|ENGL6004||How Do I Read These? Applying Recent Critical Theory||3 ch|
|ENGL6013||Old English||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|
|ENGL6056||Medieval Women Mystics and their Critics||3 ch|
|ENGL6083||Feminist Perspectives on Arthurian Legend||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)|
|ENGL6143||Creative Writing - Prose||3 ch|
|ENGL6145||Creative Writing - Prose (Advanced)||3 ch|
|ENGL6163||Creative Writing - Drama|
|ENGL6183||Creative Writing - Screenwriting||3 ch|
|ENGL6185||Creative Writing - Screenwriting (Advanced)||3 ch|
|ENGL6195||The Film Remake||3 ch|
|ENGL6196||Film and Theory: Time and Cinema||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|
|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|
|ENGL6297||The History and Representation of Early Modern Reading||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|
|ENGL6544||Temporal and Technical Dislocations in Contemporary British Fiction||3 ch|
|ENGL6546||Public Violence, Private Lies: Collision in Recent British Fiction||3 ch|
|ENGL6549||Gendered Places: British Women Writers and 20th-21st Century War||3 ch|
|ENGL6574||Chaos and Catalyst: Social and Literary Change in WWI British Literature||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|
|ENGL6657||Nineteenth-Century Canadian Literature: Writing Sense of Nationhood||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|
|ENGL6725||Pound and H.D.||3 ch|
|ENGL6726||A Poem Including History: Reading the History of Ezra Pound's "The Cantos"||3 ch|
While the United States were at war with Italy and the Holocaust was being perpetrated, the American poet Ezra Pound (1885-1972) made broadcasts over Rome Radio denouncing President Roosevelt, encouraging American soldiers not to fight, and raving about Jewish conspiracies and the role of banks in having started the war. In the suppressed until 1982 conspiracies and the role of banks in having started the war. In the suppressed until 1982 Italian canto 73, Pound pays homage to a young Italian girl's sacrafice of her life in leading a company of Canadian soldiers into a mine field to their deaths-- as Charles Olson later said, "Here we [Americans] were listening not only to a fascist, but the ENEMY!" Indeed, there is overwhelming, and tragic, evidence for what Tim Redman has called "the frightening aspects of [Pound's] allegiances." Trying to find excuses for Pound's scandalous behaviour is indefensible; however, does it follow from this, as some critics and readers have insisted, repugnant views to such an extent that it should be expunged from the canon altogether?
The Cantos, which Massimo Bacigalupo calls Pound's "sacred poem of the Nazi-Fascist millenium," may be viewed as an authoritarian summing up of the most abject Twentieth-Century ideologies and prejudices; yet this is also a text committed to a radical ideological openness and also the poem most responsible for the unprecedented blossoming in American literature of formally innovative, open, open-ended poetry. This is a poetry that questions recieved notions of poetic form through its radically modernist, abrupt, paratactic techniques of disconnectedness and discontinuity, visual experimentation, textual heterogeneity, and undigested quality. Pound is largely responsible for making possible the innovations of successive generations of American poets, from the Projectivist group, to the Objectivists, to the language poetry of Charles Bernstein and so on. And so, this study will make the case that this poet who in 1945 was indicted for giving aid and comfort to the Kingdom of Italy and its then allies in the war against the United States is arguable also the poet who, before, during, and after his twelve and a half years forceful confinement at the St Elizabeths [sic] Hospital for the criminally insane. influenced the developement of twentieth-century poetry more than any other individual.
This course offers a reading of Pound's The Cantos in the view of (i) some of Pound's troubling political, economic, and cultural views. Thus, the course deals with Pound's aesthetics, politics, and economics as these may be gleaned from a reading of The Cantos and several of his prose works (including Guide to Kulchur, Exra Pound's Selected Essays, and the Money Pamphlets ).
|ENGL6744||The Aesthetics and Politics of Poverty in U.S. Fiction||3 ch|
|ENGL6748||Americans Write Canada: Reconfiguring Canada in the American Literary Imagination||3 ch|
|ENGL6784||American Postmodernism||3 ch|
|ENGL6794||Twentieth-Century American Long Poems||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|
|ENGL6963||Introduction to Humanities Computing||3 ch|
|ENGL6965||Electronic Textuality||3 ch|
|ENGL6967||History of the Book in Canada: 1752-1929||3 ch|
|ENGL6983||Feminist Theory and Literary Criticism||3 ch|
|ENGL6991||PhD Comprehensive Exam I||CR/NCR|
|ENGL6992||PhD Comprehensive Exam II||CR/NCR|
The second comprehensive exam is based on the set list for one of the fields designated by the Department of English. The exam has a written and oral component.
|ENGL6993||PhD Comprehensive Exam III||CR/NCR|
The third comprehensive exam is based on a customized list of texts in the student’s thesis area, drawn up by the student in consultation with his/her supervisor and one other examiner and approved by the Graduate Committee. The exam has a written and oral component.
|ENGL6994||Advanced Research Project|
|ENGL6994||Advanced Research Project||3 ch|
|ENGL6999||Teaching Apprenticeship||6 ch|
|ENGL6786||African-American Literature and the Sociology of Race||3 ch|