Janel Mueller Undergraduate Thesis Prize in English and American Literature


  • Julia Aizuss: "Rewrite someone else's writing. Maybe someone formidable": Making and Remaking Catullus in and around the New York School
  • Charlie Lovejoy: Ineluctable Modality of the Legible: Literary Style and the Gendering of Fictional Characters
  • Yuri Motoyama: Beckett's Decompositions: How It Is and the Material History of Tenderness
  • Puck Orabel: Blessed Faggotry


  • Kathleen Cole: Childish Things
  • Natalie Richardson: Again, the blade
  • Dhyana Taylor: Dismantling History’s Foot Notes: Witnessing, Poetry, and The Archive in M. NourbeSe Philip’s Zong!
  • Kristin Zodrow: Avant-Garde Detritus or Everyday Objects: The Black Mountain Poems of M.C. Richards


  • Joshua Harris: A Pound of Flesh: Directorial Cutting Practices in Performance Texts of Macbeth
  • Hannah Shea: Keyways
  • Kayleigh Voss: Epistolary Consciousness: Unrecognized Complexities in The History of Sir Charles Grandison
  • Willa Zhang: Internal Geography


  • Ajay Batra: Marx, Melville, and the Secret of Social Products: Symbolization, History, Critical Method
  • Luke Bretscher: The Lord's Thegns: lordly and heroic ideals in the Old English Beowulf and Andreas
  • Dan Cronin: On Drag
  • Jenzo DuQue: Wherever and Whatever These Clouds Were Before

(All prizes listed below were awarded as the Napier Wilt Prize)


  • Ellen Kladky: I'm Trying to Reach You: Inconvenience and Distance in Digitally Mediated Intimacy
  • Gwen Muren: Glitch
  • Emily Wang: From Kino-eye to Pen-eye: The Connective Poetics of Theresa Hak Kyung Cha and Susan How


  • Eli Edelson: Fight Nights at the Menagerie: A Collection of Flash Fiction
  • Tobi Haslett: 'However things hurt, men hurt worse': The Ethics of Self-Narrative in John Berryman's 77 Dream Songs
  • Zoe Polach: Good Bad Flesh
  • Gabe Valley: Obdurate: Wyndham Lewis, David Jones, and Material Effects of the 1920s
  • Sophie Wereley: A Mapping of Possibilities: Octavia Butler's Transhuman Future


  • Amy Chung-Yu Chou: Chemotherapy is Not an Impulse Purchase: How I Learned to Stop Worrying and Survive Brain Cancer
  • Jason De Stefano: The Philosophy of Philip K. Dick
  • Nausicaa Renner: Avant-Garde but not Vanguard; The Reconstituted Poetry of Keston Sutherland
  • Julia Wetherell: It Came Upon a Midnight Clear


  • Moira Cassidy: Greater and Lesser Creatures of the Metaversal Plane
  • Asher Klein: The Jurisdictions of Nonfiction
  • Robert Tinkle: Extravagant Vice, Extravagant Voice, in Thomas Shadwell’s The Libertine


  • Debbie Hu: Styles of Emotional Play in Frank O’Hara and the Emo Lyric
  • Anne Sappington: “Wilde Wanton Woodkarne”: Cultural Identity and Political Loyalty in John Derricke’s Image of Irelande
  • Hannah Walser: Crash Blossoms


  • Greg Conti: Spectatorial Thinking and Thoreau's Ethics of Solitude
  • Luke Rodehorst: Shape Notes


  • Sarah Hetherington: "What was she trying to recover?": Virginia Woolf and the Function of Aesthetic Experience
  • Andrew Jacobs: An Open Secret: W. Somerset Maugham's Short Stories as Self-Fulfilling Prophecy
  • Luke Rodehorst: The Chagrin River Valley


  • Burke Butler: Like a Dog: J. M. Coetzee's Ethics of Loss
  • Drew Dir: Winchester House
  • Irene Yoon: The Art of Stealing: Plagiarism and the Modernist Bounds of Authenticity


  • James Estrella: The Global "Culture of Our Exile": Cecile Pineda's Face and the International Reconfiguration of a Color-Blind Decade
  • Rich Wang: The Scallion Pie, Left Unchanged
  • Julianne Werlin: "'Tis So Like Truth": Metaphor and Misinterpretation in Hobbes' Philosophy and Puritan Thought


  • Daniel Knox: History Writes Back: Conspiratorial Resistance in Libra and Fight Club
  • Monica Miller: Beneath the Romance: Violence and Myth in Orlando and The Waves


  • Aram Kim: Kyoto Stories
  • Anne Rounds: Trimalchio's Waste Land