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Class of 2020: Kristen Barrett to Explore Literature, Film as Marshall Schoiar

May 14, 2020 |
Kristen Barrett hopes to develop a more global perspective and sharpen her literary focus.
Dan Addison, University Communications

Kristen Barrett, a University of Virginia student who has immersed herself in 19th-century literature, now has the University of Oxford and the University of Edinburgh in her future, as UVA’s 15th Marshall Scholar.

Barrett, of Nashville, a fourth-year distinguished major in English, with a minor in drama, will pursue a Master of Studies degree in English, focusing on English literature from 1830 to 1914, at the University of Oxford; as well as a Master of Studies degree in film studies at the University of Edinburgh. At UVA, she is the Farish Family Jefferson Scholar.

She is one of 46 recipients of the 2020 Marshall Scholarships.

Named for Secretary of State George C. Marshall, the Marshall Scholarship Program began in 1953 and is principally funded by the British government. The recipients are highly accomplished university students and recent graduates from across the United States who will study at leading British universities.

“The Marshall Scholarship fulfills my lifelong dream of studying in the United Kingdom,” Barrett said. “My love for the U.K. has evolved from a sort of wistful fantasy to an unwavering respect for its academic opportunities. Even though I want to end up teaching in the United States, I want to do so from a transatlantic perspective rather than an Ameri-centric one. Receiving the Marshall takes me one step closer to my career as an English and film professor.”

With the rise of globalism, Barrett sees the necessity for the next generation of academics to invest in comparative approaches such as trans-Atlanticism.

“Through engaging with Oxford’s courses and people, I will develop a more global perspective and sharpen my literary focus,” she said. “Then, as a professor, I will teach transatlantic 19th-century literature, specifically focusing on American, British and Irish literary traditions.”

Barrett said she fell in love with Irish writers while a third-year student, noticing thematic parallels in the African American and Irish literary traditions.

“Both literary traditions emphasize the importance of cultural identity and language as protest,” she said “Women writers in particular occupy an intriguing space as double minorities. I want to elevate their voices in my literary criticism.

“So much of what I read reminded me of African American literature,” she said. “James Joyce’s experimentation with language reminded me of Zora Neale Hurston’s vernacular writing; William Butler Yeats’s evocative poems reminded me of Langston Hughes’s verse; and Samuel Beckett’s avant-garde plays reminded me of Sharon Bridgforth’s genre-defying love/conjure/blues.”

At UVA, Barrett has concentrated on 19th-century literature, writing seminar papers on Jane Austen’s “Mansfield Park,” Mary Shelley’s “Frankenstein” and George Eliot’s “Middlemarch.”

“My distinguished major thesis marks my first adventure in transatlantic literary criticism and places, with ‘Iola Leroy’ [by Frances Harper] and ‘The Real Charlotte’ [by Edith Somerville and Martin Ross] at the center of its analysis,” she said. “Published around the same time in different countries by female authors, both novels upend genre conventions and character tropes of the time. My thesis explores how the novels conceive of black and Irish identities, respectively, through female protagonists.”

    “I have three goals: build lifelong relationships, travel frequently, and live beyond the classroom.”

    - Kristen Barrett

A drama minor, Barrett was Shakespeare on the Lawn’s first black director, reimagining “Romeo and Juliet” as an interracial love story set in the summer after the Rodney King riots in 1992 Los Angeles.

“Instead of casting color-blind and erasing the actors’ identities, I encouraged the actors to use their identity to inform character portrayals,” Barrett said.

Barrett is moved by narratives and appreciates the novel and dramatic literature for their storytelling capacity. She sees literary criticism, especially for the 19th century, as a way to reckon with the past in order to understand the present and prepare for the future. And she sees each paper, each project, each adventure as a step toward honing her pedagogy.

“I want to create academic spaces where intellectualism and creativity are not mutually exclusive,” she said. “I want my students to reach their full academic and creative potential. My literary criticism and coursework will challenge society and academia’s narrow view of the African American experience by encouraging students to see cultural richness in 19th-century literature.”

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