|ENGL6004||How Do I Read These? Applying Recent Critical Theory||3 ch|
|ENGL6024||The Critical Reception of Chaucer's Canterbury Tales||3 ch|
|ENGL6025||The Other Chaucer||3 ch|
|ENGL6038||Medival (Re-)Visions of Classical Antiquity||3 ch|
|ENGL6088||Studies in 19th-and-20th Century Medievalism||3 ch|
|ENGL6100||Methods and Bibliography: Approaches to Graduate Studies||6 ch|
|ENGL6105||Directed Reading Course||3 ch|
Under exceptional circumstances, a student may be granted permission to take a directed reading course. The student must prepare a proposal for a directed reading course, in consultation with the proposed instructor, and submit it for approval to the Graduate Committee at least one month prior to the term in which the course is to be taken. The graduate committee may decline to approve proposals or ask for revisions. Such course proposals must follow these guidelines:
The proposal should provide the reading list and an outline of assignments, with the relative grade weighting for each. The student will write at least two substantial papers or one paper and a final examination.
The reading course must be sufficiently substantial to warrant a 3 ch weighting and be entirely different from the thesis or dissertation.
Only one student will be allowed to take the same reading course at a time.
Only one course of those required for the degree can be a directed reading course.
Such a course will consist of at least six meetings and twelve contact hours with the course supervisor.
If the directed reading course is interdisciplinary in nature, the supervisor will be a member of the GAU in English.
While students who have been accepted to the MA program are encouraged to inquire with the Director of Graduate Studies about the possibility of undertaking a directed reading course, directed reading courses will not normally be approved for students who have not yet undertaken their first term of study.
|ENGL6106||Creative Writing - Studio Course||3 ch|
Studio courses are for the purpose of pursuing a well-defined writing project that lies beyond the writing undertaken in the creative writing workshops. The student must prepare a proposal for a studio course, in consultation with the proposed instructor, and submit it for approval to the Graduate Committee at least one month prior to the term in which the course is to be taken. The Graduate Committee may decline to approve proposals or ask for revisions. Such course proposals must follow these guidelines:
The proposal should provide the reading list and an outline of assignments, with the relative grade weighting for each assignment. The student will write one major project, in addition to other relevant smaller assignments to be determined by the student and supervisor.
The course must be sufficiently substantial to warrant a 3 ch weighting and be entirely different from the creative writing thesis.
Only one or two students will be allowed to take the same studio course at a time.
Only one course of those required for the degree can be a studio course.
Regular meetings must be arranged. The course should include at least 8 contact hours with the course supervisor.
A supervisor may be selected from the literary community outside the department as long as she or he is approved by the English Department. Possible supervisors include the department’s Honorary Research Associates and Professors Emeriti.
While students who have been accepted to the MA program are encouraged to inquire with the Director of Creative Writing about the possibility of undertaking a studio course, studio courses will not normally be approved for students who have not yet undertaken their first term of study.
|ENGL6123||Creative Writing - Poetry||3 ch|
|ENGL6125||Creative Writing Poetry (Advanced)|
This course is restricted to students in the PhD program in English (Creative Writing) who have already taken ENGL 6123 at the MA level. A workshop designed to develop and improve skills with the elements of poetry, such as metaphor, rhythm, line break, syntax, registers of diction, and sound pattern. The course will explore poetic forms, ranging from free verse to structured forms, such as the sonnet, sestina and glosa. Attention will be given to professional concerns, including publication in journals and the preparation of book manuscripts.
|ENGL6143||Creative Writing - Prose||3 ch|
|ENGL6145||Creative Writing - Prose (Advanced)||3 ch|
|ENGL6163||Creative Writing - Drama|
|ENGL6165||Creative Writing – Drama (Advanced)||3 ch|
This course is restricted to students in the PhD program in English (Creative Writing) who have already taken ENGL 6163 at the MA level. Taught in a workshop format, this course will develop students’ skills in writing for the stage. Beginning with exercises in the scripting of dramatic action, monologues, and simple scenes, students will by the end of the class write a one act or full length play suitable for submission to an established theatre company or production at one of Canada’s many theatre festivals. Students will also learn about the market for plays in Canada and the various routes that new scripts may take towards production by either mainstream or alternative theatre companies.
|ENGL6183||Creative Writing - Screenwriting||3 ch|
|ENGL6185||Creative Writing - Screenwriting (Advanced)||3 ch|
|ENGL6228||Milton on Gender Imperialism||3 ch|
|ENGL6246||Beauty in Early Modern English Literature||3 ch|
|ENGL6255||The Culture of Physic: Women's Writing and Medicine in Early Modern England||3 ch|
|ENGL6267||Shakespeare's English and Roman History Plays||3 ch|
|ENGL6268||Shakespeare: The Pauline Plays||3 ch|
|ENGL6277||Shakespeare and the Mediterranean||3 ch|
|ENGL6278||Shakespeare and Evolution||3 ch|
This seminar will investigate Shakespearian affinities with evolutionary ideas, historically contextualises in terms of pre-Cartesian, Enlightenment, Darwinian, and posthumanist worldviews. These conceptual relationships include:
1) Proto-Scientific ideas of natual selection and genetic mutation embedded in empirical practices of artificial selection, such as the hybridizaton of animals and plants (e.g. Henry IV Part Two, The Winter's Tale), and in imaginatively conceptualized narratives of metamorphosis and transmutation found in classical writers such as Ovid and Lucretius (e.g. Venus and Adonis, A Midsummer Night's Dream, The Tempest).
2) Shakespeare's engagements with classical and early modern discussions of animal and human kinship in writers such as Michel de Montaigne that preceded Enlightenment separation of human and animal nature (e.g. King Lear, The Tempest), and which look forward to evolution's leveling of species divisions and today's re-assertion of shared embodied capacities for intelligence, emotions, and sentience in animals and humans (e.g. Hamlet, Cymbeline).
3) Cultural constructions of human exceptionalism and species separation which humans have used to assert their dominion over non-human animals, as well as parodic inversions of such contructions (e.g. The two Gentlemen of Verona).
Weekly readings, discussions and student presentations of one Shakespeare play or non-dramatic poem framed by a selection of primary and critical readings. Students not making presentations will submit weekly one-page response papers.
Shakespeare Plays and Poems
Two Gentlemen of Verona, Venus and Adonis, A Midsummer Night's Dream, As You Like It, Henry IV Part Two, Hamlet, King Lear, Macbeth, Timon of Athens, Antony and Cleopatra, Cymbeline, The Winter's Tale, The Tempest.
|ENGL6279||Shakespeare and Ecology||3 ch|
|ENGL6283||Renaissance Women Writers||3 ch|
|ENGL6284||Criminal Women in Early Modern Popular Literature||3 ch|
|ENGL6289||Renaissance Monarchs: Writing and Representation||3 ch|
|ENGL6365||Women Onstage in the Long Eighteenth Century||3 ch|
|ENGL6383||Women Writing, 1660-1780||3 ch|
|ENGL6385||Rogues and Pilgrims||3 ch|
|ENGL6386||Popular Literature of the Long Eighteenth Century||3 ch|
|ENGL6444||Nineteenth-Century Autobiographical||3 ch|
|ENGL6446||The Discourse of Class in Victorian Literature||3 ch|
|ENGL6486||Decadence and/ at the Fin de Siecle||3 ch|
|ENGL6487||Fin(s) de Siecel (s) Madness (es)||3 ch|
|ENGL6604||Re-Thinking the Canon: English-Canadian Literature at the end of the Millenium||3 ch|
|ENGL6607||Canadian Literature in the UNB Archives: Textual Theory and Editorial Practice.||3 ch|
|ENGL6643||Rewriting the Past: Contemporary English-Canadian Historical Novels||3 ch|
|ENGL6646||Twentieth-Century Maratime Fiction||3 ch|
|ENGL6647||Canadian Fiction After Second World War||3 ch|
|ENGL6658||Life-writing by Women in Canada||3 ch|
Critical and theoretical readings will be chosen from critics such as Helen Buss, Jill Ker Conway, Susanna Egan, Cynthia Franklin, Carolyn Heilbrun, Gabriele Helms, Marlene Kadar, Smaro Kamboureli, Nancy Miller, Shirley Neuman, and Julie Rak.
|ENGL6673||Studies in Canadian Drama: Foundations, Arrivals, Departures||3 ch|
|ENGL6683||The Worlding of Canadian Fiction Since 1967||3 ch|
|ENGL6685||Canadian Literature: Campus Fiction||3 ch|
|ENGL6687||Literary Ferment in the East: Renewal and Modernism in Maratime Literature||3 ch|
|ENGL6694||The Politics of Native North American Literatures||3 ch|
|ABRG6736||Elizabeth Bishop, The Sublime, Vertigo, Sexual Identities||3 ch|
Elizabeth Bishop suffered from occasional attacks of vertigo, but in her poetry vertiginous experiences and all forms of loss of visual perspective disembody the conversational speaking voice that suggests personal intimacy between “Elizabeth” and the reader. Vertigo represents a collapse of identity and an emptying out, even as it simultaneously wheels through a superfluity of identities. In her famous poem “In the Waiting Room,” when Bishop as a girl realizes that “I am an Elizabeth,” she finds herself in free fall, grasping at all the ways in which identity is constructed. The poem invites and has received feminist, queer, postcolonial, psychoanalytic, deconstructive, and all kinds of political readings. Identity is over determined.
The focus of this course will be on Bishop’s lesbian identities and the ways she remained both in and out of the closet, but it will examine sexual identity as expressed in the sublime. It is in Bishop’s exploration of the sublime and she finds the loss of perspective that causes panic or anxiety that exposes endless uncertainties of identity. Some time will be spent on ideologies of private and public, and how these express themselves in the personal poet and the American “official” poet.
Bishop, Elizabeth. Elizabeth Bishop: Poems and Prose
Butler, Judith. Gender Troubles
Freud, Sigmund. On Sexuality
Foucault, Michel. The History of Sexuality
Kristeva, Julia. Revolution in Poetic Language
Stewart, Susan on Longing
|ENGL6744||The Aesthetics and Politics of Poverty in U.S. Fiction||3 ch|
|ENGL6746||The Conservative Imagination||3 ch|
This course explores a curious feature of post-World War II American literature: in a nation with a culturally powerful right wing, most of what counts as serious literature is written by authors who identify as liberal or left and is read by critics with similar political affiliations. As a result, the cultural and intellectual habits of many Americans are invisible in literary studies, and debates within the discipline devolve into factional disputes within a liberal-left consensus.
This course has two aims. First, drawing on the sociology of Pierre Bourdieu and the work of sociologically minded critics like John Guillory, we will explore the institutional conditions that led to the literary field’s leftward turn in the 1960s. We will discuss the “canon wars” that turn inspired in the 1980s and 1990s, as conservatives and liberals battled over the kinds of texts that should be taught to university students. As writers and critics in an English department, we will try to understand how our politics and attitudes are shaped by the institutions we inhabit. To what extent is literary leftism a manifestation of belonging to what Pierre Bourdieu calls “a dominated segment of a dominant class”?
Second, we will explore what happened to the conservative literary imagination after World War II. We will read established writers like Saul Bellow who embraced (or were perceived to embrace) conservative political positions, as well as the work of popular writers like Ayn Rand who appeal to the American right. We will trace the contours of American conservative thought and culture, identify its internal contradictions, and explore its appeal.
Ayn Rand – Atlas Shrugged (excerpts)
Whittaker Chambers – Witness (excerpts)
Flannery O’Connor – A Good Man is Hard to Find
Robert Heinlein – Starship Troopers
Walker Percy – The Moviegoer
Saul Bellow – Mr. Sammler’s Planet
Tom Wolfe – Radical Chic & Mau-Mauing the Flak Catchers
Tim LaHaye and Jerry B. Jenkins – Left Behind: A Novel of the Earth’s Last Days
Philip Roth – The Human Stain
Marilynne Robinson – Gilead
|ENGL6747||The American Political Novel||3 ch|
|ENGL6748||Americans Write Canada: Reconfiguring Canada in the American Literary Imagination||3 ch|
|ENGL6784||American Postmodernism||3 ch|
|ENGL6818||Contemporary Irish Literature and Culture||3 ch|
|ENGL6847||Fiction of the Indian Diaspora||3 ch|
|ENGL6848||Space, Place and Identity in Postcolonial Fiction||3 ch|
|ENGL6858||Life-Writing: Transnational Texts and Theories||3 ch|
This course reflects the wide interest in auto/biography studies in the English-speaking world in the new millenium. Its goal is to explore a diversity of life-writing texts from colonial and postcolonial places and times, and to map some of the key theoretical and critical developments and debates within this emerging field.
A variety of theories and critical approaches to life-writing will be explored, referencing postcolonialism, postmodernism, feminist theory, and auto/biography studies, amongst others.
A selection of life-writing will be studied, from classic slave narratives to contemporary, accounts by human rights activists; from stories of childhood to narratives of illness and healing, and from "imposter" texts to works by or about celebrated writers. Theoretical and critical texts will also be sampled as we consider the postmodern fluidity of literary genres.
|ENGL6887||West Indian Literature: History, Migrancy, Language||3 ch|
|ENGL6924||Cosmopolitics and Twentieth Century Poetry||3 ch|
|ENGL6983||Feminist Theory and Literary Criticism||3 ch|
|ENGL6999||Teaching Apprenticeship||6 ch|
|ENGL6786||African-American Literature and the Sociology of Race||3 ch|