300 - Level Classes
2019 - 2020
- 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, 2019. 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
T1 MWF 1:30 (Richard Harris) – Category 1
This is the first of two 3 cu classes (the second is 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 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 3 cu 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.
T1 TR 2:30 (Francis Zichy) – Category 4, Canadian
We will undertake a close reading of a number of representative works of Canadian fiction (novels and short stories) published roughly before 1960. Works will be read in their relevant literary and social-historical contexts. Among the works to be read, in this order: Robert J. C. Stead, Grain; Stephen Leacock, Sunshine Sketches of a Little Town; Hugh MacLennan, Barometer Rising; Howard O’Hagan, Tay John; Ethel Wilson, The Equations of Love; and Mavis Gallant, From the Fifteenth District.
T1 (TBA) – Category 5
This course focuses on innovations in 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.
T2 MWF 1:30 (Richard Harris) – Category 1
This is the second of two 3 cu 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 11:30 (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 meeting 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 in the contemporary world.
T2 TR 10:00 (Michael Cichon) – Category 1
In England, the late Middle Ages (1100-1500) were a time of social and political upheaval as well as literary innovation. This course examines Middle English literary texts that reflected and participated in historical and intellectual change and debate. This year’s offerings will include, but are not limited to, writings by Dame Julian of Norwich, Margery Kempe, Gower, Langland, and even a bit of Chaucer.
T1 MWF 10:30 (Brent Nelson) – Category 2
This course explores two of the longest and most important narrative poems in English literature, Edmund Spenser’s The Faerie Queene (1596) and John Milton’s Paradise Lost (1667). Most famously, Paradise Lost became an influential and informing work in Romantic literature, from William Blake’s poetry to Mary Shelley’s Frankenstein; and The Faerie Queene was, in turn, a crucial point of departure for Milton’s own reconceptualizing of the epic form. This course thus investigates these poems in terms of genre, examining Spenser’s and Milton’s transformation of classical epic and medieval romance forms and conventions and what epic came to mean in their historical contexts. We will look at how these poems and the epic form generally came to reflect not only public concerns of religion, politics, and nation building, but also private concerns of identity, faith, and conscience. In the process, we will examine sixteenth- and seventeenth-century negotiations of such questions as truth, justice, authority, gender relations, and the role of the author.
T1 TR 8:30 (Kathleen James-Cavan) – Category 3
On January 3, 1661, London diarist Samuel Pepys wrote, “to the Theatre, where was acted Beggars bush – it being very well done; and here the first time that ever I saw Women come upon the stage.” This course begins in 1660 when, following a decade of puritan shuttering of the theatres, plays and audiences returned to London stages initiating a host of experiments in playwriting, including the shocking (and titillating) sight of female actors. We will begin with the ribald comedies of William Wycherley and Aphra Behn that exploit and comment upon this innovation, encounter one of the first musical comedies, then move into sentimental comedies and tragedies by such authors as Congreve and Lillo. By the end of the course, you will know your ‘cit’ from your ‘fop’ and cuckold from coquette. In addition to treating the plays as literary works, we will consider the conditions of production through a few of our own theatrical experiments.
T1 MWF 2:30 (Ann Martin) – Category 4
Let us go, then, you and I, into the modern city—its back-alleys and advertising agencies, its shops, métros, and drawing rooms. Let’s go and make our visit to the countryside: village communities and colonial spaces, places of the working class, seats of the landed gentry. Drivers of Daimlers, hosts of soirées, soldiers on battlefields scarred on the homefront…. Through poetry, short fiction, novels, manifestos, and drama, we will traverse the social landscapes of early twentieth-century Britain and Ireland. Our focus will be modernism as an artistic response to, and construction of, modernity—that era in which the Empire undergoes a seachange. Authors will include T.S. Eliot, James Joyce, Virginia Woolf, Dorothy L. Sayers, Hope Mirrlees, Siegfried Sassoon, Una Marson, and W.B. Yeats.
T2 MWF 12:30 (Lisa Vargo) – Category 3
The focus of this course is British poetry and prose composed during a period of political, economic, and technological 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. Between 1793 and 1815 Britain is at war with France, and if the American colonies were lost in the Revolutionary War, Britain is expanding its colonial power elsewhere. 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.
T1 TR 10:00 (TBA) – Category 4, Canadian
Contemporary Indigenous creative expression, such as literature and film, explores ideas such as the strength of Indigenous women, struggles over the health of the land, complicated histories, cutting-edge humour, and Indigenous futurity. ENG 338 will study selections from the best Indigenous writing across Turtle Island, paying some attention as well to film narratives. We will also read and reflect on contemporary Indigenous literary theory.
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 (TBA) – Category 4, Canadian
Canadian drama plays a key role in the nation’s cultural and literary consciousness. This course focuses on distinctively Canadian thematic concerns in plays by the dramatists of this country, especially since the 1960s, as well as on the ways in which their plays exemplify and critique Canadian social and political relations and historical events. The course will also consider literary and stylistic techniques, including some that may be identifiably Canadian.
T2 (TBA) – Category 4, Canadian
The literature of Western Canada explores important concerns related to the region in which we live. This course focuses on works in a range of genres, such as fiction, poetry, life writing, and drama, written by authors from Saskatchewan and the other Western provinces. Particular attention will be paid to the writers’ responses to the challenging prairie environment, and to their textual exploration of relationships among the many different peoples of the prairies, including Indigenous peoples, descendants of settlers, and more recent diasporic writers.
T2 MWF 10:30 (TBA) – 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.
T2 MWF 11:30 (Ella Ophir) – Category 4
“It’s a bad habit writing novels—it falsifies life, I think.” So Virginia Woolf confessed to her diary in 1915, before proceeding to write another eight novels that together turned English fiction on its head. Dogged by a sense of the limitations of conventional narration, writers of the twentieth century rethought the peculiar business of novel and story writing again and again, pushing the boundaries of form and subject matter in dazzling and disorienting ways. In this course we’ll read a sampling of the most searching and inventive reimaginings of the purpose and power of fiction and its murky borders with reality and truth. We’ll begin with James Joyce’s Portrait of the Artist and traverse about a hundred years, concluding with a look at the contemporary explosion of the graphic novel and Alison Bechdel’s Fun Home.
T2 W 6:00 (Guy Vanderhaeghe) – Non-Category
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.
T1 MWF 12:30 (William Bartley) – Category 3
This course is a survey of American prose and poetry from the Puritan migration in the seventeenth 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 nineteenth century. Some writers we will read include Nathaniel Hawthorne, Anne Bradstreet, Emily Dickinson, Margaret Fuller, Herman Melville, Edgar Allan Poe, Walt Whitman, and Frederick Douglass. We will round out the semester and the century with Mark Twain and Henry James.
T2 TR 1:00 (Cynthia Wallace) – Category 4
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, postcolonial, and decolonial discourses, reading such theorists as Frantz Fanon, Edward Said, Chandra Talpade Mohanty, Paul Gilroy, Gayatri Spivak, and Lee Maracle. As we seek to define key terms and trace important debates, we will approach our theoretical readings in conversation with literature, including possible texts by Jean Rhys, Chimamanda Adichie, Salman Rushdie, Derek Walcott, Zadie Smith, and Thomas King.