaudhary)

For further details on prior year honors seminars, see the Department's quarterly course descriptions .

Application to the English Honors Cohort is competitive. Applications are accepted annually after winter quarter grades have been posted.  Submit your honors application as a single PDF by 4pm Monday, April 22, 2024.

This application will be for academic year 2024-25. Space is limited. Meeting minimum eligibility requirements, or being a member of the College Honors Program , does not guarantee admission. Selection takes place through the competitive admission process, which includes the application form and a personal statement.

Students usually enter English Honors when they have Junior standing, with an average of 115-135 credits earned.  A cohort of approximately 30 students will be admitted during spring quarter, and must complete the program in residence over autumn, winter, and spring quarters of the following academic year.

To be eligible for English Honors, all students must be declared English majors who apply in spring quarter for the following Autumn's English Honors cohort, and must have:

• completed at least two quarters at the UW
• completed at least 15 credits of UW English courses at the 200-level or above
• completed ENGL 302, or be planning to complete it in Spring or Summer quarter, before beginning the Honors program in the Autumn
• a minimum UW cumulative GPA of 3.3
• a minimum UW English GPA of 3.7 (in courses at the 200-level and above) Students who fail to meet this GPA requirement but who feel that there are mitigating circumstances, such as having taken a group of exceptionally difficult courses or having undergone a period of personal difficulty resulting in a lowered GPA, may petition the department Director of Undergraduate Programs for special consideration.
• at least three remaining quarters in residence at the UW: students in the Honors Program must take English honors courses on campus in Autumn, Winter, and Spring.
• what do you hope to gain by participating in the English Honors Program?
• please describe a good learning experience you have had while pursuing the English major and discuss how it informed your decision to apply to Honors

View/print the honors application

All new English Honors students are encouraged to meet and consult with the English Department faculty and staff members who administer the Honors Program:

Professor Stephanie Clare, Director of Undergraduate Programs and English Honors Padelford A-419;  [email protected]

Stephanie Clare receives applications, maintain academic progress files for Honors students, issue add codes and provide supplemental registration assistance and academic planning.  They are available to discuss intellectual topics, scholarly activities, and academic interests and plans with students. They also make decisions regarding student requests for exceptions to Honors policies and procedures, and reviews applications for readmission after dismissal.

Read an article about the English Honors Program featured on the University Honors website.

Students who successfully complete both the College Honors and the English Honors programs will be graduated With College Honors in English .  Students successfully completing the English Department Honors program only will be graduated With Honors in English .  These Honors are posted to the UW transcript.  To graduate With Honors in English , students must complete all required English Honors courses and maintain a minimum UW cumulative GPA of 3.3 and UW English GPA of 3.7.

WARNING : Students who have not completed all Honors requirements by their scheduled graduation date must request that the graduation date be postponed if he or she still desires to graduate with Honors. Once the degree is posted, no changes can be made to the transcript, and Honors will be forfeited.

English Honors course work consists of two honors seminars (ENGL 494), one taken in Autumn and one in Winter, followed by the writing of an honors thesis in the Spring (ENGL 496).

A total of four honors seminars are offered each year, two in Autumn and two in Winter, taught by a total of four faculty members. The four seminars are linked by a theme of question, to be decided on by the participating faculty. Examples of the broadest themes or questions include" "Literature of Empire"; "Textual Studies"; "Literature and Other Arts"; "What is Modernity?"; "What is Literary History?"

Two of the four honors faculty will elect to be available in the Spring to oversee the approximately 40 honors essays. (Students may also choose to work with other professors as well, either because of an existing mentoring relationship, or because of scholarly expertise. Students completing the creative writing pathway may also choose to do a creative project under the direction of an appropriate faculty member.) There will be a meeting time and room scheduled for the thesis course(s), though the supervising faculty are free to organize the course as they would like.

Honors course work may not be “doubled up,” nor may the courses be taken out of sequence, though Honors coursework may overlap with English major requirements where appropriate.

An add code for the following course in the Honors sequence will not be issued if there is an incomplete grade or failing grade on the student’s record for the previous Honors course.  For example, if an “I” appears for ENGL 494 in Autumn Quarter, an add code for ENGL 494 for the upcoming Winter Quarter will not be issued until the incomplete grade is resolved.  This may result in being shut out of a desired seminar or being dismissed from the program if the incomplete converts to a 0.0.  If at any time after admission a student’s grades fall below these minimum standards, he or she will be dismissed from the program.  Students who have been dropped for unsatisfactory scholarship may reapply for admission at a later date if minimum GPA requirements are attained.  All second applications must be accompanied by a letter of petition and two letters of recommendation from English faculty.

Registration

Registration for English Honors courses is by add code only.  Add codes may be obtained Suman Chhabra ( [email protected] ). Add codes for honors courses are generally issued on a first-come, first-served basis on the first day of regular senior registration. Every quarter, honors students will receive email instructions on how to attain add codes.

Applying Honors Courses to English Major Requirements

Honors courses may be applied to major requirements in a number of ways. Any Honors course may be used to satisfy English major elective requirements, although this works most efficiently for students following the major with an emphasis in literature.  Any Honors Seminar, if defined appropriately , may be used to satisfy any requirement in the English major.  For example, if the topic of one of your Senior Seminars is “Virginia Woolf and the Bloomsbury Group,” it is very likely that it satisfies a History of Language and Literature core requirement.  ENGL 496 will not fulfill the 400 level creative writing electives, but 496 could (depending on the topic) apply to historical breadth or power and difference for an honors creative writing major.  For approval of Honors courses for specific requirements, consult with a HAS adviser in PDL A-2-B.

Honors students will use ENGL 496 Major Conference for Honors as their 400-level senior capstone course.

ENGL 496:  Major Conference for Honors

The Major Conference for Honors requires a thesis project, a substantive essay, usually 20-30 pages, but sometimes longer.  Broadly speaking, the thesis is a complex piece of research-based  literary analysis, criticism, theory, or other critical work related to English.  Although most people choose literary topics, students are also welcome to do thesis work in English language study (linguistics), rhetoric and composition, cultural studies, film studies, and other emerging areas of the discipline.  The Honors thesis should aspire to the level of a good graduate term paper.  To approach this level of competence, it should have the following characteristics:

• A clear, significant thesis that is fully developed, coherent, and free from major flaws in reasoning.
• Arguments based on textual evidence and grounded in attentive close reading.
• An engagement in the “critical conversation” that takes the essay beyond a competent close reading.  Authoritative use of secondary sources that does not use the arguments of others in place of original thought or amount to nothing but a review of the criticism.
• A clear and consistent critical perspective that reflects an awareness of theoretical concerns.
• Effective organization that demonstrates purposefulness, a logical progression of thought, and rhetorical skill.
• Lucid, masterful, and engaging prose style.
• Freedom from stylistic missteps and mechanical errors.
• Correct documentation utilizing either MLA Handbook or Chicago Manual of Style.

Faculty Supervision and Registration for ENGL 496

Two of the four faculty who teach Honors Seminars during the year will be available to supervise the honors theses. A regular meeting time and room will be scheduled for the thesis course to meet. There are some occasions when working with another English faculty member makes sense. For example, if a student wishes to complete a thesis project in medieval studies, and already has a strong mentoring relationship with Professor Remley, and he has agreed to work with that student independently, that student must provide a written intellectual justification to The Director of Undergraduate Programs. If the DUS approves the proposal, the student will be asked to submit an approval form with Professor Remely's signature. The student will work with Professor Remley on the content of the thesis, but WILL STILL BE REQUIRED TO REGISTER FOR AND ATTEND ONE OF THE SECTIONS OF ENGL 496, Major Conference for Honors. ENGL 496 is designed to cover critical aspects of the research process. The proposal, abstract, outline, annotated bibliography, etc. It is also designed to provide Honors students with an audience of their peers for developing their research, providing students with an opportunity to workshop their research with their peers.

Before deciding to embark on English Honors, many students want to know what benefits the program confers.  Naturally, successful completion of departmental honors means receiving an impressive additional credential.  Particularly for students applying to graduate or professional school, graduating With Honors in English puts another attractive line on the curriculum vitae.  However, this should not be the sole motivation for entering the Honors program, nor is it the most significant benefit.

Building community: The Honors Program is a means for students to build community within one of the largest and most diverse departments in the College of Arts and Sciences .  Honors students inevitably share the common characteristics of active intellectual engagement, curiosity and a willingness to explore new topics and perspectives, and a strong belief in the intrinsic value of scholarship in our discipline. One of the goals of Honors is learning how to work effectively within a community of scholars, how to engage in a critical conversation with one's peers, how to negotiate a multiplicity of perspectives and intelligently stake out intellectual commitments. Honors should provide a more intimate "home" within the larger, vaguer framework of our rather ungainly major. By bringing 40 students together into a cohort and giving them multiple opportunities to meet and work together and with the 4-person faculty team, we hope that a strong sense of community will emerge.

Program coherence: The Honors program provides a coherent and cumulative program of study for students by focusing them on a defined area of inquiry or debate. Because the content and concerns of the honors courses are coordinated, students should build a strong sense of a topic or issue. By the end of the year, students should have a firm understanding of what it means to carry on a sustained conversation, to push the lines of inquiry to a new kind of depth and sophistication, and to appreciate questions from a multiplicity of critical perspectives. The topic of the Honors program in any given year will be defined in broad enough terms that every student will find an appealing point of entry rather than feeling as if they're being forced to study a narrow subject.

Graduate School preparation: Although Honors can be of great value to any English major, the program is particularly beneficial to prospective graduate students.  The advanced skills described above are precisely those needed by applicants to graduate and professional school.  Honors also puts students in an ideal position to fulfill the requirements of a successful graduate school application.  Strong letters of recommendation are sometimes difficult for UW students to get, even if they are intellectually gifted, because their professors simply don’t know them well enough.  Two quarters of seminar work and a term of intensive independent study means that faculty members get a very clear, detailed picture of their students’ abilities and accomplishments.  This can translate into the effective letters of recommendation.  Most graduate programs in English also require a critical writing sample, an essay of 12-20 pages, that is an extremely important part of the application.  The Honors Program provides ample opportunities for producing essays suitable for use as a critical writing sample. 

Students hoping to complete graduate degrees in English sometimes ask if it is “necessary” to do English Honors to be competitive.   The answer to this question is:  No.  Many eligible students have compelling reasons for choosing not to participate in the program.  Talent reveals itself in numerous ways to graduate admissions committees.   The absence of Honors course work on the transcript will not damage the prospects of a student with a clear record of academic excellence.

English Honors students are frequently eligible for other categories of  honors at the UW.  However, one type of honor does not necessarily imply the others.  It is important to distinguish English Honors from

University Honors

High scholarship recognition, baccalaureate honors, phi beta kappa, sigma tau delta.

University Honors is an umbrella term to designate all UW Honors programs. For a thorough explanation of the three different tracks in Honors-- Interdisciplinary Honors (core curriculum), Departmental Honors, and College Honors (combination of Interdisciplinary and Departmental Honors), please go to the University of Washington Honors Program web page,

The Honors Curriculum: Options and Requirements.

The following forms of recognition are awarded to first baccalaureate degree, matriculated students in residence.  Undergraduate students in all colleges of the University are eligible regardless of membership in the Honors Program.

Quarterly Dean’s List :  A high scholarship notation is made on the transcript of each undergraduate student who attains a quarterly GPA of at least 3.50 for 12 UW graded credits.  “Dean’s List” is entered on the line below the quarter’s courses on the transcript and a congratulatory letter is sent from the dean of the student’s home school or college.

Annual Dean’s List : The following undergraduates receive yearly high scholarship recognition in the form of a certificate:

• Undergraduates who have attended three quarters of the academic year (Summer through Spring) and who have achieved a cumulative GPA of 3.50 or higher in at least 12 graded credits in each of the three quarters.
• Undergraduates who have attended the University for four quarters of the school year (Summer through Spring) with a 3.50 or higher GPA in 12 or more graded credits in each of three quarters, and a cumulative GPA of 3.50 for the four quarters combined.

Such students are recognized by the notation “Annual Dean’s List” following the last quarter’s grades for the year, and by a certificate of recognition from the dean of the student’s home school or college.

View UW English majors on the Annual Dean's List .

Baccalaureate honors ( summa cum laude, magna cum laude, cum laude )  are awarded at graduation based on GPA and other factors (see the Registrar's Office website for criteria).  The University’s Faculty Council on Academic Standards Honors Subcommittee determines annually the proportions of the graduating class to receive baccalaureate honors.  GPAs are then determined by the Committee and the Registrar's Office to yield the specified proportions within each undergraduate college.  University minimum GPAs are specified for each baccalaureate honors level, and college GPA minima must at least equal annually stipulated University minima. (The Registrar's Office maintains the most recent GPA requirements .)

Freshman Medal.  Annually, the sophomore having the most distinguished academic record for the first year of his or her program receives the freshman medal.  The notation "Freshman Medalist" is made on the transcript.  Selection is based primarily on GPA, but the rigor and quality of the student's program are also considered. Only students who have earned 36 or more graded credits in residence at the UW will be considered for this honor.

Sophomore and Junior Medals. Annually, the junior having the most distinguished academic record for the first two years of his or her program receives the sophomore medal .  The senior having the most distinguished academic record for the first three years of his or her program receives the junior medal .  The notation "Sophomore Medalist" or "Junior Medalist" is made on the transcript.  Selection is based primarily on GPA, but the rigor and quality of the student's program are also considered.  Only students who have earned 40 or more graded credits in residence at the UW will be considered for these honors.

President's Medal. The President's Medal, which is conferred at commencement, recognizes the graduating senior who has the most distinguished academic record.  Only students who have earned at least 90 credits at the UW may be considered.  The notation "President's Medalist" is made on the transcript, under the name of the degree awarded.

Phi Beta Kappa is a national honorary organization whose purpose is to recognize and honor students with excellent undergraduate academic records.  Requirements for election are established by each local chapter .  The requirements are meant to ensure that members have had a quality liberal education; at the UW students in all colleges are welcomed if they meet these standards.

Election:  Students do not apply to Phi Beta Kappa.  Instead, the Registrar’s Office provides the UW chapter with the transcripts of all students who meet the credit and GPA requirements.  The chapter then determines whether the general education and upper-division breadth requirements are met.  If so, the student is mailed an offer of election.

Here is a list of recent UW English majors invited to join Phi Beta Kappa .

Golden Key National Honor Society

Golden Key is a national interdisciplinary academic honors organization whose purpose is to recognize and encourage scholastic achievement in all undergraduate fields of study.  Golden Key seeks to bring together undergraduates, college faculty, and administrators in developing and maintaining high standards of education and in promoting voluntary service to school and community.

Election:  Students are normally invited into Golden Key each Fall quarter on the basis of meeting credit and class rank criteria.  At other times, students who have subsequently become eligible may contact the UW Golden Key chapter office for information.

Members of the UW chapter of Sigma Tau Delta , an international English honor society, note that the society's purpose is to "confer distinction upon students of the English language and literature, while also providing an opportunity to create a sense of community in the department."

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The Birthplace of Jeffrey Dahmer: a Glimpse into the Origins of a Notorious Figure

This essay about Jeffrey Dahmer’s birthplace in Milwaukee, Wisconsin, explores the origins of the notorious serial killer and the complex interplay between his environment and his psyche. It highlights how his troubled upbringing and social isolation laid the groundwork for his descent into darkness. Despite the city’s vibrant culture and history, Dahmer’s presence serves as a stark reminder of the capacity for evil that can lurk within seemingly ordinary places. Through examining Dahmer’s birthplace, we are prompted to contemplate the factors that shape human behavior and the importance of understanding and addressing the root causes of such atrocities.

How it works

Jeffrey Dahmer, one of the most infamous serial killers in modern history, was born on May 21, 1960, in Milwaukee, Wisconsin, USA. His birthplace, though seemingly ordinary, would become intertwined with the chilling tales of his heinous crimes. Milwaukee, known for its rich brewing history and vibrant cultural scene, holds a darker chapter within its streets, marked by the presence of Dahmer.

Born to Lionel and Joyce Dahmer, Jeffrey spent his early years in the blue-collar neighborhoods of Milwaukee. The city, nestled on the shores of Lake Michigan, provided a backdrop of both urban life and suburban tranquility.

However, behind the façade of normalcy, Dahmer’s troubled psyche began to manifest, foreshadowing the horrors that would unfold in the years to come.

Growing up in a seemingly typical American family, Dahmer’s childhood was not devoid of turmoil. His parents’ tumultuous marriage and his own struggles with social isolation and feelings of inadequacy laid the foundation for the darkness that would consume him. Despite attempts at intervention and psychiatric treatment, Dahmer’s descent into depravity continued unchecked, culminating in a series of gruesome murders that shocked the world.

The significance of Dahmer’s birthplace extends beyond mere geography; it serves as a poignant reminder of the complex interplay between nature and nurture in shaping an individual’s destiny. Milwaukee, with its blend of industrial grit and Midwestern charm, provided the backdrop against which Dahmer’s twisted fantasies took root and flourished. Yet, to attribute his actions solely to his environment would be to oversimplify the intricate web of factors that contributed to his transformation into a remorseless killer.

In retrospect, the question of where Jeffrey Dahmer was born serves as a sobering reminder of the fragility of the human psyche and the capacity for darkness that resides within us all. Milwaukee, with its quaint neighborhoods and bustling streets, could never have foreseen the horrors that would emanate from its midst. Yet, in grappling with the legacy of Dahmer’s crimes, the city has been forced to confront its own demons and reckon with the uncomfortable truth that evil can lurk in the most unexpected of places.

In conclusion, Jeffrey Dahmer’s birthplace in Milwaukee, Wisconsin, serves as a chilling reminder of the complexities of human nature and the profound impact of environment on individual development. While the city itself remains a vibrant hub of culture and community, it will forever be haunted by the specter of Dahmer’s atrocities. As we reflect on his dark legacy, we are reminded of the importance of understanding the forces that shape human behavior and the urgent need for compassion and vigilance in the face of darkness.

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The Birthplace of Jeffrey Dahmer: A Glimpse into the Origins of a Notorious Figure. (2024, Jun 01). Retrieved from https://papersowl.com/examples/the-birthplace-of-jeffrey-dahmer-a-glimpse-into-the-origins-of-a-notorious-figure/

"The Birthplace of Jeffrey Dahmer: A Glimpse into the Origins of a Notorious Figure." PapersOwl.com , 1 Jun 2024, https://papersowl.com/examples/the-birthplace-of-jeffrey-dahmer-a-glimpse-into-the-origins-of-a-notorious-figure/

PapersOwl.com. (2024). The Birthplace of Jeffrey Dahmer: A Glimpse into the Origins of a Notorious Figure . [Online]. Available at: https://papersowl.com/examples/the-birthplace-of-jeffrey-dahmer-a-glimpse-into-the-origins-of-a-notorious-figure/ [Accessed: 1 Jun. 2024]

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"The Birthplace of Jeffrey Dahmer: A Glimpse into the Origins of a Notorious Figure," PapersOwl.com , 01-Jun-2024. [Online]. Available: https://papersowl.com/examples/the-birthplace-of-jeffrey-dahmer-a-glimpse-into-the-origins-of-a-notorious-figure/. [Accessed: 1-Jun-2024]

PapersOwl.com. (2024). The Birthplace of Jeffrey Dahmer: A Glimpse into the Origins of a Notorious Figure . [Online]. Available at: https://papersowl.com/examples/the-birthplace-of-jeffrey-dahmer-a-glimpse-into-the-origins-of-a-notorious-figure/ [Accessed: 1-Jun-2024]

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