Undergraduate Program
Fall and Winter Courses, 2012-2013

100-level classes | 200-level classes | 300-level classes | 400-level classes

100-Level Classes

Junior English

Please note:

6 cu 100-level English is the maximum to be taken for credit
6 cu at the 200 level is now a pre- or co-requisite for 300-level English classes
Students interested in Honours English are encouraged to take at least one Foundation class in second year

ENG 110.6 Literature and Composition

An introduction to the main kinds of literature. In addition to learning the tools of critical analysis, students will study and practise composition.

English 111.3 Literature and Composition: Reading Poetry

The course emphasizes close reading of poetry with due attention to questions of form and technique and social and cultural contexts. The material may range from medieval to modern.

English 112.3 Literature and Composition: Reading Drama

The course emphasizes close reading of plays with due attention to questions of their performance and social and cultural contexts. The material may range from medieval to modern drama, including works written for radio, film, and television.

English 113.3 Literature and Composition: Reading Narrative

The course focuses on reading critically a variety of narrative forms.

English 114.3 Literature and Composition: Reading Culture

Students will draw on their own range of cultural experiences—popular as well as academic—in order to enhance their literary knowledge and their communication skills. Since language and literature are central to the production and consumption of culture, students will work with and beyond well-known texts. Students will learn how literary models, terms, and techniques both shape and help us to understand a broad range of historical and contemporary cultural forms. Works may be included from a variety of historical and/or contemporary media, visual and virtual as well as textual.

Space will continue to be reserved in these classes for students in Agriculture, Engineering, Commerce and Nursing, though any student is welcome to take any first-year class, none of which has a prerequisite.

Sections - TBA - Hockey and Canadian Literature (Michael P.J. Kennedy)

For generations, hockey has been a part of our cultural identity. From unorganized "pick-up" games of children on neighbourhood rinks or sloughs to major junior hockey played before thousands of spectators to university and minor professional matches played by young men and women in larger centres to the National Hockey League and Olympic hockey played at the highest of levels across the continent and the world, hockey is a part of the Canadian fabric. The manner in which hockey is described in the media and the way it is depicted in non-fictional prose, in poetry, in short fiction, novels, and in drama is at the centre of this class. This course will provide students with the opportunity to read critically and write effectively through the study and discussion of hockey-related fictional and non-fictional texts.

Section 03 - Monsters and Monstrosity (Prof. B. Nelson)

Taking monsters and monstrosity as its thematic focus, this course extends the activities of criticism and interpretation beyond the traditional bounds of literature to include various modes of cultural expression. You will learn to “read” the symbol systems of these modes and will gain an understanding of the means by which cultures have communicated and circulated their ideas regarding monstrosity and how these ideas in turn shape our perception of class, race, gender, and other markers of identity.

200-Level Classes

The Department of English now has several classes at the 200 level and any six credit units from them, or from a Foundations class, may be taken as the pre- or co-requisite for 300-level English classes. Classes at the 200 level are designed to give a broad overview of the subject area under study and may be of general interest to majors, and as electives to non-majors and students in other colleges.

Please see the academic advising binder (on the table, outside Arts 318) to book your appointments between March 5 - April 30, 2012.

IICC 201.3 Dynamics of Community Involvement

(FORMERLY INTS 201.3)
(Section 02) Tuesdays 6:00-8:00 p.m. Term 2 (N. Van Styvendale)

What is community involvement? How can you get involved in your community? This class endeavours to answer these questions, exploring the different ways that citizens engage with local and global communities, the various social issues that they encounter through such engagements, and the different perspectives that academic disciplines take on the idea of "community involvement." As a community service-learning (CSL) course, "Dynamics of Community Involvement" takes place in the classroom and the community. Students are asked to engage in active, hands-on learning in the community, and to bring this knowledge into the classroom, where they connect practical experiences and community-based knowledge to scholarly concepts. Students will spend 2 hours per week in the classroom. In addition, they will volunteer at a community-based organization (CBO) for 2 hrs. per week throughout the term, except during Alternative Reading Week (ARW) in February, when they will participate in ARW activities. See http://www.usask.ca/ulc/cls/alternative-reading-week for more information about Alternative Reading Week. In lieu of a final exam, students will work alongside University and community partners on a community project. This course is applicable to many disciplines and fields of study, and students will be encouraged to make links between their own scholarly interests and the course material.

202.6 Reading the Canon: Texts/Contexts

NOTE: Students with credit for Eng. 200.6 may not take this class for credit.

(Section 61) MWF 1:30 Term 1 & 2 (TBA)

English 202.6 (61) combines an introduction to some of the major authors and texts of British literature with a discussion of how and why those texts and authors have become "major." We will begin with reading essays that invite critical thinking about the process of including or excluding texts from the canon. Much of the course thereafter will be survey of British literature, including texts with different canonical histories in order to observe the changing social and political contexts in which literature has been and is still evaluated as "great" or not so "great." Considerable emphasis will be placed on careful, sensitive reading of texts, effective writing, and the learning of skills appropriate to literary studies.

203.6 Reading English: Critical Approaches

NOTE: Students with credit for Eng. 282.6 may not take this class for credit.

(Section 01) TTH 10:00 Term 1 & 2 (Len Findlay)

What does it mean to read anything: from a situation to a facial expression to a facebook entry to a landscape to a shopping catalogue to a lyric poem? What kinds of reading has literature in English traditionally encouraged, rewarded, or resisted? What does it mean to be a Canadian reader, here and now? This course engages with these three questions from a number of critical vantages and via a number of re-readable texts. Our main focus will be on the twentieth century, its dominant intellectual and cultural movements, and how they impact on literary studies. Students will be encouraged to test methods and theories against their own wider reading and cultural interests in order to clarify the kind of critic they are or aspire to be.

Required Texts:
Murfin, Ross and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms. Bedford/St.Martin's.
Conrad, Joseph. The Heart of Darkness. Penguin.
Ondaatje, Michael. The English Patient. Vintage.

204.6 The History and Future of the Book

(Section 01) MWF 12:30 Term 1 & 2 (R. Cooley)

"The History and Future of the Book" is designed to introduce students to historical and contemporary developments in the technology and cultural impact of the book. It focuses on several inter-related aspects of the book's history and its prospects:

" the evolution of media, from clay tablets through scrolls, bound leaves of parchment or paper, to contemporary e-books and web pages;
" how the medium of transmission shapes literary expression;
" the history of reading;
" the book's ideological power and the history of its suppression; and
" the relationships between the history of the book and the culture of digital texts.

In the process, we will explore medieval scriptoria; the phenomenon of silent reading; the invention and impact of the Gutenberg printing press; the origins (and futures) of the encyclopedia; the development of copyright and contemporary controversies over copyright and digital rights management; censorship; the social impact of mass-produced books and of digital texts; and the relationships between media and literature.

221.6 Shakespeare

Note: Students with credit for ENG. 321.6 may NOT take this class.

(Section 01) MWF 10:30 Term 1 & 2 (J. Rochester)

(Section 61) TTH 11:30 Term 1 & 2 (A. Kumaran - STM)

(Section 63) MWF 2:30 Term 1 & 2 (P. Kelly - STM)

A study of Shakespeare's works, with emphasis on his major achievements in the drama. Students will study Shakespeare's comedies, tragedies, and history plays in their historical and theatrical contexts.

232.3 Gothic Narrative

(Section 01) TTH 10:00 Term 1 (D.J. Thorpe)

"The Sleep of Reason Breeds Monsters" (Francisco Goya, 1797)

Goya's aphorism provides one gloss on the paradox of Gothic: that the Age of Enlightenment should spawn a genre that explored the darkly irrational, at times by safely locating it in a superstitious past, but increasingly exploring it as a civilization's subterranean secret. From the early chronicles of haunted castles, trapped maidens, corrupt aristocrats, and family curses, the Gothic evolved in the nineteenth century by shifting its gaze to more contemporary subjects, and by looking increasingly inward. By the twentieth century, Gothic tropes are everywhere: in pulp fiction, in horror movies, on television, in advertising, and in almost every aspect of popular culture. We will sample Gothic narrative from the last 250 years, from such seminal writers as Anne Radcliffe and Monk Lewis to the more intriguing manifestations in the present day.

242.3 Indigenous Storytelling of the Prairies

Note: Students with credit for Eng. 242.6 may NOT take this class.

(Section 02) TTH 11:30 Term 2 (TBA)

This course examines Indigenous literatures from the prairie region of Canada. It explores oral and written traditions from a variety of Indigenous peoples, specifically the Cree, Métis, Blackfoot, and Anishnabe. The course will equip students with knowledge of the terms and issues central to an engaged study of Indigenous literatures in general, including urban Aboriginal identities; reserve politics; acculturation; gender and class distinctions; residential schooling; cultural and individual trauma; and resistance and recovery. The course will also provide historical and cultural contexts specific to the prairies, examining events such as the Riel Resistance. Authors studied may include the following: Ian Ross, Marvin Francis, Louise Halfe, Maria Campbell, Marilyn Dumont, Edward Ahenakew, Neal McLeod, and Beverly Hungry Wolf.

246.3 Short Fiction

Note: Students with credit for Eng. 346.3 may not take this class. As of September 1, 2009 this class moves from category #3 to non-category status.

(Section 01) MWF 1:30 Term 1 (L. Banco)

This course is an introduction to short fiction of the nineteenth and twentieth centuries. It is organized primarily around an exploration of literary movements (such as realism, modernism, and postmodernism), and our goal will be to read, interpret, and analyze short fiction as social, political, and artistic objects. A reading list will be drawn from the short fiction of Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Charlotte Perkins Gilman, Joseph Conrad, James Joyce, William Faulkner, Flannery O'Connor, Thomas Pynchon, Gabriel Garcia Marquez, Angela Carter, Alice Walker, Rohinton Mistry, Margaret Atwood, and others.

253.6 Canadian Literature in English

Note: Students with credit for ENG. 353.6 may not take this class.

(Section 01) TTH 10:00 Term 1 & 2 (K. Flynn)

As a rule, survey courses are usually arranged historically, and construct a narrative (either implicitly or explicitly) of national literary development. Approaching a nation's literature from a literary-historical perspective is certainly useful, because it allows us to understand why and how literature changes over the period covered in the course, and also to make connections that allow us to say, with some confidence, what that nation's literature "is." In this course we'll be tracing the development of that narrative, and supplementing it by also considering Canada as a group of connected regions, and considering Canadian literature as a way of grouping the writing of those regions, each with its own history and character. This approach will allow us to consider that dread social and imaginative construct, The National Identity, but it will also allow us to think about how regional literatures and identities contribute to-and unsettle-our ideas of what the "Canadian" in Canadian literature means.

(Section 61) MWF 10:30 (D. Kelly - STM)

Note: Students with credit for ENG. 353.6 may not take this class.

This course surveys major Canadian works of fiction, poetry, and drama from the nineteenth century to the present day, with the emphasis on fiction and poetry. The dialogue between writers of different eras and various regions will help us to define what is meant by a Canadian tradition. Among the writers taught are the Confederation poets, Susanna Moodie, Dorothy Livesay, A. J. M. Smith, F. R. Scott, A. M. Klein, P. K. Page, Margaret Avison, Hugh MacLennan, Morley Callaghan, Mordecai Richler, Margaret Laurence, Alice Munro, David French, George Ryga, Marilyn Dumont, and Guy Vanderhaeghe.

277.3 Literary Uses of Mythology

(Section 01) TTH 10:00 Term 1 (J. Stothers)

This course provides an introduction to the theory of myth and selected examples of the classical and other myths most frequently adapted and reinterpreted in literature in English. We will focus on some of the central classical myths of ancient Greece and Rome, and within Biblical and First Nations traditions.

This class will introduce a variety of ways by which writers utilize and remake myths as literature, analyzing how they adapt mythic stories and themes to contemporary circumstances. We will also examine modern essays on myth from a variety of theoretical perspectives that investigate the relationships between myth, religion and history.

(Section 61) MWF 10:30 Term 1 (S. Powrie)

"Myths are things that never happened but always are"

Sallust, describing myth in this wonderfully enigmatic way, provokes us to consider the power of myth: why would stories about imaginary people continue to fascinate us and even resonate with our own life experience? This is one of many irresolvable questions explored in English 277.3, Literary Uses of Mythology. From Odysseus to Luke Skywalker, the class studies mythological narratives, discovering how each historical period reshapes recognized myths to express its own aspirations or anxieties.

278.3 English Satire

(Section 02) TTH 1:00 Term 2 (R. Stephanson)

Funny business, satire. The satirist takes aim at something-an enemy, hypocrisy, a social or political trend, bad art, a moral failing-and tries to persuade us that the "something" is bad, wrong, despicable, or laughably stupid. The techniques are many: irony, mimicry, clever juxtaposition, the verbal recasting of reality. The results are complex: we laugh and sometimes even get to sneer; we are allowed to feel superior to the contemptible objects of satire; but we are also sometimes included in the satirist's target and must rethink our view of the world. This class will tour some of the most challenging and provocative satires of the past three centuries, assessing both the objects of satire and the satirist's techniques. Beginning with the golden age of satire in the 18th century (Jonathan Swift, John Gay, among others), we will examine selected 19th and 20th-century materials (Robert Browning, George Bernard Shaw, James Joyce, Mark Twain, Dorothy Parker, Margaret Laurence, to name a few) and end with a brief review of more recent satirists such as Frank Zappa, George Carlin, Lily Tomlin, Rick Mercer, Mary Walsh, Jon Stewart, and others.

286.3 Courtley Love and Medieval Romance

Note: Students with credit for ENG. 386.3 may not take this class.

(Section 62) TTH 10:00 Term 2 (M. Cichon - STM)

English 286.3 is a study of romantic love and chivalry in the literature of the Middle Ages. The mediaeval period saw the development of fundamental modes of western socialisation and gender construction, including codes of chivalry and the code of fin'amors, or courtly love, which defines heterosexual union as the supreme experience for all who are truly gentle. Vernacular literature (writing in languages other than Latin) played a crucial role in disseminating these codes. The course will focus on a number of mediaeval poems and romances, and will also cover areas of women's cultural expression.

288.3 Introduction to Film

Note: Students with credit for ENG. 388.3 may not take this class.

(Section 02) MWF 12:30 Term 2 (W. Bartley)

This course is a survey of narrative film from the silent era to the present. Students will be introduced to fundamental concepts of film analysis, but will also "read" films in a way akin to the reading of literary texts-and with a critical eye, remembering, as Robin Wood has said, that "film, like literature, ought to be intelligent about life." We will view and discuss the works by some important directors such as D.W. Griffith, Sergei Eisenstein, Fritz Lang, Ingmar Bergman, Alfred Hitchcock, Jean Renoir, Federico Fellini, Francois Truffaut, Howard Hawks, Spike Lee, Akira Kurosawa, Yasujiro Ozu, Satyajit Ray and Orson Welles, among others. In the process, we'll look closely at such movements, styles and genres as Soviet Montage, German Expressionism, French poetic realism, Italian Neo-Realism, post-war Japanese film, the New Wave, Hollywood comedy, and film noir.

COMPULSORY LAB: Thursday 4-6:50 p.m. - FILM SCREENINGS. The films selected generally run for about two hours; a small handful of films will run longer.

290.6 Introduction to English Linguistics & The History of the English Language

(Section 01) TTH 1:00 Term 1 & 2 (Y. Liu)

This course investigates the history of the English language. We will begin with an overview of basic linguistic concepts and then move backwards in time to discover the historical reasons behind changes in the English language, from its present-day form to its origins in Proto-Indo European.

298.3 Special Topics: Topics in Canadian Fiction: Amazing Stories

(Section 02) MWF 12:30 Term 2 (K. Flynn)

This course offers students the opportunity to study Canadian Literature from an unusual angle: by reading works of science fiction, fantasy, magic realism, and other "fantastic" genres included under the banner of speculative fiction. We will read novels and short stories from the late 19th century to the present day, and our thematic focus will be on the ways in which these works respond to, resist, and recreate Canadian history and literature. Along the way, students will become familiar with Canada's literary history and issues related to technology, Aboriginality, and postcoloniality.

300-Level Classes

Beginning September 2009, 6 cu at the 200 level is now a pre- or co-requisite for any 300-level class. This may necessitate a pre-requisite waiver for a T1 300-level class which may be obtained through Allison in 318 Arts.

300.3 New Directions in English Research: British Science Fiction: 1890-Present

(Section 02) TBA Term 2 (C. Brady)

Science Fiction is usually thought of as a distinctly American literary genre, but this viewpoint neglects the crucial role that British novelists have played in its development. Beginning with H. G. Wells' seminal SF novel, The Time Machine, this course will explore the transformation of the British SF novel during the twentieth century and on into the twenty-first. Along the way, we'll be exploring such questions as: What is SF? Is there such a thing as a specifically British style of SF? How has British SF changed and evolved over the past hundred years? Novels studied will include, besides Wells's Classic, Doris Lessing's The Memoirs of a Survivor, J. G. Ballard's The Drowned World, and David Mitchell's Cloud Atlas.

301.3 Anglo-Saxon Language and Culture. Victims of the Vikings: The Norse Impact on Anglo-Saxon England I

(Section 01) MWF 12:30 Term 1 (R. Harris)

This is the first of two half-classes intended to convey reading competence in Old English and to examine points of contact between the Anglo-Saxons and the Norse invaders of England. The Anglo-Saxon Chronicle records for the year 787 A.D. a first, non-productive interaction along the coast of Mercia between a local guard and some Norsemen. In succeeding centuries the road of contact was rarely smooth, even after the Peace of Wedmore and the settlement of the Danes in the north and east of what became England. We will examine the processes of cultural interchange between these several Germanic peoples as they are presented in Old English primary sources, in translation from Latin or Old Norse where necessary, and in more recent texts of history and criticism. In order to approach Anglo-Saxon materials, we will spend the first half of the course, that is, the entire first half-class, acquiring grammatical and lexical competence in early West Saxon (c. 900), the literary language of Anglo-Saxon England. By December successful students will be able to read simple passages in Old English prose with the help of a glossary.

305.3 Canadian Fiction from Beginnings to 1960

Note: Students may not take this class for credit if they have taken ENG 352.6.

(Section 02) TTH 2:30 Term 2 (F. Zichy)

We will undertake a close reading of a number of representative works of Canadian fiction, short stories and novels, published before 1960. Works will be read in their relevant literary and social-historical contexts.

Required reading, in this order:

Stephen Leacock, Sunshine Sketches of a Little Town; Robert Stead, Grain; Hugh MacLennan, Barometer Rising; Ethel Wilson, The Equations of Love; and Mordecai Richler, The Apprenticeship of Duddy Kravitz.

307.3 Digital Literature and New Media

(Section 02) MWF 10:30 Term 2 (A. Muri)

Digital literature is pervasive. It is at the centre of 21st-century communication, entertainment, social life, and creative expression; it changes the ways we read and write, consume and produce, and it has arguably changed the ways we access, distribute, analyze, conceptualize, and define literature. This course considers how text, language, design, and writing (both the visible text and the less visible script or markup) have been used in creative digital media. Especially, we'll consider the ways that media in the digital age might test and challenge concepts of textuality. We'll look at some of the early digital writing experiments from the 1960s through the 1980s, and then at the explosion of creative works online since the inception of the World Wide Web in 1990, including e-literature and e-poetry, video games, websites, and so on, as well as critical readings in new media theory and practice.

310.3 Old English Literature. Victims of the Vikings: The Norse Impact on Anglo-Saxon English II.

Note: Eng. 301.3 is a pre-requisite for this class. Contrary to what the Handbook of Classes says, ENG. 301.3 and 310.3 DO NOT fulfill the language requirement for the MA-Thesis.

(Section 02) MWF 12:30 Term 2 (R. Harris)

This is the second of two half-classes intended to convey reading competence in Old English and to examine points of contact between the Anglo-Saxons and the Norse invaders of England. We will examine the processes of cultural interchange between these several Germanic peoples as they are presented in Old English primary sources, in translation from Latin or Old Norse where necessary, and in more recent texts of history and criticism.

There will be extensive translation from various examples of Anglo-Saxon prose and poetry. Particular attention will be given to the original of crucial parts of Beowulf, with the remainder to be read in translation. Each student will produce two papers, a shorter one of cultural or historical bent, and a longer one involving the literary critical study of some work in Old English.

311.3 Chaucer

(Section 61) TTH 10:00 Term 1 (S. Powrie - STM)

"Wine can rot your mind" warns Chaucer's Summoner. "Ignorant people like stories," the Pardoner asserts, just before narrating his tale. "By God!" exclaims the Wife of Bath, "If women had written as much as clerics, they'd surely ascribe more wickedness to men than all the males from Adam could defend!" And when a character named "Chaucer" has finished narrating his "Tale of Sir Thopas", he is told, "By God, to put it in a word: your awful writing isn't worth a turd!" Find out for yourself what Chaucer's writing may or may not be worth in this class, as we read selections from his Canterbury Tales, arguably the greatest human comedy in English.

316.3 Literature at the End of the Middle Ages

(Section 61) TTH 1:00 Term 1 (M. Cichon - STM)

An introduction to the study of late-medieval literature and social change, with attention to topics such as Caxton and the coming of print, The Book of Margery Kempe and women's writing, Lollard writings and the Reformation, and national identity and Older Scots poetry. This year's English 316 will focus on Sir Thomas Malory's Works, several of the sources and analogues to this collection, and other writings which illumine the bastard-chivalric context of late-medieval English literature.

322.3 17th Century Literature to 1640

(Section 01) TTH 1:00 Term 1 (J. Henderson)

Some of England's greatest writers were in mid-life when Queen Elizabeth I died in 1603 and her foreign cousin, King James VI of Scotland, inherited her crown as King James I, bringing Great Britain under one monarchy. A Protestant but anti-Puritan intellectual, James imprisoned Elizabeth's favorite Sir Walter Ralegh in the Tower but became patron to Shakespeare's acting troupe (the King's Men), commissioned Ben Jonson with Inigo Jones to write masques for his court, pressured John Donne into becoming Dean of St. Paul's Cathedral, and gave legal and political offices and titles to Sir Francis Bacon, a founder of the scientific movement. King James also ordered the revised translation of the Bible that bears his name. For a time England's writers expressed a patriarchal sigh of relief after half a century of courting female monarchs, and opened into the mainstream some of the more intellectual and satirical eddies of late Elizabethan literature. Donne's example encouraged George Herbert and other "metaphysical" poets; the "sons of Ben" Jonson, such as Robert Herrick, developed neo-classical verse. Yet the early seventeenth century also saw the publication of women writers such as Rachel Speght (who answered a misogynist pamphleteer), Aemilia Lanyer, Mary Wroth, and Elizabeth Cary. Literature under James and his unfortunate son Charles I (beheaded 1649) is filled with excitement over "God's Works" (nature, both at home and abroad in a "brave new world") but also with increasingly bitter conflicts over "God's Word" that would lead finally to Civil War. Not surprisingly in an era when many expected the imminent Second Coming of Christ, a brooding over the ravages of Time and the fragility of human life are also pervasive themes of early Stuart literature, from Shakespeare's Sonnets to Robert Burton's The Anatomy of Melancholy.

324.3 Early Modern Drama

(Section 02) MWF 1:30 Term 2 (J. Rochester)

Although Shakespeare is the best known of the Elizabethan and Jacobean playwrights, he was only one of dozens of authors producing work for the London professional theatres from 1576-1642. This course will survey the development of English Renaissance Drama from the opening of the first purpose-built professional theatre to the closing of the theatres on the outbreak of the English Civil War. We will cover several major genres -- comedy, tragedy, history, romance, tragicomedy -- as well as quasi-dramatic forms such as masques and pageants. A small amount of theatre history and social history will be included.

We'll need to move quickly, covering at least one play a week; we'll examine works by playwrights such as Marlowe, Jonson, Webster, Marston, Dekker, Middleton, Lady Mary Wroth, Brome and Shirley. Experience with Early Modern English will be useful, but is not necessary.

10 Pop quizzes, one midterm, one research paper and final exam.

327.3 English Drama: 1660-1737

(Section 01) MWF 9:30 Term 1 (P. Hynes)

This course deals with one of the most engaging periods of English drama, one well-known for its raunchy comedies but also important as a time of considerable innovation in the theatre. We'll learn quite enough about rakes and coquettes, boobies, cits and cuckolds to keep the most overheated imagination busy, but we'll also read more serious stuff: post-Shakepearean tragedies and the three-hankie weepies of the newly emerging Age of Sentiment. While we will focus on the strictly literary qualities of the play-texts, there will also be room to consider production problems and try out a scene or two for ourselves.

334.3 Prose and Poetry of the Victorian Period

(Section 02) TTH 1:00 Term 2 (D.J. Thorpe)

This course will see in Victorian literature a series of conflicts: between the discourse of science and the discourse of imagination; between a transcendant idealism and a sensuous naturalism; between an Arnoldian high culture and an emerging popular culture; between one religion and many, or even none; between masculine and feminine; between moralism and decadence. We will examine the extraordinary variety of literary strategies by which the Victorians embodied these conflicts in language. Insofar as their struggles have passed on to later generations we have become, in Foucault's phrase, "we 'other Victorians'". Authors to be studies will include Robert Browning, Elizabeth Barrett Browning, Christina Rossetti, Alfred Tennyson, Walter Pater, Frances Power Cobbe, Florence Nightingale, John Ruskin, and Oscar Wilde.

337.3 18th Century British Literature After 1740

(Section 01) MWF 2:30 Term 1 (K. James-Cavan)

If you like satire, sentiment, wit, and a good time you will find in eighteenth century British literature an inviting repast. In sampling the offerings of this period, we will imitate its rising wealthy classes who, with time and money to spend on distraction, eagerly consumed such varied literary forms as periodicals, novels, plays, and poetry. We'll dip into Samuel Johnson's Rambler and Idler, devour a novel by Henry Fielding, and attend (in imagination) a performance of The Witlings by Frances Burney. We'll make the acquaintance of early Gothic works, witness the development of female authorship, and peek into people's private lives through selections of journals and letters. In our brief but grand tour of this wealth of literary modes and genres we will encounter a developing print culture, the lineaments of which has much to say to our twenty-first century twitterverse.

338.3 Contemporary North American Aboriginal Literature

(Section 01) MWF 1:30 Term 1 (N. Van Styvendale)

In his poem "The Unauthorized Autobiography of Me," Spokane/Coeur d'Alene author Sherman Alexie famously quips, "Thesis: I have never met a Native American. Thesis repeated: I have met thousands of Indians." Alexie raises the complex issue of Indigenous identity, an issue of enduring interest in the field of Native North American literatures. This course will trace some of the ways in which "identity" is constructed, reconstructed, and deconstructed in Native North American literature and criticism from the 1970s until the present day in both Canada and the United States. We will consider how identities are shaped through texts and in relation to topics such as home, nation, land, war, community, trauma and traditions. We will read novels, short stories, autobiography and poetry, including works such as Three Day Road (Boyden), Traplines (Robinson), Kiss of the Fur Queen (Highway), Slash (Armstrong) and Indian Killer (Alexie). For students interested in experiential learning, the course will offer an optional community service-learning component via All Nations Learning, a program offered through the University Learning Centre and the Aboriginal Students' Centre, which enhances participant knowledge of Aboriginal communities, culture and history through activities in the community. For more information about All Nations Learning, see http://www.usask.ca/ulc/csl/anlt2.

341.3 The British Novel 1850-1900

Note: Students with credit for Eng. 374.6 may not take this class.

(Section 62) TTH 1:00 Term 2 (P. Kelly - STM)

With the sense of an increasingly complex society, the novelists of the second half of the century all wrestle in one way or another with how to define the relationship of individual and community. For writers like Charles Dickens, Wilkie Collins, and Sir Arthur Conan Doyle, the new genre of mystery and detection becomes the means of coping with life in the city. But other novelists turn their gaze away from London. In the realistic novels of George Eliot, for instance, the emphasis is on the network of relationships within the small town. And Thomas Hardy uses his often tragic interpretation of the pastoral genre to present the vitality of life in rural England. Although we shall consider the social history of the time, our main emphasis will be on how these novels speak to us today through our own imaginations as readers.

343.3 American Literature to 1865

(Section 01) TTH 10:00 Term 1 (W.M. Bartley)

This course is a survey of American prose and poetry from the Puritan migration in the 17th century to the American Civil War. We begin with the Puritans because their political, intellectual and spiritual energies were decisive in the emergence of a dynamic national culture in the eighteenth and nineteenth centuries. Then we turn to the role played by the Enlightenment and the Revolution in the shaping of that national culture before we finally turn to our chief preoccupation--the formative period of American literature (the so-called "American Renaissance," or, more accurately, the New England Renaissance) in the first half of the 19th-century. Some writers we will pay particular attention to include: Nathaniel Hawthorne, Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, Anne Bradstreet, Louisa May Alcott, Emily Dickinson, Herman Melville, Edgar Allan Poe, among others.

344.3 American Literature 1865 to 1914

(Section 61) MWF 9:30 Term 1 (D. Kelly - STM)

A survey of major American writers from the end of the Civil War to the beginning of World War I. This era of social and political turbulence produced a number of influential works of fiction by such writers as Mark Twain ("all our grandfather," as William Faulkner famously called the author of The Adventures of Huckleberry Finn), Charlotte Perkins Gilman, and the magisterial Henry James. Selections from the life writings of Henry Adams, Booker T. Washington, and W. E. B. Du Bois may also be included. The importance of Walt Whitman will be discussed, as will the poetry of Edwin Arlington Robinson.

345.3 American Literature 1914-1960

(Section 62) MWF 9:30 Term 2 (D. Kelly - STM)

Two world wars and the rise of the civil rights movement introduced sweeping changes into American society. The response by the artistic community to the advent of modernism and to social and political challenge was intense and variegated, as will be seen throughout our study of such major figures as dramatist Eugene O'Neill, poets Ezra Pound, T. S. Eliot, Wallace Stevens, William Carlos Williams, Carl Sandberg, E. E. Cummings, Marianne Moore, and fiction writers (some of whom will be represented in short works or excerpts) Ernest Hemingway, F. Scott Fitzgerald, Willa Cather, William Faulkner, Zora Neale Hurston, Ralph Ellison, and Flannery O'Connor.

347.3 American Literature since 1960

(Section 01) MWF 10:30 Term 1 (L. Banco)

From the commemorations of the Woodstock Music Festival of 1969 to the tendency to blame the 1960s in general for any and all contemporary American social ills, the legacy of that decade is met with a complex mixture of celebration, nostalgia, and cynicism. Such a response suggests once again that the 1960s -- for good or for ill -- was a controversial and watershed decade. This course offers a survey of American literature from 1960 to the present. We will study closely the aesthetic dimensions of a range of poetry and prose that sometimes engages directly with the 1960s and its legacies but is usually informed more subtly by the massive social, artistic, and cultural changes wrought by that important, ambivalent decade. Our inquiry will be guided by broad issues such as the construction of American identities and the production of American spaces, and it will address more specific thematics generally considered under the umbrella term "postmodernism," a phenomenon that came to prominence in the United States alongside the tumultuous changes of the 1960s. We will explore notions of individualism and persecution, questions of race and gender, and conceptions of the American Dream and consumer society in the late twentieth century.

348.3 Modern Drama: 1870-1950

(Section 01) MWF 11:30 Term 1 (A.R.C. Martin)

The home becomes the stage in so many landmark works of drama from the turn of the 20th C, as modernity explodes in the domestic sphere. How do playwrights, characters, and audiences negotiate the rapid changes of the era through texts centred upon family politics? Plays may include Ibsen's A Doll's House, Strindberg's Miss Julie, Shaw's Mrs. Warren's Profession, Glaspell's Trifles, Barrie's Peter Pan, Brecht's The Threepenny Opera, Coward's Private Lives, O'Neill's A Long Day's Journey Into Night, and Williams's A Streetcar Named Desire.

358.3 Canadian Drama in English

(Section 01) MWF 12:30 Term 1 (K. Flynn)

If you were asked to write a play about Canadian drama, you could do much worse than to settle on Text and Performance as your two lead characters. Indeed, the study of drama in most English departments insists on the centrality of these two phenomena, and on thinking about the negotiations that we undertake as readers and viewers when the play is moved from the page to the stage (or, sometimes, vice-versa). But who would the other characters in our play be, and what would be their significant functions? In this course we will focus our attention on our two lead characters, so to speak, but we will also consider the supporting players: cultural history, funding, the companies who have performed our course materials, and the theatres in which they have been presented. So, in addition to studying the works of David French, Tomson Highway, Judith Thompson, and Djanet Sears, among others, we will also canvass the history of Canada's theatres (Factory Theatre Lab, Tarragon, Centaur, Manitoba Theatre Centre, the Shaw and Stratford Festivals, etc.) and look at their infrastructure and funding. We'll also try to fit in an evening of local theatre right here in Saskatoon.

359.3 Western Canadian Literature

(Section 01) TTH 11:30 Term 1 (F. Zichy)

A survey of twentieth-century literature written in Western Canada, with an emphasis on the novel and the short story. Works will be read in their literary, historical, and broadly cultural contexts. Among the works to be read (in this order, more or less): Robert Stead, Grain; Sinclair Ross, As For Me and My House; Robert Kroetsch: The Studhorse Man; Adele Wiseman: Crackpot; Guy Vanderhaeghe: Man Descending; Thomas King: Medicine River.

362.3 The British Novel 1800-1850

Note: Students with credit for Eng. 374.6 may not take this class.

(Section 61) TTH 1:00 Term 1 (P. Kelly - STM)

The remarkable imaginative energy in the novelists of this period leads them either to develop new forms, such as the romantic historical novels of Sir Walter Scott, or to extend the genres of the eighteenth-century novel. So we see Jane Austen adapting the sentimental novel for social satire, or writers like Charles Dickens, Mary Shelley and the Bronte sisters redefining the gothic to express psychological, social, and even metaphysical mysteries. In this first half of the century, many of the concerns that dominate the later Victorian and modern periods have their birth: the family, the class system, social reform, the role of women, and the crisis in religious faith. Although we shall consider the social history of the time, our main emphasis will be on how these novels speak to us today through our own imaginations as readers.

363.3 Fiction 1900-1950

(Section 02) MWF 9:30 Term 2 (L. Voitkovska)

The course will be dedicated to a study of major works and theories of fiction from across national boundaries, with an emphasis on formal and stylistic modes such as realism, naturalism, impressionism, and symbolism. Writers will include Conrad, Woolf, Foster, Hemingway, Dreiser, Fitzgerald and Lawrence.

364.3 Fiction Since 1950

(Section 02) MWF 11:30 Term 2 (A.R.C. Martin)

This course will explore some major works of fiction from the second half of the century, and will address aspects of literary and especially post-structuralist theory in order to contextualize the authors' challenges to tradition. Emphasis will be placed upon varieties of postmodernism, but we'll begin with Kingsley Amis's Lucky Jim and Samuel Selvon's The Lonely Londoners to establish a sense of the postwar cultural shifts that affect the writers on the syllabus. After addressing some metafictional short stories from John Barth's Lost in the Funhouse, we'll move to creative non-fiction through Maxine Hong Kingston's The Woman Warrior, before heading to magic realism through Jeanette Winterson's Sexing the Cherry. We'll end off with a unit on fairy tales and intertextuality through Emma Donoghue's short-story cycle Kissing the Witch and a text by Neil Gaiman, which may lead us to reflect upon the status of fiction in the era of the internet.

365.3 Creative Writing

(Section 61) Wednesdays 2:30-5:20 p.m. Term 1 & 2 (G. Vanderhaeghe - STM)

English 365.6 is centered on the techniques of writing fiction (dialogue, creating characters, narrative strategies, prose style, etc.). The focus will be primarily on the short story, although other forms will get some attention and be subjects of study and discussion, including novels, plays, screenplays, and creative nonfiction. All participants in the class must be prepared and willing to have their fiction and other assignments discussed and critiqued by the instructor and their fellow students in a workshop atmosphere.

Application forms for this class will be available in the STM General Office after April 15th.
NOTE: Eng. 365.6 is the only Creative Writing Class.

368.3 Poetry 1890-1950

(Section 01) MWF 9:30 Term 1 (E. Ophir)

This course examines the ways that a number of poets set out to break the old molds of poetic form and traditional poetic subject matter and reinvent poetry for the twentieth century. Our focus will be on the rebellious energies of American poetry, and our emphasis will be on poetry usually defined as "modernist." One of our aims will be to develop, through the study of essays and manifestos as well as poems, a sense of the meaning, and the limitations, of this concept, which encompasses works of wildly various styles. Poets studied will include Robert Frost, William Carlos Williams, Wallace Stevens, Marianne Moore, E.E. Cummings, and Langston Hughes. Students with little background in poetry are welcomed and encouraged to take this course.

382.3 Canadian Fiction from 1960 to the Present

(Section 01) Mondays 6:00 p.m. Term 1 (J. Lynes)

This course examines the work of selected Canadian fiction writers since 1960s. Short stories and novels will be studied within their various cultural contexts and particular emphasis will be placed on craft and innovative narrative strategies in relation to issues of history, gender, race, class, and place. Short stories to be considered will include writings by Alistair MacLeod, Alice Munro, Mark Anthony Jarman, Guy Vanderhaeghe, and others. With respect to the novel, authors studied may include Margaret Laurence, Lynn Coady, Margaret Atwood, Joseph Boyden, and Thomas Wharton. Finally, non-fiction prose narratives by authors such as Wayne Johnston, Charlotte Gray, and/or Dave Bidini may be considered.

383.3 Literature and Colonialism

(Section 02) TTH 10:00 Term 2 (S. Gingell)

Taking African, Afro-Caribbean, and Indigenous Canadian contexts as its primary fields of investigation, this course will consider the relationships between literature and colonialism (and related terms like decolonialization and postcolonialism). The course will provide students with an opportunity to think about the extent to which framing colonialism as a transnational or global phenomenon is either enlightening or obscuring, and whether or to what extent the term neocolonialism is useful for students of literature and orature/aurature. Students will learn what colonial discourse is and how to identify it in operation, but will also explore alternatives to its binarizing of colonizer and colonized in theories and l/iterary practices of decolonization and transculturation. The place of the "oral" and the written in both colonial discourse and decolonization and the role of so-called standard English and varieties of English will be significant focuses of attention. We will study theoretical texts and examples of "expressive" verbal arts in written, audio, audio-visual, and digital formats.

393.3 Medieval Devotional Literature

(Section 62) MWF 10:30 Term 2 (S. Powrie - STM)

This class examines the construction of the self in the devotional writing of the later Middle Ages. Discussion of theological sources, devotional art, and popular piety will provide context for examining English mystics, such as Julian of Norwich, Margery Kempe, and the anonymous Cloud-author, among others. Questions to be considered include: What is meant by an "inner life"? What is interior or exterior to the self? What is the relationship between poetry and prayer? How does culture influence religious belief? How do women writers assert the legitimacy of their voices in a masculine scholastic context? What can be said about God? What must be left unsaid?

398.3 Special Topics: Slayer 101: An Introduction to Buffy

(Section 02) MWF 9:30 Term 2 (P. Hynes)

In every generation of classes there is a Chosen One …

This one.

It's a class on the great television series Buffy the Vampire Slayer, where we will follow the entire seven-season arc, with meditative pauses on select episodes. We will take time to explore the traditions of the vampire narrative and other items of the show's generic background, and will pay due attention to its ingenuity in plotting, its characterisation, its reflection on social themes from adolescent angst to the End of the World, and, finally, its outstanding wit. While it is sometimes tempting to do television studies in a condescending spirit, Buffy is modern drama at its finest, so we will approach it with the respect that is due to a serious work of art.

You will of course be expected to imitate Willow Rosenberg's passion for research and observe scholarly standards that match the expectations of Giles himself. In practical terms, that means a set of content quizzes, two essays, and a final exam.

400-Level Classes

Honours Seminars

Honours seminars are open to students who have been admitted to an Honours programme. Honours seminars are conducted in a different manner from regular classes. Limited to 15 students each, seminars provide opportunities for students to present papers and to engage in critical discussion of literature on a regular basis. Each seminar is a PERMISSION ONLY class; please see Allison in 318 Arts for academic advising.

402.3 Topics in Anglo Saxon and Medieval Literature: Medieval Texts in the Digital Age

(Section 02) Tuesdays 9:30-11:50 Term 2 (P. Robinson)

An extraordinary effect of the birth of the digital age is that it has forced us to re-examine all we thought we knew of previous ages. This course will centre on one area of our culture - broadly, English written culture before 1500 - where our understanding of the age has been transformed by digital media. The over-riding question this course sets is: what is it, to read a medieval document in the digital age? How is our appreciation of medieval material culture different from what was possible only a few years ago, before the internet brought images of medieval manuscripts to every desktop? How has it changed too, by the transformation in the media wrought by digital methods, making possible (for example) animations and other expressions of medieval narratives never before possible? A continuing theme in this course will be the ways in which changes in material culture affect every aspect of how we communicate, and we will survey the shifts from oral to written culture, from manuscript to print, and then from print to digital, examining how stories such as Beowulf or King Arthur are transformed as they move from medium to medium. As well as showing how narratives themselves change, we will also examine the new ways of knowing opened up by the digital age, so that medieval documents may be explored in manners never before possible (through, for example, new modes of collaborative editing and reading). Along the way, we will also critique the digital age itself: when we look at a modern animation of a Chaucer tale, or of Sir Gawain and the Green Knight, what is lost, what is gained, by comparison with reading from the original manuscript, or from a printed book? Has the time of Facebook and Twitter damaged our ability to appreciate literature, as we once could? What are we to make of works like the Shrek films, or the film 'The Knight's Tale', with their self-conscious play on medieval motifs? What does 'Medievalism' mean in the digital age? The course will focus on a few prominent medieval texts - Beowulf, the 'matter of Arthur' from the Welsh mabinogion through to the Gawain manuscript and Malory, Saints' lives and homilies, the Bayeux tapestry, Chaucer from manuscript to print and beyond, the mystery plays as instances of medieval popular literature - to see how these fare in the 21st century, and how we fare with them.

404.3 Topics in 16th Century Literature in English: Editing and Early Modern Text

(Section 02) Fridays 9:30-11:50 Term 2 (R. Cooley)

Members of this seminar will work as an editorial team to prepare an annotated digital edition of an early modern book (16C or 17C) for electronic publication. Working from digital facsimiles of one or more early printed editions, students will transcribe, edit annotate and republish an early book that would otherwise be inaccessible to general readers. We will also prepare biographical and contextual introductions to the work, and a comprehensive bibliography. The emphasis will be on meeting the high professional standards appropriate to work intended for publication. We will explore both general issues of scholarly editing and specific issues involved in transforming printed media into digital formats. This class should appeal to students with special interest in early modern literary and cultural history; to students planning to undertake graduate work in any literary or historical field (who will get a head start on their bibliographic training); and to students planning non academic professional careers in editing, publishing, communications, and library studies. The workload is heavy (a substantial assignment every second week), and the standards are uncompromising, but the satisfaction is great.

406.3 Topics in 17th Century Literature in English: Tracing Early Modern Drama in Performance: 1570-1900

(Section 01) Mondays 1:00-3:20 Term 1 (J. Rochester)

Early Modern plays, masques and shows are collaborative documents, produced in the theatre for dramatic production. Playscripts were normally produced by teams of writers, and they were tweaked and fiddled with even after their first production: different versions of printed plays provide evidence that scripts were cut, re-written and revised over the course of their theatrical lives. Despite the respect our century gives to Shakespeare, Early Modern plays were not seen as high art and scripts were rarely reverently handled.

In this seminar, we will examine plays originally produced in the years 1570 to 1642 through their performance history; we'll study the theatres and companies for which the plays were originally written, and look at how these companies' performance spaces and practices shaped the texts we have, using online (EEBO) and printed resources (REED) to provide us with information. We'll include plays written for different communities (children's companies, university and school performances, masques and pageants), as well as plays written for the professional companies of Shakespeare and his rivals. We'll read canonical texts like King Lear and The Tempest, but we'll also look at shows quickly knocked off in response to specific events, like political scandals (such as Middleton's A Game At Chess) and outrageous crimes (A Yorkshire Tragedy). Finally, we'll examine the later theatrical history of certain plays, looking to see what changes in the texts of Shakespeare when the plays move to the Restoration stage, the 18th Century stage and beyond.

Requirements: Seminar presentation, research paper and final exam.

414.3 Topics in 19th Century British Literature: The Victorian Fin-De-Siècle

(Section 01) Thursdays 1:00-3:20 Term 1 (D. Thorpe)

The closing decades of the 19th century in Britain witnessed a number of cultural transformations, with the advent of universal state-sponsored education, universal male suffrage, women in growing numbers attending Oxford and Cambridge, a burgeoning socialist movement and the birth pangs of the Labour Party. Yet it was also a period of brutal repression, an age in which intelligent people espoused the most noxious forms of racial theory, embraced both evolution while fearing its counterpart, degeneration. Eugenics was both coined and practised. British imperialism was at its zenith, yet the signs of the eventual dismantling of empire were already evident. As immigration made London in particular a more diverse, polyglot community, creative artists opened themselves to foreign influences, from the theatre of Ibsen to the naturalism of Flaubert and Zola, from the music of Wagner to the visual traditions of the Far East. It was also, in Elaine Showalter's phrase, a period of "sexual anarchy", a period of sexual scandals, censorships and prosecutions, of growing homosexual panic, while writers tested idioms for new forms of desire. We will sample the ferment of the period by reading works in a number of genres, by such authors as Algernon Swinburne, Oscar Wilde, Amy Levy, Augusta Webster, Bram Stoker, Edward Carpenter, and Annie Besant.

420.3 Topics in Medieval Genres: Middle English Romances

(Section 01) Tuesdays 9:30-11:50 Term 1 (Y. Liu)

This course will consider a varied and sometimes baffling genre of late medieval narrative in English: the romances, stories about questing knights, glow-in-the-dark heroes, imperialist kings, shipwrecked women, friendly carnivores, treacherous stewards, gory battles, diabolical saints, and much more. The primary reading for the course will be in Middle English.

468.3 Topics in 20th Century Irish Literature: William Butler Yeats

(Section 02) Wednesdays 9:30-11:50 Term 2 (E. Ophir)

This course invites you to immerse yourself in the work and life of W.B. Yeats, one of the greatest 20th century poets in English. Yeats was a famously unrequited lover and composer of deeply personal poems of desire, loss, and self-doubt, but he was also as poet of masks, an inventor of "phantasmagoria," who believed that "everything personal soon rots." We will examine how his astonishing creative energy worked and reworked itself within and against the cultural and political currents and upheavals of fifty years: from fin-de-siècle Decadence through Irish cultural nationalism, anti-colonial violence, the challenge of the avant-garde, the founding of the Irish Republic, and the rise of socialism and fascism between the wars. A poet of intense passions and equally intense ambivalences, Yeats remains a captivating, disturbing, conflicted figure: cosmopolitan and nationalist, occultist and senator, a man who strove to escape "the fury and the mire of human veins" but who was in his seventies still spurred into song by "lust and rage." Our focus will be on Yeats's poetry, but we will also read selections from his folklore collections, drama, and critical writings. Our study of some of the major critical responses to Yeats will further guide our consideration of the tensions between poetry and politics, aesthetics and ethics, the demands of creative vision and the responsibilities of public prominence.

484.3 Topics in Women's Literature: Women's Life Writing

(Section 02) Mondays 1:00-3:20 Term 2 (H. Clark)

In this seminar we will study samples of women's life writing from the 20th to 21st centuries, concentrating particularly on autobiographical works such as diaries, essays, and memoirs. Considering autobiography as a genre and emphasizing the historical contexts of the works, we will read authors such as Virginia Woolf, Emily Carr, Simone de Beauvoir, Maxine Hong Kingston, Meri Nana-Ana Danquah, Lucy Grealy, Lee Maracle, Sharon Butala, Dionne Brand, and Patti Smith.

496.3 Career Internship

(Section 02) Time: Tentavely Mondays 3:30-5:00 p.m. Term 2 (K. James-Cavan)

"So, what are you going to do with that English degree?"

If you've ever found yourself at a loss for an answer to this question, this course may be for you.

Internship students earn three credit units while gaining valuable experience in

public relations,
writing for publication,
grant-writing,
editing,
teaching writing, and
promoting literacy.

Interns provide approximately 80 hours to the organization over a twelve-week period under the joint supervision of Prof. James-Cavan and a workplace supervisor. The time commitment is comparable to that expected in other honours seminars. In addition, all interns meet as a class fortnightly throughout the term. One short incident analysis and one substantial term paper are required. There is no final written examination.

Internships are currently available with such organizations as Sage Hill Writing Experience, Saskatchewan Playwrights Centre, the Saskatchewan Aboriginal Literacy Network, the University Library, the University Learning Centre, Student Enrolment and Services Division, the International Student and Study Abroad Centre, an academic journal Essays in Canadian Writing, Saskatoon Correctional Centre, and Sherbrooke Community Centre.

Interested students should contact Prof. Kathleen James-Cavan (kathleen.james-cavan@usask.ca) in Arts 321 or Allison Fairbairn (allison.fairbairn@usask.ca) in Arts 318 for further information about how to apply for an internship position.

To read about two of the students in the 2011 course, please visit: http://www.usask.ca/sesd/sesdconnects/April-1-2011/topstory_englishstudents.php

Detailed Descriptions of Career Internahips Placements

I. Saskatchewan Aboriginal Literacy Network - http://www.aboriginal.sk.literacy.ca/

This position will be of interest to a student who has an interest in Aboriginal Literatures. The SALN would be most interested in hosting an intern who self-identifies as a person of Aboriginal ancestry, but such an identity is not a required qualification for this position. The intern will be able to choose from a list of activities which includes updating the Saskatchewan Aboriginal Resource Directory, co-ordinating the Aboriginal stage of the 2013 "Word on the Street," a national book and magazine festival, and developing relevant, interesting, Aboriginal adult literature for readers with low levels of literacy.

II. Sage Hill Writing Experience - http://www.sagehillwriting.ca/

Sage Hill provides professional development opportunities for writers at all stages of their careers by offering annual writing workshops staffed by leading creative writers from across North America. Sage Hill Alumni have published widely in North America in both journal and book form. The intern in this position works closely with the Executive Director to organize and plan for the summer workshops. Someone with an interest in developing links to the creative writing community would find this a rewarding experience.

III. Essays on Canadian Writing

Prof. Kevin Flynn of our department is the editor-in-chief of the academic journal Essays on Canadian Writing. The intern placed here learns about the anxieties and joys of academic publishing while either assisting in the production of an issue or collecting a body of research to support the journal's work, or both. The person who takes up this position must be resourceful, flexible, and independent in addition to having a strong curiosity about academia.

IV. Writing at Sherbrooke Community Centre - http://www.sherbrookecommunitycentre.ca/

Guided by a philosophy called the Eden Alternative™, Sherbrooke Community Centre offers care for a wide variety of people in a community setting. One of the centre's great strengths, and source of several awards, is its arts programming of which this position is a part. Supported by the Artist-in-Residence and centre staff, the intern assists residents with an interest in and flair for writing to write and edit their works which will be published or presented to the public at "Open Mike" sessions or in displays organized by the intern. Before beginning a writing group, the intern will be thoroughly introduced to how the guiding principles of the Eden Alternative™ inform every interaction among staff, volunteers, and residents.

V. Student Enrolment and Services Division - "http://explore.usask.ca/ and http://www.students.usask.ca/international/during/iso/

Currently, we have two internships in this division of the University of Saskatchewan:

In the Marketing and Student Recruitment placement the intern will learn to write content for print as well as web-based documents that promotes the University experience to prospective students and their parents.
The other placement is in the International Student office where the intern will revise and write new material for international students living in Saskatoon or for Canadian students preparing to study abroad.

VI. University Learning Centre - http://www.usask.ca/ulc/

The learning centre offers assistance in writing and math through PAL Peer Mentors and through the Writing Centre. The intern at the Learning Centre often does research to support its programs or its tutors and PALs. This is an excellent placement for anyone contemplating teaching as a career. Although the intern does not normally engage with learners, he or she will learn much about how to teach and what kinds of resources are needed to support effective learning and teaching.

VII. University Library - http://library.usask.ca/

The department has two internships in the University library:

Under the supervision of the Metadata Librarian, Craig Harkema, the career intern will work on projects that support initiatives within the Library, especially those related to the Department of English, collaborative digital projects in the humanities, and the profession at large. Projects may include planning and promoting digitalization projects in Special Collections or researching standards and technologies for use in digital libraries and electronic resources management. Some of this work may lead to the publication of an essay in an academic journal.
In collaboration with Candice Dahl, University Library, the intern will gain a detailed understanding of academic librarianship, assist with ongoing library projects and new initiatives, and further develop research and scholarly communication skills. This internship will interest a student contemplating a career in information services.

VIII. Saskatchewan Playwrights Centre - http://www.saskplaywrights.ca/

The Saskatchewan Playwrights Centre is a playwright-driven organization that strives to foster the development of Saskatchewan plays and playwrights. The intern will work closely with the Centre's dramaturge and executive director on such diverse projects as the one-act play festival and the 24-hour playwriting competition. As the Centre is eager to increase its profile in public profile, the intern should have or be willing to develop familiarity with various digital media platforms.

IX. Creative Writing at the Saskatoon Provincail Correctional Centre

This internship will appeal to students with interests in creative writing and human justice. The Saskatoon Provincial Correctional Centre is an adult male provincial correctional centre that holds approximately 450 inmates, including the low security Urban Camp complex. Inmates may be awaiting trial (remand) or serving a maximum of two years, less a day. In one-to-one tutorials and small group workshops, the intern will assist inmates who have an interest in writing to develop and strengthen their writing skills, and guide them in editing their stories, songs, creative non-fiction, and poetry. Depending upon the intern's skills and interests, he or she may also work with inmates interested in oral storytelling and poetry performance. If appropriate, the intern will collect inmates' creative writing to be published at the conclusion of the internship or shortly thereafter. Diann Block and/or other designated staff will give the intern a tour of the facility, training, and advice concerning appropriate behaviour, dress code, confidentiality, boundaries, and safety. The intern will have the support of unit staff, as well as the Chaplains, Cultural Advisors (Elders), teacher therapist, and program facilitators. The intern must obtain security clearance from Corrections, Public Safety and Policing and obey all rules and regulations while at the Correctional Center.

497.0 Honours Colloquium

The Department of English Honours Colloquium, now a compulsory part of the Honours programme, was offered for the first time in February 2011.

The Colloquium consists of an oral presentation of a short scholarly paper at a conference of Honours students. The paper is normally based on a paper already prepared, or in preparation, for a 300 or 400-level course. This will be a one- or two-day event in early February. In preparing the paper for this event, students should seek the advice of a faculty member. Note that this course is required for all Honours and Double Honours students, but has no credit unit value. Students will receive informal feedback, but no formal evalution.

Undergraduate Program Fall and Winter Courses, 2012-2013