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, 2020. 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.

200-Level Classes

Please see our 2022-23 English Course Handbook for a complete list of all our undergraduate classes.

HISTORIES OF ENGLISH CLASSES

211.3 (02) History and Future of the Book

T2 TR 11:30 (Peter Robinson)

This course is a journey through four thousand years of writing: from the invention of writing systems, the beginnings of literature inscribed on clay tablets, papyrus and parchment, though manuscripts and the invention of complex books, print and mass communication up to the internet, social media, and video gaming. We will see how books have changed, through many kinds of physical objects, to blinking pixels on screens. We will explore how what books contain and how we read them have changed. In sum, we will investigate how our concepts and experience of technology affect the way we read.

ENG 212.3 (01) A HISTORY OF ENGLISH WORDS

T1 MWF 2:30 (Yin Liu)

This course surveys some aspects of the history of English as a language, from Proto-Indo-European to the present day, through exploring the formation and histories of English words. Students will learn skills and knowledge to study the lexicon and morphology of English, and will discover how the past of English affects its present.

200-LEVEL CLASSES

ENG 206.3 (02) Introduction to Cultural Studies

T2 MWF 2:30 (Gerald White) – Category 4

This course will introduce the broad contours of Cultural Studies as a critical approach. We will pay special attention to work from the UK, since the field of British Cultural Studies is such an important part of the approach's heritage. We will also read and discuss important foundational work by figures from Europe, Africa, the Caribbean, and Canada. We will be looking at literary works, but also material made for television, radio, film, and online technologies, as well as various kinds of visual art.  

207.3 (01) INTRODUCTION TO COLONIAL AND DECOLONIZING LITERATURES

T1 MWF 9:30 (Joanne Leow) – Category 5

The ideas and practices of Empire, imperialism, colonialism, and settler colonialism are some of the most significant influences on contemporary civilization. How we think of language, land, history, race, gender, power and knowledge continues to be deeply affected by the legacies of colonial thinking. In this course, we will examine representations of the colonial and its legacies: colonial education and language policy, the histories of slavery and indenture, plantation logic, resource extraction, the creation of contact zones, the hybridization of languages and social practices, and cultural loss and appropriation. To do so we will read selections of colonial literature and thought paired with postcolonial and decolonial works. Some of the texts will present us with uncomfortable confrontations with racism, white supremacy, conceptions of progress and development, ideas of the exotic and cultural difference. We will focus on defining key concepts such as coloniality, Empire, imperialism, postcolonialism, Orientalism, hybridity, and decoloniality as they are represented in a range of literary texts and genres.

215.3 (61) LIFE WRITING

T1 TR 10:00 (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 Instagram? 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.

217.3  (62) MYTHOLOGIES OF NORTHERN EUROPE

T2 TR 1:00 (Michael Cichon) – Non-category

After the Cosmic Cow licked the universe into existence, Odin and his brothers killed a giant and fashioned the heavens from his skull and oceans from his blood.  Learn the rest of the story in English 217.  The Men of Ulster were proverbially late for every battle they fought, due to birth pangs incurred after making a pregnant goddess race a chariot.  There’s much more to this story and we’ll read it in English 217.  Shapeshifter magician Gwydion fab Don fashioned a bride of flowers for his nephew, cursed to never have the love of a mortal woman.  There’s a story that can only end in tears and we’ll see how in English 217. English 217 is a study of the mythologies of medieval northern Europe, including a survey of the sources, an examination of several chief deities and myths associated with them, and a consideration of some old northern European literary evidence.

220.3 (01) Studies in the Craft of Writing

T2 TR 2:30 (TBA) – Non-category

A study of “reading like a writer,” this course explores two genres – poetry and short fiction – through the analysis of literary technique. In addition to engaging with elements of style through lectures and workshops, students will explore the aesthetic and/or sociopolitical underpinnings of assigned readings to consider how form and content exist in a mutually enlivening relationship. The course includes both lectures and writing tutorials in which students discuss assigned readings, undertake in-class writing exercises, and engage in line-by-line editing critique of original writing by class members. Visiting authors may be invited into the classroom, and students will be encouraged to attend literary events in the community. By the course’s end students should have completed a portfolio of polished writing in two genres.

224.3 Shakespeare: Comedy and History

(61) T1 TR 11:30 (Arul Kumaran) and (W01) T1 (online) (TBA) – Category 2

This course focuses on the romantic comedies and English history plays that Shakespeare wrote for Elizabethan audiences in the first half of his theatre career. It also examines the darker, more tragicomic “problem comedies” that he wrote under James I. Study of the histories will demonstrate their contribution to the nationalist project of Reformation England, while study of the comedies will explore their use of humour and verbal wit in the representation of human identity.

225.3 (02) Shakespeare: Tragedy and Romance

T2 T 18:00 (TBA)

Throughout his career Shakespeare wrote tragedies of romantic love, family and political conflict, and revenge, reaching his peak in this genre in the first decade of the 17th century. This course will focus on a selection of plays in this genre, and will also treat his late romances, a comic genre in which fateful adventures end in forgiveness and reconciliation between enemies.

225.3 (04) Shakespeare: Tragedy and Romance

            T2  MWF  10:30 (Joanne Rochester) – Category 2

Shakespeare’s tragedies are his best-known works and the most ‘canonical’ of his plays. Works like Macbeth, Hamlet and Othello are globally performed, reworked and adapted, but also form the core of the ‘Shakespeare’ read in high school, so they are both the most experimentally staged and most canonically taught. This is understandable, as they form the height of his mature work; although he wrote two tragedies early in his career, Titus Andronicus and Romeo and Juliet, the bulk of them were written in the latter half of his professional life, and the four romances, his final genre, were the last solo plays he produced.

      In this course we will begin with one of Shakespeare’s earliest tragedies, Romeo & Juliet, followed by Hamlet, Othello and Macbeth, as well as the romance A Winter’s Tale. We’ll read these plays in the social context of Early Modern England and the performance context of Shakespeare’s theatres, but we’ll also look at significant current adaptions and experimental stagings, both in the theatre or on film. Questions of love and gender relations are clearly central to Romeo and Juliet and Othello, while Hamlet and Macbeth deal with issues of family and dynastic power, as well as political rivalry. The wish-fulfillment of Winter’s Tale magically undoes the losses of the tragedies, through both poetic and theatrical magic, and it will be the last play we read.

230.3 (61) Literature for Children

T2 TR 10:00 (Kylee-Anne Hingston) – Non-category

Who are children’s books really for—the children who read them, or the adults who write, make, and buy them? Are even the “fun” children’s books secretly all about teaching lessons? And why are bunny rabbits so ubiquitous in the genre? To investigate these questions, this course explores the defining features of children’s literature and the ways those features evolved over the genre’s development: in doing so, we will trace the different conceptualizations of childhood across changing historical and cultural contexts. Beginning with the folk and fairy tales from which children’s literature germinated and closing with the YA dystopia, this course covers oral tales, picture books, short stories, and novels published between the eighteenth- and twenty-first centuries for an audience of children or young adults. Take this course to re-encounter old childhood friends, such as Peter Rabbit (Potter) and the “Wild Things” (Sendak), and be introduced to new ones, such as a selfish porcelain rabbit who learns how to love (DiCamillo’s Edward from The Miraculous Journey of Edward Tulane) and a fugitive teen being hunted for his bone marrow (Dimaline’s Frenchie from The Marrow Thieves). However, children’s literature is deceptively simple but very complex, so be prepared for a course with heavy critical thinking as well as fun reading.

232.3  (01)  GOTHIC NARRATIVE

T1 MWF 10:30 (TBA) – Non-category

This course will trace the Gothic mode, in its various forms, from its origins in Britain in the 1760s through its assimilation into mainstream literature in the nineteenth century and beyond.

242.3 (01) Indigenous Storytelling oF the Prairies

T1 TR 10:00 (Jenna Hunnef) Category 4, Indigenous Learning Requirement

This course introduces students to the diverse storytelling traditions and literary histories of the Prairies and Great Plains regions of Turtle Island by focusing on the role of place—and more specifically the category of home—in Indigenous literary self-representation. It will also provide students with knowledge of historical and political contexts specific to the Prairies. How do Indigenous stories about relationships to the Prairies as a place—including small towns, big cities, reserves, grassy plains, and boreal forests—negotiate the multiple and often competing racial, sexual, gendered, and economic forces that seek to define Indigenous life in settler-colonial states? Furthermore, how do these representations resist settler colonialism’s investment in undoing those place-based relationships? Students will be encouraged to think about their own relationships to place through formal and informal assignments and class discussions.

246.3 (02) Short Fiction

T2 MWF 1:30 (Ludmilla Voitkovska) – Non-category

As a relatively new genre, the short story is a truly modern form. Its attractiveness has to do with the concision of its form and the possibilities for startling turns its narrative can offer. The course will explore the history and conventions of short fiction from its origins in myth, fable, and folktale to its flourishing in the nineteenth and twentieth centuries. It will examine stories from a variety of cultural contexts representing a range of styles, themes, and social issues. Among authors studied will be Aesop, Chekhov, Maupassant, Kafka, Munro, Achebe, Poe, Joyce, Conrad, Faulkner, and Chopin.

ENG 255.3 (W02) MAPPING CANADIAN LITERATURE

T2 online (Wendy Roy) – Category 4, Canadian

“Where is here?” is a key question posed by Canadian literary critic Northrop Frye. Frye argues that for Canadians and their literatures, the question of place is more central than the question of personal identity, “Who am I?” This course will interrogate and revise Frye’s assertion by examining literary works that focus not only on geographical place, but also on social and cultural positioning. Lectures and class discussions will consider Canadian fiction and poetry from their earliest manifestations to the present day. The course will map Canadian literature through attention to, among other topics, Indigenous oratures; explorer-settler perspectives on Canada; Canadian nationalism after Confederation; Canadian iterations of modernism and postmodernism; and literary constructions of Canadian experience by prairie writers, Indigenous writers, and Canadian diasporic writers.

ENG 260.3 (02) CRIME AND DETECTIVE FICTION

T1 T 18:00 (TBA) – Non-category

Through the study of novels, short stories, critical essays, and historical documents, this course explores the roots of the modern detective story, its “golden age” consolidation in the 1920s and 30s, and its recent variations.

277.3 (61) LITERARY USES OF MYTHOLOGY

T1 MWF 11:30 (Sarah Powrie) – Non-category

Sallust describes myth as “things that never happened but always are.” His enigmatic statement prompts us to consider the power of mythic narrative: why would stories about imaginary people continue to fascinate us and resonate with our own experience even today?  Using Ovid's Metamorphoses as a point of departure, we will study the many ways in which Ovid's tales of transformation were themselves transformed through poetry, film and visual art, expressing the anxieties and aspirations of an array of authors.

288.3 (02) Introduction to Film

T2 MWF 10:30 Lab T 4:00 (William Bartley) – Category 4

This course is a survey of narrative film from its beginnings to the present. 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 an international selection of important directors, both men and women In the process, we’ll look closely at such movements, styles and genres as Soviet Montage, German Expressionism, French poetic realism, New Wave, Italian Neo-Realism, post-war Japanese film, Hollywood comedy, and film noir.