Please note:

  • 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

300-Level Classes

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

301.3 (01) OLD ENGLISH LANGUAGE AND CULTURE

T2 MWF 11:30 (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.

311.3 (61) THE CANTERBURY TALES

T1 MWF 1:30 (Michael Cichon) – Category 1

“Wine can rot your mind,” warns Chaucer’s Summoner. “Ignorant people like stories,” the Pardoner asserts, just before narrating his tale. “By God!” exclaims the Wife of Bath, “If women had written as much as clerics, they'd surely ascribe more wickedness to men than all the males from Adam could defend!” And when a character named “Chaucer” has finished narrating his “Tale of Sir Thopas,” he is told, “By God, to put it in a word: your awful writing isn't worth a turd!” Find out for yourself what Chaucer’s writing may or may not be worth in this class, as we read selections from his Canterbury Tales, arguably the greatest human comedy in English.

314.3 (02) EARLY BRITISH DRAMA

T2 MWF 1:30 (Sarah Powrie) – Category 1

This course investigates the medieval “mystery” plays– the medieval equivalent to the Saskatoon Fringe Festival or the Cineplex Odeon. The production of the plays was a massive community effort, resulting in day-long sequence of biblical dramas, which were performed in the streets and squares of the town. Only after decades of performances did anyone think of committing these plays to written form. So, unlike modern theatre, in which the playwright's script often precedes performance, medieval plays existed in performance long appearing in print. Given the performative quality of these works, this class will ask students to engage in a certain amount of acting, as part of an attempt to reconstruct the performance behind the script. 

326.3 (02) RENAISSANCE EPIC

T2 TR 10:00 (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 re-conceptualizing 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.

327.3 (01) ENGLISH DRAMA 1660 to 1737

T1 TR 2:30 (Allison Muri) – Category 3

This course begins in 1660 when the Stuart dynasty was restored to the kingdoms of England, Scotland, and Ireland. In 1642 puritans had forbidden stage plays, considered to be amoral and profane, and closed the theatres. So they remained for eighteen years until King Charles II returned from exile in France and granted rights to two companies to present theatrical entertainments. The enthusiastic return of theatrical companies, playwrights, actors, and audiences to London stages initiated numerous innovations ranging from the introduction of women performers on stage, to the development of a new form called pantomime, to the construction of new playhouses with purpose-built stages and moving stage pieces. We will begin with the ribald comedies of William Wycherley and Aphra Behn, encounter one of the first musical comedies in John Gay’s deeply satirical Beggar’s Opera, then move on to the rise of sentimentalism in drama as exhibited by such authors as Susan Centlivre and Richard Steele, and finally to Henry Fielding whose political satires inspired a new form of censorship in the Licensing Act of 1737. In addition to studying plays as literary works, we will examine representations of the theatre in book illustrations, broadsides, and prints, both satirical and celebratory.

330.3 (01) BRITISH AND IRISH LITERATURE 1900 TO 1950

T1 MWF 10:30 (Ann Martin) – Category 4

The first half of the twentieth century saw remarkable changes in the political, economic, and cultural conditions to which Irish and British artists were responding. This course will engage with a range of those responses, as we read popular, middlebrow, and high modernist texts alongside selected political writings and manifestos. A core focus will be the relationship between social shifts and the form and content of the era’s fiction, drama, and poetry. In our considerations of the interplay between historical events and British and Irish art, we’ll be looking at how writers navigate a shifting world from different and, at times, conflicting positions. Major topics will include Empire and decolonization, suffrage and changing gendered and sexual identities, generational divides and overlaps, and the pervasive influence of war. Authors under study will include Siegfried Sassoon, T. S. Eliot, W. B. Yeats, G. B. Shaw, Noel Coward, Dorothy L. Sayers, Una Marson, James Joyce, and Virginia Woolf. 

331.3 (WS2) LITERATURE OF THE ROMANTIC PERIOD

T2 online (TBA) – Category 3

A study of British literature from 1780 to 1830, examining the nature of Romanticism and the usefulness of the term “Romantic,” and Anna Barbauld, Charlotte Smith, Robert Burns, William Blake, William and Dorothy Wordsworth, Samuel Taylor Coleridge, Mary Prince, Jane Austen, Lord Byron, Charles Lamb,  Mary and Percy Bysshe Shelley, John Keats, Felicia Hemens, and John Clare. We will consider how these writers contribute to our understanding of Romantic engagements with issues including imagination, art, revolution, gender, race, and class.

334.3 (61) PROSE AND POETRY OF THE VICTORIAN PERIOD

T1 TR 10:00 (Hingston) – Category 3

From the 1830s to the turn of the century, Britain was experiencing rapid and momentous industrial, economic, political, and social changes, and the periodical press was the primary forum wherein the era’s hot issues were debated and competing ideologies disseminated. This course introduces students to established, well known and lesser-known, popular examples of Victorian poetry and non-fiction prose from the 1830s to the 1890s. By paying close attention to the works’ literary and rhetorical techniques, students will discover how social and cultural frameworks shaped the prose and poetry of the period. Delve into the digital archives and dusty book-covers of Victorian periodicals to encounter “sages” writing in prophetic tones, journalists adopting street-sweepers’ speech-patterns, “Poetesses” exclaiming in sentimental verse, and working-class poets lamenting in driving rhythms. Such were the voices appearing on the pages of magazines and newspapers to discuss the concerns of the era: imperial expansion, class mobility, women’s rights, poverty, eugenics, race, evolution, epidemics, disability, sexuality, and religious doubt.

335.3  (02) THE EMERGENCE OF INDIGENOUS LITERATURES IN CANADA

T2 TR 2:30 (Jenna Hunnef) – Indigenous Learning Requirement

Many courses on Indigenous literatures begin with the “renaissance” of Indigenous writing heralded by the publication of N. Scott Momaday’s House Made of Dawn in 1968. However, by its very definition, a renaissance cannot emerge out of nothing; it is the expression of a renewed interest in an already existing artistic, intellectual, or cultural tradition. This class will introduce students to a diverse array of Indigenous oral and written traditions that pre-existed the so-called “Native American Renaissance,” and broaden students’ understanding of Indigenous political, aesthetic, and cultural concerns as they have been expressed in writing and other narrative forms since before the European invasion of Turtle Island and until the 1970s. Placing the relationship between literary form and the expression of political and personal resistance to military imperialism, settler colonialism, assimilation, (ex)termination, and legislative genocide (among other destructive forces and policies) at the centre of our discussions, we will study a selection of texts—including oral narratives, essays, poems, short stories, and novels—to consider how earlier Indigenous authors and storytellers strategically mobilized and innovated upon literary and formal conventions in response to contemporary political and cultural crises.

ENG 340.3 (02) EIGHTEENTH-CENTURY BRITISH LITERATURE

T2 MWF 12:30 (Allison Muri) – Category 3

A time of rebels and reactionaries, Enlightenment Britain (1660–ca. 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 poetry, slave narrative, plays of wit, and the first periodicals. Authors may include Aphra Behn, Jonathan Swift, Alexander Pope, Samuel Richardson, Henry Fielding, Lady Mary Wortley Montague, Mary Wollstonecraft, Ignatius Sancho, Samuel Johnson, and Laurence Sterne. In addition to studying literary works, we will examine representations of relevant people, places, and events in book illustrations, broadsides, prints, and paintings.

358.3 (01) CANADIAN DRAMA

T1 MWF 9:30 (Kevin Flynn) – Category 4, Canadian

 The development of Canadian drama in English, with emphasis on the period since 1960.

ENG 363.3 (01) APPROACHES TO 20TH AND 21ST  CENTURY FICTION 

T1 TR 1:00 (Ella Ophir) – Category 4

“It’s a bad habit writing novels—it falsifies life, I think.” So Virginia Woolf confided 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 narrative, writers of the twentieth century rethought the peculiar business of novel 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 non-fiction. We’ll begin with James Joyce’s Portrait of the Artist and traverse about a hundred years, concluding with a look at the contemporary flourishing of the graphic novel and Alison Bechdel's Fun Home. 

366.3 (02) Advanced Creative Writing: Fiction

T2  W 18:00 (TBA) – Non-category 

English 366 is an advanced course in writing the short story. Through in-class discussions, exercises, and course readings, students will be tutored in the art and craft of making compelling stories. They will learn how to create striking characterizations, effective dialogue, well-rendered settings, plausible causation, and a consistent point of view. Much of the classroom experience will be in workshop format, wherein the instructor and the entire class will examine closely, and discuss in detail, the work of their peers. 

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 Diana Tegenkamp, Office Coordinator, English: english.department@usask.ca Once it is filled out, it can be returned to Diana at: english.department@usask.ca 

ENG 382.3 (02)  CANADIAN FICTION FROM 1960 TO THE PRESENT

T2 MWF 9:30 (Kevin Flynn) – Category 4, Canadian 

A study of Canadian fiction in English, and some non-fictional prose, from 1960 to the present.

ENG 394.3 (01) LITERARY AND CULTURAL THEORY

T1 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 understand 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 that will include Joseph Conrad’s Heart of Darkness, Chinua Achebe’s “The Sacrificial Egg,” a group of texts by Irish women writers, and other short works.