300 - Level Classes
2018 - 2019
- 3 cu at the 200 level is a pre- or co-requisite for most 300-level English classes (exceptions: ENG 301, 310, and 366)
- This information is accurate as of March 31, 2018. 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
This course is an introduction to digital narrative, poetry, and media theory. It investigates the ways in which text, language, and writing have been used in creative and experimental digital media, including artworks and installations, e-literature and e-poetry, video games, websites, and so on. Students will read a variety of digital works alongside critical readings in new media theory and practice.
T1 TR 10:00 (Michael Cichon)
“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.
T1 MWF 1:30 (Peter Robinson)
Before Shakespeare, even before the building of the first theatre in England, there were at least five centuries of drama in England. What we would recognize as plays were performed in the streets, in and around churches and cathedrals, in pubs, anywhere people met. The plays were usually on religious subjects, but took surprising forms, with elements of pageant, pantomime, sermon and comedy (sometimes scurrilous). Above all, drama before Shakespeare was popular: the audience was everyone. This course will survey this rich history, focussing on the ways medieval English drama is a direct ancestor to modern performance, all the way to modern film and video games, and how it is both like and unlike modern popular culture. We will read the plays and watch modern performances of the plays. We will ask how we might present a medieval play to a modern audience: what decisions must be made, what would a modern audience find difficult, what familiar.
T2 TR 11:30 (Danila Sokolov)
The sixteenth-century—the age of the Renaissance—was one of the most fascinating periods in the history of English literature. Omitting drama, this course will survey some of the major developments in poetry and prose in English from 1485 to 1603. We will range from the radical humanism of More’s Utopia to the new Italianate poetry of Wyatt and Surrey; from Elizabethan poetic theory (Sidney) to the poetics and politics of psalm translation (and religious polemic in general); from the elegance of Petrarchan sonnets to the political lessons of Gascoigne and Raleigh; and from the sensuality of Marlowe’s Hero and Leander to the moral allegory of Spenser’s Faerie Queene.
T2 MWF 10:30 (Kylee-Anne Hingston)
This course will introduce you to the Victorian prose essay and Victorian poetry as literary genres and to the Victorian periodical press which published them. Through closely reading a range of canonical and non-canonical works from the 1830s to the 1890s, you will develop an understanding of the social and cultural frameworks that shaped the prose and poetry of the period. Authors and poets covered include Arnold, Mill, Martineau, the Brownings, the Rossettis, Hopkins, Ruskin, Cobbe, Wilde, Tennyson, and Caird. Topics studied include imperialism, the nature of race, the experience of disability, faith and doubt, the woman question, masculinity, socialism, and aestheticism.
T1 TR 11:30 (Tasha Hubbaard)
Category 3, Canadian
While most courses in Indigenous literature begin with works from the 1970s, this course explores oral and written narratives by Indigenous people in what is now known as Canada (including those with ties to Canada), from the late eighteenth century. The course will provide a survey of these early narratives and will prepare students for future engagement with Indigenous texts. The following topics will be addressed: the relationship between oral and written traditions; the tradition of “as-told-to” narratives and cross-cultural literary collaborations; the voicing of trauma and the role of humour in residential school narratives; and the articulation of identity and politics through various genres, including oral tradition, short stories, poetry, autobiography, and other forms of life writing. Contemporary theoretical readings on Indigenous literature will supplement our study of primary texts.
T2 TR 1:00 (Doug Thorpe)
By the middle of the nineteenth century, the novel was undoubtedly the dominant genre of English literature. Such ascendancy gave novelists loyal readerships and also the confidence to offer magisterial surveys of their society, in which individual aspirations are deeply enmeshed in both forbidding social networks and the shifting burdens of history. Representative mid-century novelists may include Charles Dickens (reputedly the last English writer who was “read by everyone who reads”), Elizabeth Gaskell, and George Eliot. By the end of the century the world had changed considerably. Urbanization, universal state-sponsored education, the weakening of both aristocratic and Anglican hegemony, and massive immigration, all lead to both an expansion and a fracturing of the reading public. Late-century novelists may include Thomas Hardy, Robert Louis Stevenson, Bram Stoker, Amy Levy, Grant Allen and the “new woman” writers. Over 100,000 novels were published in Victorian Britain, but fear not: we will only be sampling!
Category 4, Canadian
This course studies the development of Canadian drama in English, with emphasis on the period since 1960.
Category 4, Canadian
This subject of this course is Western Canadian literature in English, especially fiction, poetry, and drama, produced on the Canadian prairies.
T1 MWF 11:30 (Ann Martin)
In what became a defining moment for the United Kingdom, Margaret Thatcher was elected Prime Minister in 1979. The cultural landscape of Thatcher’s election year will be the point of departure for this course, in which we will explore key works of British and Irish literature since 1950 in dialogue with texts published in and around 1979: The Clash’s album London Calling, the movie adaptation of Pink Floyd’s The Wall, Caryl Churchill’s play Cloud 9, and Translations by dramatist Brian Friel. In our discussions of novels, plays, poetry, music, and film, we will be addressing the legacy of the past, the agency of the individual as subject, and the role of language and genre in representations of identity. How do authors and their characters engage with literary and social traditions to contest what it means to be English, Irish, and Scottish following the end of the British Empire and the rise of Thatcherism?
T2 W 6:00 (GUN VANDERHAEGHE)
This course is intended for students who have acquired some practice and skill in the writing of prose. The course is centred on the techniques of writing fiction (dialogue, creating characters, narrative strategies, prose style, etc.). 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.
Note: Evidence of practice and skill in the writing of creative prose as determined by the instructor is required for admission to this class. A special application is available from the Student Services Office in Room 155 of St. Thomas More College.
T2 TR 2:30 (ELLA OPHIR)
In the first decades of the twentieth century, poets began to bend, break, and even explode the old moulds of poetic form, and to push the boundaries of acceptable subject matter, in a deliberate effort to make poetry modern, to reinvent it for the century to come. This course offers an approach to the poetry of the twentieth century and beyond primarily through a focus on some of those first radical departures and the expressive possibilities they opened up. We will also examine some significant counter-currents, including the continuing possibilities of traditional form. A selection of essays by poets and critics will frame our consideration of fundamental questions about the nature, value, and power of poetry. No prior knowledge of poetics is assumed; students with little or no experience reading poetry are welcome and encouraged to take this course.
T1 TR 1:00 (Kathleen James-Cavan)
“It is only a novel... or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best-chosen language.” (Jane Austen, Northanger Abbey)
This course will begin at the ignominious beginning of the novel in English, with experiments in amatory fiction by Eliza Haywood and the rogue biography by Daniel Defoe, and trace its permutations through the blockbuster rags-to-riches tale of Pamela by Samuel Richardson to parodic responses by Henry Fielding, Jane Austen, and Laurence Sterne. By the end of the course, you will not be ashamed to say you are reading a novel!
ENG 377.3 (02) APPROACHES TO MODERN AND CONTEMPORARY DRAMA
T2 MWF 1:30 (Ludmilla Voitkovska)
Moving from drawing-room comedy to absurdism, from political protest to the theatre of science, we will sample a wide range of the fascinating drama that has been composed during the past century. Many of these plays are now acknowledged “classics” of modern drama. Paying particular attention to the importance of nationalism, group categorization, and science in shaping modern life, much of modern drama suggests that current events are inseparable from a larger cultural history. We will discuss drama as an art form, the implication raised by theatre as a collective activity, and the role of the audience in determining the meaning on the stage. The course will examine authors such as Shaw, Ibsen, Wilde, Chekhov, Osborne, Beckett, Pinter, Williams, O’Neill, and Churchill in their original theatrical and aesthetic contexts, while positioning the dramas in relation to their individual social and political moments.
T1 MWF 10:30 (Darlene Kelly)
This course traces the evolution of American literature from its Puritan origins to the more experimental forms of poetry and prose which appeared in the decades between the Civil War and 1900. Attention will be given to important historical documents such as slave narratives and to the polemical writings of Henry Thoreau and Ralph Waldo Emerson. Students will also study shorter fictional works by Herman Melville, Edgar Allan Poe, and Nathaniel Hawthorne, as well as the innovative contributions of Emily Dickinson and Walt Whitman and the milestone achievements of Mark Twain and Henry James.
T2 TR 10:00 (Cynthia Wallace)
From the turn of the twentieth century, the United States has been marked by two important literary and cultural phenomena: modernism and postmodernism. As a survey of American literature from 1900 to the present, this course is an attempt to figure out what these two large movements look like, to understand how and why the shift from modernism to postmodernism occurred, to account for the differences and similarities between them, and, in a post-9/11 present, to ask: what’s next? Possible texts include Edith Wharton’s Custom of the Country, Don DeLillo’s White Noise, Tim O’Brien’s The Things They Carried, Leslie Marmon Silko’s Ceremony, Toni Morrison’s Beloved, Junot Díaz’s The Brief Wondrous Life of Oscar Wao, as well as substantial selections of poetry.
T2 MWF 11:30 (Wendy Roy)
Category 4, Canadian
A promotional blurb for CBC’s Canada 150 reading list proclaims that “Canada has a wealth of writers telling today’s tales, revisiting our past, and imagining our future.” Through our own version of this list, we will explore the literary past, present, and future of Canada by reading and discussing Canadian fiction from the 1960s to the present day. Authors studied will include Laurence, Atwood, Munro, Vanderhaeghe, Highway, and others. We will explore how Canadian short stories and novels respond to stylistic and structural experiments in other English literatures, but at the same time exemplify Canadian cultural relations and modes of storytelling that include the regional, diasporic, and Indigenous. We will examine what these works tell us about our past through historiography, our present through examinations of complex social relations, and our future through forays into imaginative speculation.
T1 MWF 8:30 (Yin Liu)
This course explores the way the English language works: its peculiarities, its problems, its characteristic structures, its possibilities. It will include a survey of some important theoretical explanations for how the English language is organised – including traditional, 18
structuralist, and transformational-generative grammars, as well as selected recent approaches – and examine the assumptions about language that these theories imply. Along the way we will read Lewis Carroll’s Alice books, find out who told us not to use no double negatives, investigate ways of talking about nothing, and engage with various other uses of English in game and earnest.
T1T2 MWF 12:30 (Richard Harris)
The more sensational aspects of Viking activity in the eighth to eleventh centuries have left their distorted mark in folk memory: drunken psychopathic killers in horned helmets wielding damascened and poisoned swords, wreaking rape and pillage across more civilized parts of Europe. Much that was good about them is neglected: their feats of engineering and navigation, their commercial ability, their robust astuteness in administering societies which came under their rule. Their complex corpus of skaldic verse; the vast collection of classical Icelandic sagas, at once colourful and subtle, based on their oral tradition; numerous archaeological treasures found in distant corners of the world: all these attest to a dynamic and sophisticated civilization, traces of which can be found from L’Anse aux Meadows to Istanbul. In this course we will be concerned with the Vikings’ expressions of their literary impulses as well as their cultural impact upon those they met in the lands to which they came, especially in the British Isles, but also in Byzantium, early Russia, and North America. The first half of the course will be devoted to the acquisition of skills in reading the Old Icelandic language, the second half to the literature, some to be studied in the original, but larger portions in translation. The pursuit of individual research interests will be encouraged, along with exploration of opportunities to visit Iceland in educational programs.