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

210.3 (62) LITERARY CANONS AND CULTURAL POWER

T2  MWF  9:30 (Sarah Powrie) – Histories of English class

The term “Literary Canon” refers to a body of literary works regarded as significant, authoritative, and worthy of study. This course seeks to engage critically with changing expressions of canonicity over time. What cultural forces have affected canon formation? What do literary canons reveal about the values and biases of their societies? In what ways might decolonization and globalism shape the study of nationalistically based literary traditions? 


211.3 (01) History and Future of the Book

T1  MWF  10:30 (Peter Robinson) – Histories of English class

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 206.3 (01) Introduction to Cultural Studies

T1  MWF 11:30 (Lindsey Banco) – 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 is the interdisciplinary analysis of the artistic, social, political, and historical texts and objects that populate our contemporary lives. It assumes that such objects go well beyond “mere entertainment” or “mere utility” 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. In addition to learning some of the major theoretical approaches to cultural studies, students will use some of the tools of critical analysis to analyze different forms of cultural production, including literature, popular culture, and print and electronic media. Texts will include novels, popular writing, advertising, film, music, visual culture of various kinds, and digital culture such as social networking and online celebrity culture. This course will offer many opportunities for reflection and writing on texts, cultural styles, and media environments.


209.3 (61) Transnational Literatures

T1  TR  10:00 (Cynthia Wallace) – Category 5

In this course we will read texts that figure movements across national borders and boundaries. How do the migrations—chosen and unchosen—of bodies, goods, ideas, and languages shape literary writing? And how does literary writing shape and participate in these migrations? Focusing in particular on movements to, from, and among the Americas, we will pay special attention to the histories and hauntings of colonization, slavery, empire-building, and contested border crossings. Readings may include texts by Toni Morrison, Gloria Anzaldúa, Ana Castillo, Louise Erdrich, Chimamanda Adichie, Fred Wah, and M. Nourbese Philip. 


220.3 (01) Studies in the Craft of Writing

T1  TR  11:30 (Sheri Benning) – 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 (01) Shakespeare: Comedy and History

T1  MWF  12:30 (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.


224.3 (online) Shakespeare: Comedy and History

T2 (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 (STM online) Shakespeare: Tragedy and Romance

T1 (TBA) – Category 2

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 (02) 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 Shakespeare’s earliest and most gruesome tragedy, Titus Andronicus, followed by Julius Caesar, Othello, King Lear 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 gender relations and race are key to both Titus and Othello, and Lear, Macbeth and Julius Caesar 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. All tragedies will be read in the Norton Shakespeare: Tragedies, and The Winter’s Tale will be available in the Oxford World’s Classics edition. All will be available through the U of S Bookstore.


226.3 (online) Fantasy and Speculative Fiction

T1 (TBA) – Non-category

This course examines literary genres that explore alternative worlds, experiment with the bounds of the real, and challenge the norms of reading. The course moves from precursors in legend, folktale, and romance, to Victorian fantasy, science fiction, utopian and dystopian fiction, and late 20th-Century feminist revisionary narratives.


230.3 (61) Literature for Children

T1  TR  11:30 (Kylee-Anne Hingston) – Non-category

Children’s literature is a unique genre in that its primary defining feature is its audience rather than its subject matter. In this course, we will uncover what defining features make this genre’s texts for children rather than for readers in general, and we will explore what those features tell us about how childhood is culturally understood. To investigate these questions, we will learn about the history and development of children’s literature from hornbooks to teen dystopias. Starting with folk and fairy tales from which children’s literature germinated, we move on to cover picturebooks, short stories, chapterbooks, and novels published between the eighteenth- and twenty-first centuries for an audience of children or young adults. Students will encounter familiar characters, such as Peter Rabbit (Potter) and the “Wild Things” (Sendak), but will also be introduced to unfamiliar ones, including 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).


242.3 (01) Indigenous Storytelling of the Prairies

T1  TR  2:30 (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.


242.3 (online) Indigenous Storytelling of the Prairies

T2 (TBA) – Category 4, Indigenous Learning Requirement 

A study of the Indigenous storytelling traditions in the prairie region, including oral traditions and written literature.


243.3 (02) Introduction to Indigenous Literatures

T2  TR  10:00  (TBA) – Category 4, Indigenous Learning Requirement

This course provides a broad introduction to the study of Indigenous literatures in the Canadian context, preparing students for more advanced study of Indigenous literatures in the discipline of English (as through ENG 335.3 or ENG 338.3). Students will read and listen to a diversity of First Nations, Metis and Inuit texts and oral stories, and learn to understand them as part of Indigenous literary traditions and histories. They will learn key concepts and approaches in Indigenous literary study, including learning about the processes of settler colonialism past and present. A focus will be placed on students understanding the literatures in terms of their own position and context.


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.


254.3 (01) Canadian Speculative Fiction

T1  MWF  1:30 (Wendy Roy) – Category 4, Canadian

When Saleema Nawaz’s Songs for the End of the World was published in spring-summer 2020, it was hailed as prophetic for the way that it imagined North America in the grip of a pandemic brought about by a coronavirus very much like COVID-19. This class will study speculative fiction in Canada, with a focus on dystopian and apocalyptic works that can help us think in critical ways about situations like global pandemics. We will start from the premise that such fiction is a commentary on the present, asking readers to consider environmental, technological, medical, social, and political developments in the present, and the impact that these might have on the future. The course will consider both short stories and novels; as well as Nawaz, authors under consideration will include Margaret Laurence, Hugh Hood, P.K. Page, Margaret Atwood, Wayde Compton, Cherie Dimaline, Emily St. John Mandel, Waubgeshig Rice, and others.


 277.3 (61) Literary Uses of Mythology

T1  MWF  9:30 (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?  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 to express the anxieties and aspirations of an array or authors.  Among the various cultural iterations to be included are: Orpheus in the German poetry of Rainer Maria Rilke, the labyrinths of the Argentinian writer Jorge Luis Borges, and Narcissus in the media theory of Marshall McLuhan.  


282.3 (61) Introduction to Feminist Theory and Literature by Women

T1  TR  1:00 (Cynthia Wallace) – Non-category

"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, reading both theoretical and literary texts by women that contest gendered oppression. Looking as far back as the fourteenth century but paying particular attention to the past fifty years, we will complicate a narrative of feminism that centres white women, attending to the long history of women's written resistance to intersecting gendered, racial, colonial, sexual, class, ableist, and other oppressions. In carefully attending to this history of women's writing, we will better equip ourselves to read our current context and, with the writers we study, reimagine a world in which all women can flourish. 


284.3 (62) Beowulf and Tales of Northern Heroes

T2  TR  11:30 (Michael Cichon) – Non-category

The warrior-poet, sorcerer, berserker, and farmer Egill Skallagrimsson composed his first poem at age 3 and killed his first enemy at age 7. He recited a poem for King Eirik Bloodaxe so impressive that Eirik spared Egill’s life even though Egill had killed the king’s son. Read his saga in English 284. 

Beowulf, the mythic wrestler of trolls, killer of hags and dragon-slayer, “was of all the kings of the world the mildest of men and the most gentle, the kindest to his folk and the most eager for fame.” Learn his story in English 284. 

Sigurd Volsung was descended from the god Odin, was the son of a werewolf, understood the speech of birds, and owned a twice-forged sword his ancestor pulled from a tree. He, too, killed a dragon, but was betrayed by his former lover, a Valkyrie, and murdered in his bed. Discover the tragic history of his line in English 284.

In addition to Beowulf, Egill’s Saga and the Saga of the Volsungs, this year we will read Icelandic outlaw and family sagas, and a work of contemporary fantasy fiction that deploys and reinterprets the themes of its medieval antecedents. 


288.3 (02) Introduction to Film

T2  MWF  12:30 / Lab T 4:00 (William Bartley) – Category 4

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, 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, Margarethe von Trotte, Agnes Varda, and Ida Lupino among other possibilities. In the process, we’ll look closely at such movements, styles and genres as Soviet Montage, German Expressionism, New Wave, Italian Neo-Realism, post-war Japanese film, Hollywood comedy, and film noir.

294.3 (02) Techniques of Canadian Poetry from Sonnet to Spoken Word

T2  MWF  2:30  (Kevin Flynn) – Non-Category, Canadian

This course is designed to kill two birds with one stone by offering advanced instruction in the critical methodology of the study of poetry and conducting a survey of Canadian poetry from the 19th century to the present day. Students in this class will enhance their literary-critical vocabulary and learn a range of methods for studying individual poems and poetry in general. The course uses as its primary texts Canadian poems that range from the sonnet to contemporary spoken word, and it engages with diverse poets, texts, and movements in Canadian poetry—with fewer references to rocks, rivers, and trees than you might expect!