300 - Level Classes
2021 - 2022
- 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, 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
ENG 301.3 (01) Old English Language and Culture
T1 MWF 2:30 (Richard Harris) – Category 1
This is the first of two courses in Old English (with ENG 310.3) 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 was to become 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 gain the skills necessary to approach Anglo-Saxon materials in the original, we will devote this entire first course to the objective of acquiring grammatical and lexical competence in early West Saxon (c. 900), the literary language of Anglo-Saxon England.
ENG 305.3 (02) Canadian Fiction from Beginnings to 1960
T2 TR 1:00 (TBA) – Category 4, Canadian
This course studies the development of Canadian fiction in English to 1960 and may examine other forms of storytelling and non-fictional prose.
ENG 310.3 (02) Old English Literature
T2 MWF 2:30 (Richard Harris) – Category 1
This is the second of two courses in Old English (with ENG 301.3) 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 spend this entire second course, using our grammatical and lexical competence in early West Saxon (c. 900) acquired in English 301.3, to read and study major works in Old English composed in various parts of what became England. We will read short battle poems and a culturally special genre, the Old English elegies, at the start of the term. We will later undertake to read all of Beowulf in Modern English, with some accompanying literary critical study, and crucial parts of the epic poem in the original language. And we will read other Germanic material in translation, in particular at least one Old Icelandic saga, to come to a more comprehensive understanding of the cultural situation of Anglo-Saxon England in its later centuries.
312.3 (62) Early Chaucer: Dream and Romance Tragedy
T2 MWF 10:30 (Sarah Powrie) – Category 1
The course investigates Chaucer’s early literary works: his dream visions, as well as Troilus and Criseyde. Troilus and Criseyde is part love-story, part heroic epic. It situates a forbidden romance within the cataclysmic events of the Trojan War. Troilus, the son of King Priam, falls in love with Criseyde, the daughter of a traitor, and so the young prince is torn between his public obligations to his city and his private devotion to her. In the dream visions, Chaucer reflects upon the psychological powers of the imagination: as a laboratory for literary innovation, 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 importance of dreams in medieval culture, but also to evaluate contemporary assumptions about dreaming and imaginative activity.
319.3 (01) Renaissance Literature in the Sixteenth Century
T1 TR 1:00 (Brent Nelson) – Category 2
This course features the literature of the Elizabethan age, a time of rapid cultural change. Our focus will be on the shifting power dynamics during this time of religious and political reformation and the changing means and modes of literary production. We will examine how power was negotiated first in the literary culture around Henry VIII’s court, and then in the literature inspired by the so-called “cult of Elizabeth,” including the poetry of Elizabeth I herself. In addition to writers of the cultural centre, like Sir Walter Raleigh, Sir Philip Sidney, Isabella Whitney, and Shakespeare (his non-dramatic poetry), we will also consider those on the political margins, such as Anne Askew and Anne Locke.
324.3 (02) Renaissance Drama
T2 MWF 1:30 (Joanne Rochester) – Category 2
Although Shakespeare is the best known of the Elizabethan and Jacobean playwrights, he was only one of dozens of authors producing work for the London professional theatres from 1576-1642; more than 500 scripts survive from the period. This course surveys the development of English Renaissance Drama from the opening of the first purpose-built professional theatres to the closing of the theatres on the outbreak of the English Civil War. We will cover several major genres, such as comedy, tragedy, history, romance and tragicomedy, and look at works written for the open-air ‘public’ theatres, the indoor ‘private’ theatres, as well as masques and pageants written for performance at court. Theatre history and social history will be included.
We'll move quickly, covering at least one play a week. The reading list will include works by playwrights such as Kyd, Lyly, Marlowe, Jonson, Webster, Marston, Dekker, Middleton, Lady Mary Wroth, Brome and Shirley. Experience with Early Modern English will be useful, but is not necessary.
338.3 (01) Contemporary Indigenous North American Literatures
T1 TR 11:30 (Jenna Hunnef) – Category 4, Canadian
“Twenty-five years ago,” recalled Osage scholar Robert Warrior in 1995, “building a library of American Indian writers from books in print would have taken up no more than a few feet of shelf space. . . [T]he yield now is yards and yards” (Tribal Secrets xvi). Now, more than twenty-five years after Warrior made these remarks, even the most avid readers of contemporary Indigenous literatures cannot keep up with the pace of new releases, projects, and initiatives in the Indigenous literary arts. But what prompted this outpouring of creativity and what motivates it today? This class will discuss the influences, movements, and critical conversations that have facilitated the ongoing proliferation of Indigenous North American literatures during the last fifty years. Our reading of a diverse, though not exhaustive, selection of literary texts from the early 1970s to the present will include works of Indigenous genre fiction, 2SLGBTQ literature and art, poetic engagements with the past, and visual imaginings of the future. In addition to considering the relationships within and among the literatures on our syllabus, students will also be encouraged to think about their relationships with the things they read and the places they read from.
358.3 (online) Canadian Drama
T2 (TBA) – Category 4, Canadian
An online course focused on the development of Canadian drama in English, with emphasis on the period since 1960.
359.3 (online) Western Canadian Literature
T1 (Kevin Flynn) – Category 4, Canadian
The literature of western Canada might fruitfully be imagined as representing two spaces and sets of interests: the stark and circumscribed space of the prairies and the comparatively boundless west coast. In this course we will learn about texts from and about both spaces, and the ways in which the boundaries between them might be less rigid than they appear. Our readings in poetry, prairie realism, magic realism, and other genres—from a diverse set of authors—will illuminate not just what western Canadian writing is, but what it means to be in western Canada.
360.3 (02) British and Irish Literature since 1950
T2 MWF 9:30 (TBA) – Category 4
A study of poetry, drama, and prose in relation to the shifting political and cultural landscapes of Britain and Ireland since 1950. Authors may include Larkin, Smith, Heaney, Beckett, Friel, Kureishi, Selvon, Kelman, and Carter.
362.3 (02) The British Novel 1800 to 1850
T2 TR 2:30 (Lisa Vargo) – Category 3
“‘I am no novel-reader -- I seldom look into novels -- Do not imagine that I often read novels -- It is really very well for a novel.’ -- Such is the common cant. – ‘And what are you reading, Miss ----------?’ ‘Oh! it is only a novel!’ replies the young lady; while she lays down her book with affected indifference, or momentary shame. – ‘It is only Cecilia, or Camilla, or Belinda;’ 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.”
So says the narrator of Jane Austen’s Northanger Abbey. We will explore the some of those greatest powers of mind beginning with Maria Edgeworth’s Castle Rackrent (1800) and end with Elizabeth Gaskell’s Mary Barton (1848). Along the way we will encounter portraits of human nature produced by some of the following—Jane Austen, James Hogg, Walter Scott, Mary Shelley, Charlotte Brontë, and Charles Dickens—to experience the varieties of fiction produced during the first half of the nineteenth century.
366.3 (62) Advanced Creative Writing: Fiction
T2 W 6:00 (Guy Vanderhaeghe) – Non-category
Have you ever wished to try your hand at writing fiction and share the experience of creating compelling short stories with other students? This course is centred on the techniques of writing successful fiction (dialogue, creating characters, narrative strategies, prose style, etc.). All participants in the class must be prepared and willing to have their fiction discussed by the instructor and their fellow students in a workshop atmosphere designed to help you become a better writer of creative narratives.
Note: Evidence of practice and skill in the writing of creative prose as determined by the instructor is required for admission to this class. Students are required to submit an application accompanied by short samples of their writing. The application form is available from Marina Ellis at St. Thomas More College: firstname.lastname@example.org. Once it is filled out, it can be returned to Marina Ellis cc'd to Guy Vanderhaeghe at: email@example.com
368.3 (01) Approaches to 20th and 21st Century Poetry: Poetry and Public life
T1 TR 10:00 (Ella Ophir) – Category 4
Poetry has become closely identified with the expression of personal feeling, but it also has a long history as an eminently public form, suitable for occasions of collective celebration, remembrance, and grief. That history endures in the office of Poet Laureate in numerous social organizations, from small communities to nation states. And in times of public crisis poetry still often springs to the fore—quoted in news coverage, going viral on social media—as people seek words adequate to the outrage or sorrow, and comfort in the binding power of collective feeling. This course will pick a path through the vast and varied terrain of twentieth- and twenty-first century poetry by focussing on its public functions and the role it has played in relation to selected events, including wars, civil conflicts, and presidential inaugurations. At the heart of our explorations will be questions about the particular nature and power of poetic language, and the uses to which it is put in both private and public life. No prior knowledge of poetics will be assumed; students with little or no experience reading poetry are welcome and encouraged to take this course.
373.3 (01) English Fiction to 1800
T1 TR 2:30 (Kathleen James-Cavan) – Category 3
“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 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 Andrews by Samuel Richardson to parodic responses by Henry Fielding, and end with the moral comedy of Frances Burney. Along the way we will dig into some of the theories of the novel by both early and current critics. By the end of the course, you will not be ashamed to say you are reading only a novel!
380.3 (01) American Literature to 1900
T1 MWF 12:30 (William Bartley) – Category 3
This course is a survey of American prose and poetry from the Puritan migration in the 17th century to the first stirrings of Modernism in and around 1900. We begin with the Puritans because their political, intellectual `and spiritual energies were decisive in the emergence of a dynamic national culture in the eighteenth and nineteenth centuries. Then, as we consider the role played by the Revolution and the Civil War in the shaping of that national culture, we turn to the great literature that emerged in the 19th-century. Some writers we will read include: Nathaniel Hawthorne, Anne Bradstreet, Emily Dickinson, Margaret Fuller, Herman Melville, Edgar Allan Poe, Walt Whitman, Frederick Douglass and Mark Twain. We will round out the semester and the century with Kate Chopin and Henry James.
381.3 (02) American Literature from 1900 to the Present
T2 MWF 12:30 (Lindsey Banco) – Category 4
From the turn of the twentieth century, the United States has been marked by, among other things, 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, to situate them in the contexts of traumatic events such as World Wars I and II and the assassination of John F. Kennedy, and, in a post-9/11 present, to ask: what’s next?
383.3 (02) Decolonizing Theories and Literatures
T2 MWF 11:30 (Joanne Leow) – Category 5
What is the “post” in postcolonial? What is the “de” in decolonizing? In this course we will seek to understand how literature and theory have responded to colonial pasts and presents in the twentieth and twenty-first centuries. The course will offer a foundational grounding in colonial, (post)colonial, and decolonial discourses, reading such theorists as Frantz Fanon, Edward Said, Chandra Talpade Mohanty, Robert Young, Gayatri Spivak, Ngugi wa Thiong’o, Gloria Anzaldua, Walter Mignolo, Eve Tuck, and Lee Maracle. As we seek to define key terms and trace important debates, we will approach our theoretical readings in conversation with literature. These will include texts by writers such as Chimamanda Adichie, Dionne Brand, Jamaica Kincaid, M. NourbeSe Philip, Chinua Achebe, Salman Rushdie, Jordan Abel, Thomas King, Lee Maracle, Sara Suleri, and Alfian Sa’at.
394.3 (02) Literary and Cultural Theory
T2 TR 11:30 (Gerald White) – Non-Category
This course will be a general survey of literary and cultural theory, beginning with antiquity and moving up to the present day. We will begin by asking what literary theory is for, and will try to how theoretically-explicit approaches can enhance, or in some cases limit, the kinds of interpretive work that literary critics do. The course will cover topics including New Criticism, Semiotics, Marxism, Feminism, Post-Colonialism, Deconstruction, Post-Modernism and canonicity. The course textbook will be the Norton Anthology of Theory and Criticism, and we will also draw on literary works such as Conrad’s Heart of Darkness, Chinua Achebe’s “The Egg,” assorted stories by Herman Melville, and a group of texts by Irish women writers.