300 - Level Classes
2017 - 2018
- 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, 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
ENG 301.3 (01) OLD ENGLISH LANGUAGES AND CULTURE
Victims of the Vikings: The Norse Impact on Anglo-Saxon England I
T1 MWF 12:30 (Richard Harris) – Category 1
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 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.
ENG 307.3 (02) DIGITAL LITERATURE AND MEDIA
T2 MWF 11:30 (Allison Muri) – Category 5
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 artworks and installations, e-literature and e-poetry, video games, websites, and so on, as well as critical readings in new media theory and practice. Texts will include selections from Nick Montfort and Noah Wardrip-Fruin’s New Media Reader (MIT Press, 2003), selections from the Electronic Literature Collection and other websites, and Bioshock.
T2 MWF 12:30 (Richard Harris) – Category 1
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.
T1 MWF 9:30 (Sarah Powrie) – Category 1
The course investigates Chaucer’s early works: his dream visions and his Troilus and Criseyde. Troilus and Criseyde was the Casablanca or the Titanic of its time. Like these movies, Chaucer’s narrative situates a forbidden romance in the midst of a cataclysmic historical event—the Trojan War. Troilus, the son of King Priam, falls for Criseyde, the daughter of a traitor, and so he is torn between his public obligations to his city and his private love for her. In the dream visions, Chaucer explores the various powers of the imagination, as a well-spring for literary creativity, as a source of resilience for healing emotional pain, as a guide to choosing ethical responses. Studying Chaucer’s dream visions will give us an opportunity not only to recognize the important role of dreams in medieval culture, but also to reflect upon the significance of dreams for us today.
T2 TR 8:30 (Yin Liu) – Category 1
The Middle English romances are what people in late medieval England read for fun: stories about questing knights, ambitious kings, shipwrecked women, friendly carnivores, blood-soaked battles, diabolical saints, and much more. They are always action-packed, often improbable, sometimes brilliant. We will consider a variety of texts, most of them anonymous, ranging from the thirteenth-century poem King Horn to the fifteenth-century Arthurian stories of Malory, with perhaps some excursions into much more recent times. The primary reading for the course will be in Middle
T1 TR 11:30 (Brent Nelson) – Category 2
The rich and varied literature of the seventeenth century reflects a time when England was emerging into modernity, a time that saw a revolution in politics and science and a reshaping of social bonds and relationships. It was a time of ardent religious devotion and bitter division and a time of New World encounters in a rapidly expanding globe. This course will survey the diverse literature of this period, from the frankly sexual and sacred lyrics of John Donne to the tortured devotional deliberations of George Herbert, from private but emerging voices of women writers, such as Emilia Lanyer and Mary Wroth, to the public debates of religion, science, and politics in Francis Bacon, Sir Thomas Browne, and John Milton.
T1 TR 8:30 (Peter Hynes) – Category
This course deals with drama from the Restoration of the English monarchy in 1660 to the Licensing Act of 1737. The period is 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.
T2 TR 2:30 (Ella Ophir) – Category 4
This course invites you to explore a range of authors and genres that respond to some of the major political and social forces that transformed the UK over the first half of the twentieth century, including the fight for Irish independence, the First World War, feminism, socialism, and fascism. Reading across genres, from plays and poetry to novels, short stories, and reportage, we will examine how individual writers positioned themselves in relation to the nation-state as a political entity and as an “imagined community.” To this end, we will investigate questions about authorial authority, audiences, and the relationship between aesthetics and politics. Writers include Bernard Shaw, Joseph Conrad, James Joyce, Virginia Woolf, Katherine Mansfield, Noel Coward, and George Orwell.
T2 TR 10:00 (Lisa Vargo) – Category 3
The focus of this course is British poetry and prose (but mostly poetry) composed in a period of political and economic revolution by writers who believed with Percy Shelley that “Poets are the unacknowledged legislators of the world.” The early nineteenth century is a time in which notions of the subjectivity of the self and of human rights, the relation between humans and the environment, and the possibility of social reform preoccupy writers, who are at the same time contending with the professionalization of writing and the realities of the literary market. For many years the Romantic period meant poetry by the “Big Six” male poets: Blake, Wordsworth, Coleridge, Byron, Shelley, Keats. Their wonderful writings will certainly have a place in the syllabus, but other voices will also be included, notably those of women and the working-class, to give a fuller sense of who was writing, as well as what readers in the period read.
T2 TR 11:30 (Nancy Van Styvendale) – Category 4, Canadian
In 1968, Kiowa author N. Scott Momaday won a Pulitzer Prize for House Made of Dawn, catalyzing what many have referred to as the “renaissance” of Indigenous literary production in North America. While interrogating the usefulness of this periodization, ENG 338 provides a survey of contemporary Indigenous literatures from the United States and Canada, including written texts in a variety of genres, as well as film and music. Students will be introduced to a range of issues and concepts central to the field—including community and kinship; land and identity; urban/rural experience; settler colonialism and racism; violence against Indigenous women, girls, Two Spirit, and transgender people; and cultural strength, resistance, and survivance. Students will also engage with Indigenous literary and critical theories (e.g., Indigenous feminism, nationalism, and kinship criticism), and will have the opportunity to participate in local Indigenous community- and arts-based events as part of their coursework. Works by the following authors may be studied: N. Scott Momaday, Louise Erdrich, Katherena Vermette, Richard Wagamese, Gregory Scofield, Gwen Benaway, and Eekwol.
T2 TR 11:30 (Allison Muri) – Category 3
A time of rebels and reactionaries, Enlightenment Britain (1660-1800) saw writers respond to dramatic social change. In this brief but grand tour of literary modes and genres, students will encounter many of the ideas that underpin contemporary Eurocentric culture. The course will include works of satire and sentiment, amatory fiction and conduct books, political poetry, slave narratives, plays of wit, and the first periodicals. Featured authors may include Behn, Swift, Pope, Richardson, Fielding, Burney, and Johnson.
T1 MWF 1:30 (Ludmilla Voitkovska) – Category 4
The course will examine these authors in their original theatrical and aesthetic contexts, while positioning the dramas in relation to their individual social and political moments. 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.
T2 MWF 10:30 (Francis Zichy) – Category 3, Canadian
This course surveys twentieth-century literature written in Western Canada, with emphasis on the novel and short story. Works will be read in their literary, historical, and broadly cultural contexts. Among the works to be read, in this order: Robert J. C. 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.
T1 TR 2:30 (Len Findlay) – Category 3
This course studies the development of the British novel, beginning with Jane Austen and Sir Walter Scott, and ending with the early work of Dickens, Gaskell, and the Brontës.
T1 MWF 10:30 (Darlene Kelly) – Category 3
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, among others. The milestone achievements of Mark Twain and Henry James will receive due emphasis.