Please note:

  • 6 cu 100-level English is a prerequisite for 200-level English classes and is the maximum to be taken for credit
  • 3 cu at the 200 level is a pre- or co-requisite for most 300-level English classes (exceptions: ENG 301, 310, and 366)
  • Students interested in Honours English are encouraged to take at least one Foundations class in second year.
  • This information is accurate as of March 31, 2017. Please note the University of Saskatchewan reserves the right to cancel or reschedule any classes. For the most up-to-date information, please click here.

Foundation Classes


T1T2  MWF 9:30  (Brent Nelson, Peter Hynes, Doug Thorpe, Ella Ophir)

Not all books are created equal. When literary critics talk about the “canon” they usually mean a list of works that have been judged to be particularly excellent and influential, and which therefore should continue to be read. But who decides what is “excellent”? And on what grounds? What factors have influenced who got included in the canon, and who got left out? This course asks how the study of English literature has been shaped by ideas about the canon. We will read examples of securely “canonical” works from Anglo-Saxon times to the present day, as well as works that have been rediscovered and reevaluated over time. We will address questions about the process that sorts literary works into the good and the bad (and possibly the ugly), and the kinds of value judgments that continue to shape the study of English today. This course will be taught by a team of instructors, each of whom specializes in one of the historical periods to be covered.


T1T2  TR 10:00  (Len Findlay)

A former colleague used to wearily complain, “How do you convince a student that Frost’s ‘Stopping by Woods on a Snowy Evening’ is NOT a poem about Santa Claus?” If we celebrate freedom of interpretation must we then discipline rogue interpretations? In this course we will study how practices of reading and the making of interpretations have always been sharply contested. We will look for a common language for relating diverse critical approaches to each other. Critical consensus may prove to be elusive, but a sense of shared activity and of sparking intersections will teach us much about how we read, both individually and as a collectivity. We will sample influential 20th-century critical approaches and also read literary texts as test cases.


T1T2  TR 1:00  (Yin Liu)

This course traces the history of the English language. We will begin with an overview of basic linguistic concepts and then survey the development of English from the present day back to its origins as an Indo-European language.

Other 200-Level Classes


T1  TR 2:30  (Joanne Leow)  

Category 4

Cultural studies is the exploration of “culture,” what Raymond Williams calls nothing less than “one of the two or three most complicated words in the English language.” Cultural studies analyzes the artistic, social, political, and historical texts and objects that help construct our contemporary lives, and it assumes that such objects go well beyond “mere entertainment” and affect deeply how we perceive class, race, gender, and other markers of identity. As an introduction to the theory and practice of cultural studies, this course will familiarize students with some of the most important thinkers and methodologies in the field and will allow students to use some of the tools of critical analysis to analyze different forms of cultural production, including literature, popular culture, and print and electronic media. 


T1 TR 1:00  (Cynthia Wallace)


What does a medieval woman’s account of passionate piety have to do with your Facebook wall? How do nineteenth-century letters and postmodern poetry relate to your Tumblr? How can writing shape a life, both on and off the page? In this course we will consider several types of life writing—autobiography and biography, essays and memoir, dairies and letters, Tweets and blogs—in order to explore questions of how life writing works to construct a self, why it appeals to both writers and readers, and the ways its forms have changed over time. Students will also practice some life writing of their own, in both longer formats and 140-character prose.


T1  MWF 11:30  (Joanne Rochester) 

Category 2

Note: Students with credit for ENG 221.6 may not take this class for credit.

This course treats Shakespeare’s plays as historical and theatrical documents; as much as possible, I ask students to consider the plays in the context of Shakespeare’s playing spaces and practices. We will be reading three comedies about conflict in love, sex and marriage: Midsummer Night’s DreamAs You Like It, and the much darker All’s Well That Ends Well. We’ll also do two histories, Richard III and Henry V. These are drawn from Shakespeare’s two "tetralogies," the multi-part cycle plays on the medieval civil wars, the Wars of the Roses, which are among the earliest plays that Shakespeare wrote. Each focusses on an individual titular king: the profoundly evil Richard III and the unabashedly heroic Henry. Both plays are works of propaganda and politics, as much as history, and we’ll be reading them in that context. All plays will be read in the Oxford World’s Classics series, and will be available through the bookstore. Assignments include reading quizzes, one in-class essay (midterm), one annotated bibliography, one research paper, and a final exam.


T2  MWF 8:30  (Arul Kumaran)

Category 2

Note: Students with credit for ENG 221.6 may not take this class for credit.

This course will focus on the romantic comedies and English history plays that Shakespeare wrote for Elizabethan audiences in the first half of his theatre career; it will also include the darker, more tragicomic "problem comedies" that he wrote under James I.


T1  MWF 2:30 (Danila Sokolov)  

Category 2

Note: Students with credit for ENG 221.6 may not take this class for credit.

In this course we will read a selection of Shakespeare’s plays written during the later years of his career as a dramatist. In his great tragedies Julius CaesarHamlet, King Lear, and Macbeth, Shakespeare adopts the classical genre to explore the tragic conflicts of love and death, power and responsibility, ambition and despair, and revenge and forgiveness. In his late romances Cymbeline and The Tempest, he pushes the boundaries of comedy and tragedy to imagine a world in which harmony emerges out of loss and happiness comes as a reward for suffering. Through detailed analysis of the six plays, we will investigate Shakespeare’s innovative approach to genre, the intricacies of his language, the depth of his poetic imagination, the richness of allusion to the historical, cultural, and social issues of Renaissance England, and the insistent probing of the conventions and material realities of the early modern theatre. 


T2  MWF 11:30  (Joanne Rochester)

Category 2

Note: Students with credit for ENG 221.6 may not take this class for credit.

This course treats Shakespeare’s plays as historical and theatrical documents; as much as possible, I ask students to consider the plays in the context of Shakespeare’s playing spaces and practices. We will be reading at least four of Shakespeare’s tragedies, ranging from the very early Titus Andronicus through OthelloKing Lear (the Folio edition), and Macbeth. We will finish with the late romance The Winter’s Tale, a tragicomedy that treats some of the themes of the family tragedies with a redemptive, curative happy ending. The texts used will be the The Norton Shakespeare: Tragedies, 3rd edition, and the Oxford World’s Classics edition of The 10 Winter’s Tale. Assignments include reading quizzes, one in-class essay (midterm), one annotated bibliography, one research paper, and a final exam.  

ENG 226.3

T2  MWF 12:30  (Doug Thorpe)


The tradition of fictional realism has always invited transgression, and this course will explore fictions that have played with realist conventions, subverted them, parodied them, or even extended them into imaginary worlds with conventions of their own. We will sample a diverse body of texts, with particular attention to nineteenth and twentieth century fiction, including a few works in translation. Authors may include E.T.A. Hoffmann, Lewis Carroll, George Macdonald, H.G. Wells, Franz Kafka, Ursula LeGuin, and William Gibson.


T2  MWF 11:30 (Kylie-Anne Hingston)


In this course, we will be asking questions such as, What are the defining features of children’s literature? What makes it for children rather than for readers? How does its intended audience, and that audience’s age and literacy level, shape its form? Its content? Its style? How do its form and style—including its illustrations—shape its content? What does children’s literature tell us about how its authors understand childhood? To investigate these questions, we will learn about the history and development of children’s literature, reading the folk and fairy tales that provide the roots for what we consider children’s literature, and then moving on to picture books and novels written for children and young adults, published between the eighteenth and twenty-first centuries.


T1 TR 11:30 (Lindsey Banco)


From Mary Shelley’s 1818 novel Frankenstein to Robert Eggers’s 2016 film The Witch, horror fiction and film owe a significant debt to the Gothic mode. This course offers a survey of Gothic literature from its beginnings in the middle of the eighteenth century, through its enormous popularity in the nineteenth century, to the multitude of forms it takes—including the contemporary horror novel and film—in the twentieth and twenty-first centuries. In approaching the Gothic mode’s key questions, its main thematic issues, and its recurring stylistic features, this course will explore changes in our understanding of terror, the irrational, and the supernatural. What does it mean to transgress the boundaries between good and evil, safety and danger, sane and insane, and human and non- (or in-) human? What roles do violence, ghosts, decay, madness, racial and gender anxiety, and regional hauntings have in our literary traditions? Students are forewarned that the Gothic is sometimes disturbing, frightening, or violent; some of the material in this course may be as well.

ENG 242.3 (02) 

T1  MWF 2:30  (Tasha Hubbard)

Category 4, Canadian 

This course examines Indigenous literatures from the prairie region of Canada, providing students with knowledge of the terms and issues central to an engaged study of Indigenous literatures, as well as skills in reading, writing, and critical thinking. Topics to be covered include the relationship between oral and written literatures, collaborative storytelling and art, film and new media; the residential school system; cultural and individual trauma; and resistance and recovery. The course also provides students with knowledge of historical and political contexts specific to the prairies.


T1T2  MWF 10:30  (Kevin Flynn)

Category 4, Canadian

In this course we will conduct a survey of Canadian literature in English from its roots in early narratives of exploration and settlement to contemporary works of poetry and fiction. Our classroom discussions will be based on close readings of the assigned texts, considered in the context of the social and literary history of Canada.


T1 MWF 10:30  (Ann Martin)


At once a mass-marketed commodity, a salacious spectacle full of scandal and suspense, and a puzzle involving transgressions and reaffirmations of social structures, the genre of crime and detective fiction illuminates the shifting line between high and low art—and the contradictions of modern morality. Through selected texts, we will explore the figure of the sleuth, the setting of the case, the structure of the plot, the tone of the writing, and the relationship between mysteries and modernity. We’ll follow Nancy Drew and the Hardy Boys, and Lord Peter Wimsey and Thumps DreadfulWater. We’ll move from the London of Broadside Ballads to the Paris of Dupin and the contemporary Edinburgh of Detective Inspector Rebus. As well as the Golden Age of detective fiction, represented by Agatha Christie, we’ll look at film noir and contemporary texts that revisit the early 20th century when the genre became consolidated as a form that could trouble the great divide. 


T2 MWF 9:30  (Sarah Powrie)  


“Myths are things that never happened but always are.” Sallust’s enigmatic statement provokes us to consider the power of myth: why would stories about imaginary people continue to fascinate us, to resonate with our own life experience, and even, in some cases, to inspire us to action? These questions and others will animate our discussions in ENG 277.3 Literary Uses of Mythology. The class explores the ways in which authors from the middle ages to the present have drawn upon and transformed classical myths to express the anxieties and aspirations of their cultural context.


T2  TR 10:00  (Cynthia Wallace) 


"You must write, and read, as if your life depended on it," claims Adrienne Rich in What Is Found There: Notebooks on Poetry and Politics. In this course, we will seek to tell a history of women’s writing that has participated in this urgency. How, for instance, did Julian of Norwich, writing in the fourteenth century, Amelia Lanyer writing in the seventeenth, Elizabeth Barrett Browning writing in the nineteenth, and Virginia Woolf writing in the twentieth century not only write their own lives into being but also invite both readers and later writers into a similar project? We will focus especially on fiction, poetry, and theoretical texts of the last fifty years, likely reading Toni Morrison, Gloria Anzaldúa, bell hooks, Chimamanda Adichie, and Katherena Vermette.


T1 TR 1:00 (Michael Cichon)

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.


T2  MWF 12:30 – Lab R 4:00-6:30  (William Bartley) 

Category 5 

This course is a survey of narrative film from its beginnings to the present, from the Silent Era to the Digital Age. Students will be introduced to fundamental concepts of film analysis, including mise en scène, cinematography, editing, and sound. But we 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, Ingmar Bergman, Alfred Hitchcock, Jean Renoir, Yasujiro Ozu, Federico Fellini 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, The New Wave, Italian Neo-Realism, post-war Japanese film, Third World film, Hollywood comedy, and film noir

200-Level Cognate Classes

INCC 201.3 (02) DYNAMICS OF COMMUNITY INVOLVEMENT (Course offered through ICCC)

T2 T 6:00  TBA

May be used to fulfill English Category 5

Are you passionate about community and social justice? Do you want to learn from community partners, interact with a range of non-profit organizations and grassroots groups, and work on a community-based project related to your disciplinary interests? Through this interdisciplinary community-engaged class, students will expand their knowledge of Saskatoon’s most pressing issues, including poverty, housing, and homelessness; literacy, education, and the arts; systemic racism; and individual and community health. Students will also learn about various models and theories of community engagement, including charity and volunteering; activism and grassroots organizing; and Indigenous and anti-colonial approaches. In addition to in-class time, students will spend two hours per week with a community organization or group, which they will choose in consultation with the instructor. During Reading Week, students will participate together in a four-day immersive community learning experience at various locations in the inner city. Instead of a final exam, students will work with their community partners on projects that address community-identified needs. Past community partners have included: READ Saskatoon, Saskatoon Indian and Metis Friendship Centre, OUT Saskatoon, Frontier College, Inspired Minds: All Nations Creative Writing at the Saskatoon Correctional Centre, SWITCH, Habitat for Humanity, AIDS Saskatoon, Saskatoon Food Bank and Learning Centre, and The Lighthouse Supported Living. There are a range of literacy-related, creative writing, and arts-based organizations and projects for you to choose from. Email to find out more!