Undergraduate Courses

Undergraduate Courses 2017-2018

First Year | Second Year | Third and Fourth Year | Honours Seminars | Special Topics in English
Proposed Courses 2018-2019

The following courses (except Honours seminars) are not restricted to students specializing in English.  Students specializing in other departments or faculties are always welcome in our other English coursesl.  If you have any questions about the suitability of a particular course for your interests please feel free to call either the Director of First and Second Year, the Director of Majors and Honours, or the Department Chair for more information.

First-Year Courses

1000  Introduction to Modern Literature in English

6 Credit Hours
J. Ball/A. Ramos                           Full Year:  MWF  8:30AM-9:20AM
S. Sinclair                                     Full Year:  MWF  9:30AM-10:20AM
T. Finlay/H. Morgan                      Full Year:  MWF  10:30AM-11:20AM
M. Jarman/M. Gwathmey              Full Year:  MWF  11:30AM-12:20PM
L. Crawford/S. Ghatta                  Full Year:  MWF  12:30PM-1:20PM
J. Andrews/M. Jessome                Full Year:  MWF 1:30PM-2:20PM

Co-ordinator: T. Finlay

This course introduces students to the imaginatively diverse and fascinating range of literary works written in English, primarily from the twentieth and twenty-first centuries, including short stories, essays, poems, plays, and novels. Being closest in time to our present-day reality, these works demonstrate most directly how literature helps us to deepen and clarify aspects of our lives which we have never been able to recognize fully or articulate consciously. It opens up new understandings about societies and histories beyond our own local time and place, thereby allowing us to explore the relationships and differences among them. It teaches us what it means to be human, and possibly the ways to become wise. As well, this course provides students with an opportunity to improve their practical skills in critical reading and written analysis; a substantial portion of the course is devoted to improving writing skills. All undergraduates will find the course useful, and it is particularly recommended for potential Majors and Honours students. The selection of texts will vary according to section. Students will write a minimum of two essays a term amounting to 4000-5000 words in total for the year. Additional writing exercises may be assigned. The final grade is calculated on term work, a December test (two hours), and a final examination (three hours).

1103 Fundamentals of Clear Writing

3 Credit Hours
T. Robinson-Smith                     1st Term: MWF  9:30AM-10:20AM
H. Morgan                                  T  6:00PM-8:50PM
V. Simpson                                 W  6:00PM-8:50PM
V. Simpson                                 MWF 10:30AM-11:20AM Nursing
J. Muise                                      MWF 10:30AM-11:20 AM

V. Simpson        2nd Term:           MWF  9:30AM-10:20AM
V. Simpson                                   MWF  10:30AM-11:20AM
S. Schryer                                     MWF 10:30AM-11:20AM
H. Morgan                                     T  6:00PM-8:50PM
E. Whitmore                                  W  6:00PM-8:50PM

A study of the basic principles of clear prose writing, focusing on essay structure and organization, paragraph structure, sentence structure, grammar, punctuation, and word choice, as well as revising and proofreading. Students will submit numerous written assignments.

1144 Reading and Writing Non-Fiction Prose

3 Credit Hours
2nd Term:  MW  10:30AM-11:20AM & one mandatory tutorial (Th 2:30PM-3:20PM or F 10:30AM-11:20AM)
Instructor: L. Crawford

This course studies non-fiction prose texts from the twentieth- and twenty-first centuries. By examining texts of diverse genres (essays, reviews, memoirs, graphic narratives, and so on), students will work to improve their critical, analytical, and writing skills. The course will have two lectures and one tutorial per week. Tutorials use exercises, discussions, and peer-review to assist this development. Students will write three essays in three different non-fiction genres (for example, an academic paper, a graphic narrative, and a review). Tutorial leaders (Teaching Assistants) will grade the students. The term mark will be worth 50% and includes attendance and participation in the weekly tutorials. Tutorials are mandatory, and missing more than 50% of tutorials results automatically in a failing grade. A final examination is worth 50%, and will focus on lecture materials and on the ability to write effectively about the course readings.

1145 An Introduction to Prose Fiction

3 Credit Hours
1st Term:  MW  10:30-11:20 AM & one mandatory tutorial (Th 2:30-3:20 PM or F 10:30-11:20 AM)    
Instructor:  L. Crawford

This course offers an introduction to fiction through a general analysis of the theories and conventions of narrative and discussions of relevant thematic, historical, and cultural topics. Each section will study a range of short stories, and perhaps one or two novels, written from the nineteenth century to the present. There will be two lectures and one tutorial per week, with the tutorial devoted to improving writing skills. Students will write three 500-600 word essays, to be marked by the tutorial instructor. The term mark of 50% will depend largely on a student’s performance in these essays, but contributions to tutorial discussion may also be taken into account. Attendance is mandatory at all tutorials. A final examination (50%) will deal with the material covered in the lectures, although considerable emphasis will be placed on the ability to write effectively.

1173 Introduction to Acting and Performance

3 Credit Hours
1st Term:  TTh  1:00-2:20 PM    
Instructor:  J. Cliche

This is a half-year course in the fundamentals of acting suitable for actors at all skill levels, from beginners to experienced performers. The course is also designed to be of value to anyone who wishes to become more poised at public speaking and in presentations. 

Instruction will cover the basics of voice, movement, improvisation, script analysis, and monologue and scene work. Students will complete a number of performance assignments individually and in groups, culminating in a final performance project. The emphasis throughout the course will be on enjoyable, participatory, and active learning designed to make students better and more confident stage performers.

Written work for the class will consist of journal assignments and play reviews. In lieu of written exams, students will be graded primarily on their performance pieces. Because of the participation-centred nature of the course, attendance at all classes is mandatory and some rehearsal time will be required outside of regular class hours.

Cross-listed as DRAM 1173.

Second-Year Courses

2173 Acting: Body and Text

3 Credit Hours
First Term:  MW  2:30-3:50 PM    
Instructor:  L. Falkenstein

ENGL/DRAM 2173 is a course suitable for both beginner and experienced actors that builds and expands on work done in ENGL/DRAM 1173 (although students need not have taken 1173 to take 2173). This course focuses on voice, movement, and script analysis, with students learning how to make the most of their bodies and voices to communicate and tell stories on stage. Students will participate in scene work with class partners and the course will culminate in a final performance consisting of a scene study or one-act play, with rehearsal time additional to regular class hours required. Students will be evaluated based on participation in classes, rehearsals, and performances, and written work in the form of journals and play reviews. There is no final exam for the course. 

Cross-listed as DRAM 2173.

2174 Technical Production and Design for the Theatre

3 Credit Hours
2nd Term: TTh 1:00-2:00 PM
Instructor: M. Johnston

An introduction to set, lighting, sound and stage management concepts and practices for the theatre. Work will focus on the process of interpreting and executing design ideas to create stage-ready set, lighting, and sound elements and designs. Students will learn how to read and create technical drawings and design material, set up and operate audio-visual (lighting, sound, projection) equipment and document/communicate information regarding production and rehearsal processes. Students will also receive an introduction to set, lighting, and sound design for the stage.

In addition to theoretical applications, students will assist with set, sound and lighting work and show operation for one or more productions in the Theatre UNB season. Evaluation will be based on students’ work for these productions, class participation, and results on regular assignments. There is no final exam for the course. Workshop and performance time additional to regular class hours is required.                                                             

Cross-listed as DRAM 2174.

2175 Mainstage Production I and 3175 Mainstage Production II

3 Credit Hours
2nd Term: MW 2:30-3:50 PM
Instructor: L. Falkenstein

Entry into ENGL/DRAM 2175 is restricted to students who have taken or are currently registered in ENGL/DRAM 2173 or ENGL/DRAM 1173. Participants in this course will form a theatre company and produce, rehearse, and perform a mainstage production for the Theatre UNB season, under the direction of the instructor. Students will research the production, contribute design ideas towards it, and will in most cases also assist behind the scenes with props, costumes, and/or set construction for the show in addition to acting in it. Students may also work exclusively backstage on the production as stage managers or in technical roles. Rehearsal time additional to class hours will be required on a regular basis, and the production will receive four performances for the public near the end of term. Students will be evaluated based on participation in classes, rehearsals, and performances, and written work in the form of journals and play reviews. There is no final exam for the course.                               

Cross-listed as DRAM 2175.

2195  Introduction to Creative Writing: Poetry and Drama

3 Credit Hours
2nd Term: T  2:30-5:20 PM 
Instructor:  S. Sinclair

This course offers an introduction to the writing of poetry and drama, with a focus on basic technique, style, and form. The course combines writing exercises and lectures on the elements of writing, and also introduces the workshop method, by which students provide each other with critiques of their works and learn to see their own writing with an editorial eye. Starting with the writing of drama, we will focus on characterization, setting, speech patterns, plot, and endings. Turning to poetry, we will develop skills in metaphor, imagery, form, rhythm, sound and diction. Students will hand in an original monologue, a dialogue, a one-act play, and six original poems. Students will also keep a reading journal, which they will submit along with a writing portfolio (containing the final revision of the term’s work) at the end of the course. There is no final exam.

2196 Introduction to Creative Writing: Fiction and Screenwriting

3 Credit Hours
1st Term:  T  2:30-5:20 PM    
Instructor:  M. Jarman

This course gives students the opportunity to develop their story-writing skills, as well as to apply techniques of narrative to the writing of screenplays. At times students will bring their own work to be read and discussed by classmates and the instructor. The instructor will provide guidance and some background on literary concerns relevant to the students’ work. This should provide skills in editing and revising, and an openness to different kinds of writing. The course involves assigned readings. Texts include The Seagull Reader (short fiction), On Directing Film, and American Beauty (The Shooting Script). The method of instruction includes class discussion of texts (fiction and a screenplay) and workshopping. Students will write one short story and one short screenplay. There are two quizzes. There is no final examination.

2263 Shakespeare and Film

3 Credit Hours
1st Term: W 6:00-9:00 PM
Instructor: R. Martin

Since the first days of film, directors and producers have been drawn to Shakespeare, and this interest has diversified amazingly in hundreds of versions and adaptations, some straight and others less so, such as Justin Kerzel’s MacBeth, Ralph Fiennes’s Coriolanus, Joss Whedon’s Much Ado About Nothing, and Andy Flickman’s She’s the Man. In this course we will see how film and video transforms Shakespeare for a variety of global audiences and actors, recreating Shakespeare’s scripts as new works of mass entertainment and cultural commentary. We will study film-clips in class; entire films will be watched outside of class.

2901 English Literature to 1660

3 Credit Hours
1st Term:  MWF  9:30-10:20 AM          Instructor:  T. Finlay
1st Term:  MWF  11:30 AM-12:20 PM   Instructor:  C. Canitz

An origin story, this course traces the beginnings of English literature to 1660. This era in the history of the British Isles is marked by conflicts over issues such as love and sexuality, imperialism, environmentalism, war and peace. Society was structured by powerful ideas of order, grounded in religion, nature, class, race and gender; at the same time these ideas were dramatically challenged, not least by the beginnings of the Scientific Revolution. With literacy rates increasing throughout the period, writers strove to invent English literature, producing richly varied, broadly allusive, and often playful works. Figures such as Chaucer, Shakespeare and Milton are central to the course, but several other writers will also be covered. Genres include poetry, drama and prose. This course is required for the English Major and Honours programs, and strongly recommended for Minors.

Prerequisite: a grade of C or better in ENGL 1000 or equivalent, or permission of the instructor.

2902 English Literature 1660-1900

3 Credit Hours
2nd Term:  TTH  8:30-9:50 AM                  Instructor:  R. Martin
2nd Term:  MWF  11:30 AM-12:20 PM       Instructor:  E. Effinger

This course picks up the story from ENGL 2901. In these centuries industrialization, wars, and Britain’s rise as an imperial power helped to spark social conflicts centring on class, race, indigeneity, gender, sexuality, politics and religion. New genres (such as the novel) emerged and others (such as poetry) transformed; the accelerating rise in literacy rates created new audiences for literature, and also meant that people from an ever-broader range of social backgrounds were writing.

Poetry and prose are the major genres here. This course is required for the English Major and Honours programs, and strongly recommended for Minors.

Prerequisite: a grade of C or better in ENGL 1000, or equivalent, or permission of the instructor.

2903 Literature of the Abyss: Extreme Fathers & Bad Dads

3 Credit Hours
1st Term:  M 2:30-5:20 PM     
Instructor:  L. Crawford

The word “patriarchy” is now commonplace, yet we do not often think deeply about what exactly fathers—i.e. Patriarchs—might be or could become in our culture. In this course, we will analyze “bad dads” in novels, poetry, graphic narrative, theory, and film. The “bad” of “bad dads” will always be under scrutiny; in other words, we will seek to suspend judgments and assumptions about what kinds of fathers are “good.” Instead, we will ask: what novel possibilities do particular forms of dad behaviour generate? Moreover, why does literature and film stage and restage scenes of violent fatherhood with such haunting repetition? What kinds of ideas about fatherhood emerge from these generic stories, and which possibilities are foreclosed? Does much of “dad lit” encourage us not to rethink the norms of masculinity in our culture? How do certain forms of “good” fatherhood get reproduced culturally, and to what effect?

Whatever our diverse approaches to the family form and to gender might be, these are questions that concern us all because we have all either experienced life with, or without, a father—and even absence can shape our lives. Moreover, we will all either be fathers, be partnered with fathers, or live with the sometimes-oppressive cultural expectation that we ought to make fatherhood more central in our lives and imaginations.

Students can expect to read about some of the following: eccentric dads, horny dads, disappearing dads, molesting dads, absent dads, melancholic dads, closeted queer dads, suicidal dads, dead dads, abusive dads, mafia dads, murderous dads, etc. While this may sound grim, we will look for new and creative ideas about fatherhood and masculinity, both within and beyond these particular dad behaviours. Students can also expect much discussion, some peer review, papers, creative assignment options, and a final exam.

Possible texts include: novels such as Paul Auster’s City of Glass, Zadie Smith’s White Teeth, and Chelsea Rooney’s Pedal; the work of poets such as Sylvia Plath, Anne Sexton, and others; graphic narratives such as Alison Bechedel’s Fun Home, and films such as American Beauty, The Shining, The Royal Tenenbaums, and Lolita.

2909 International Film History

3 Credit Hours
2nd Term:  TTh  2:30-3:50 PM  w/ screenings  T  4:00-6:00 PM
Instructor:  R. Gray                                                  
This class is designed as a survey of film history. Due to time constraints, however, we will have a chance to explore only certain film styles, historical periods, film auteurs, and national cinemas. Here the emphasis is not on a single (hi)story, but rather a range of historical frameworks (aesthetic, technological, economic, social, cultural) which inevitably privilege certain film practices and exclude others. Each of these discourses is bound to tell a different “story” for the development of film as an art form and as a medium. It is the purpose of this class to introduce you to major phases in the development of film as an international art: we will watch and discuss films from all over the world and consider how various national cinemas have imitated, resisted, appropriated, or transformed Hollywood’s cinematic codes.

Cross-listed as FILM 2909.

Third- and Fourth-Year Courses

3083/5083 Literary Theory and Critical Practice

3 Credit Hours
1st Term:  MWF  11:30 AM-12:20 PM    
Instructor:  S.Sinclair

This course introduces students to a range of critical approaches used by literary and cultural critics to make sense of the world in which we live and the books that we read. Some of the literary and cultural theorists we will discuss include: Karl Marx, Sigmund Freud, Ferdinand de Saussure, Mikhail Bakhtin, Jacques Lacan, Roland Barthes, Julia Kristeva, Jacques Derrida, Michel Foucault, Edward Said, Eve Kosofsky Sedgwick, and Judith Butler. Throughout, we will explore how these theorists’ ideas might be relevant to practical interpretation. To this end, we will apply various critical perspectives to a single novel. We will also consider the limitations of each theory and explore how these approaches complement or contest one another. The course is intended to equip students with a critical vocabulary for discussing literature; a large part of the class will therefore be devoted to student debate and discussions.

Note:  ENGL 5083 is compulsory for students taking Honours in English.

           ENGL 3083 is open to all other students with 6 ch in ENGL.

3123 Creative Writing: Poetry

3 Credit Hours
1st Term:  W  2:30-5:20 PM   
Instructor:  T. Finlay

This is an advanced course in the writing of poetry. Students learn the craft of poetry, working on imagery and metaphor, rhythm and sound pattern, the sentence and the line, the line break, speaking voice, and structure and form. The class will run as a workshop, developing a friendly, engaging and trusting environment in which students provide constructive criticism and editing of each other’s writing. There will be class discussions on the formal elements of poetry and the traditions from which various kinds of poetry emerge. Poetry texts are assigned to learn technique from established poets. Reading of poetry books of particular interest to individual students will be assigned for the keeping of a writing journal. Students will be expected to attend some poetry readings. Classes will include workshops, writing exercises, and lectures. The final grade will be based on a portfolio of creative writing and revisions, a reading journal on assigned texts, a presentation, and written critiques of other students’ writing when assigned. There is no final examination.

3143 Creative Writing: Short Fiction

3 Credit Hours
2nd Term:  W  2:30-5:20 PM    
Instructor:  M. Jarman

This workshop allows students to advance their skills in writing, editing, and revising fiction. Students can refine stories they’ve already started and worked on. Students should be writing before the class begins.

Most of our time will be spent workshopping writing by members of the class. There is no final examination for this course.

3163 Creative Writing: Drama

3 Credit Hours
1st Term: F 11:30 AM-2:20 PM
Instructor: L.  Falkenstein

ENGL 3163 is an advanced class in writing for the stage, designed to refine skills in voice, dialogue, structure, and action. Taught in a workshop format, the course will require students to submit work for discussion and constructive critique by other class members and the instructor. Students will complete a variety of exercises along with one short play (10 minutes) and one longer play (one act to full length) suitable for performance at one of Canada’s many new play festivals. The final grade will be based on a portfolio of students’ work for the course, their performance in class discussion and presentations, and their written critiques of other students’ writing.      

Cross-Listed as DRAM 3163.

3170 Advanced Drama Production

6 Credit Hours
Full Year:  TTh  2:30-3:50 PM    
Instructor:  L. Falkenstein w/Tech: M. Johnston

This course builds on the work completed in DRAM/ENGL 2170 “Drama Production” and entry into it is normally restricted to students who have credit for DRAM/ENGL 2170, an equivalent course at another institution, or other advanced drama production experience. DRAM/ENGL 3170 is a project-based course that offers students advanced instruction and practice in improvisation, script analysis, performance, and technical theatre, along with an introduction to the fundamentals of directing for the stage. Students will participate in the staging of one or two mainstage productions for the Theatre UNB season and one smaller, self-directed, collectively created production; they will also complete two or three technical theatre projects that will enhance their skills in areas such as lighting and sound design, costume design, props rendering, carpentry and set construction, and scenic painting.

Like DRAM/ENGL 2170, this course demands the full and enthusiastic participation of all students. Time demands are heavy at times and attendance at all class sessions and rehearsals is mandatory. Students will be evaluated based on class participation and written work in the form of play reviews, journals, and technical projects. There is no final exam for this course. Required textbooks will be announced on the first day of class.

Cross-listed as DRAM 3170.

3183 Creative Writing: Screenwriting for Short Formats

3 Credit Hours
1st Term:  TTh  10:00-11:20 AM    
Instructor:  R. Gray

Web series, short films, commercials, music videos, and sketch shorts are all short formats that have emerged as viable ways for screenwriters to break into the film industry. Short formats can be an affordable and achievable way for a filmmaker or a screenwriter to develop a calling card and to be considered for larger projects. For artists developing their craft, short formats are also less costly and more versatile forms in which to play and experiment; they provide an essential opportunity to develop a voice as a film artist. This intensive course guides writers through the basics of short format screenplay structure, character principles, writing and rewriting strategies. Students will be exposed to a wide range of short films in a variety of genres so they can explore the limits and possibilities of briefer forms of cinematic storytelling. Students do not need previous writing experience but first timers should be prepared to spend extra time developing/working on their process.

Cross-listed as FILM 3183.

3260 Shakespeare

6 Credit Hours
Full Year:  T  6:00-8:50 PM
Instructor:  R. Martin

After 400 years, Shakespeare’s ability to thrill audiences, inspire writers, and challenge actors is undiminished, and in this course we shall learn why by studying a selection of his comedies, histories, and tragedies. We shall consider the current range of critical and theoretical approaches of textual interpretation as well as notable performances in the history of Shakespeare on stage and in film.

3283 Early Renaissance Poetry and Prose

3 Credit Hours
2nd Term:  MW 2:30-3:50 PM    
Instructor:  C. Canitz

The sixteenth century was an age of experimentation in literature, expansion of English power, and enormous social, political, and religious change. We will study a wide variety of non-dramatic poetry and prose of this era, from early Humanism down to the time of Spenser and Shakespeare. In addition to sonnets and other lyric poems, allegorical epic, satire, the proto-novel, statements on literary theory, contemporaneous commentary on political events, and other representative English texts, we will also read (in translation) one or two major works of the European Renaissance outside England for essential intellectual background.

The final grade will be based on two or more essays, a three-hour final exam, and possibly some additional short assignments. The main textbook for this course is The Norton Anthology of English Literature, vol. 1, 9th edition.


3343 The British Novel I

3 Credit Hours
1st Term:  MW  2:30-3:50 PM   
Instructor:  E. Effinger

“It cannibalizes other literary modes and mixes the bits and pieces promiscuously together”—so writes critic Terry Eagleton on the subject of the novel. This course will study the energetic development of the British novel from its beginning to the early nineteenth century. We will study a range of fiction, covering key subgenres such as the fictional autobiography, the prose pornography, the Gothic tale, the Bildungsroman, and the courtship novel. This is the genre that privileges everyday life, while also reflecting back to us our diverse and often conflicting values. The course will explore the social contexts in which these texts were written and read, and engage with recent critical and theoretical approaches to fiction. Classes will include lectures and discussions, and assignments will include a short presentation, two short essays (3 pages each), and a research essay.

Tentative list of texts:

Daniel Defoe, Robinson Crusoe; John Cleland, Memoirs of a Woman of Pleasure; Horace Walpole, The Castle of Otranto; William Godwin, Fleetwood; and Jane Austen, Pride and Prejudice

Note: This course has a heavy reading load, so students should start reading before the course begins. A final reading list will be emailed to the class near the end of the summer.

3400 The Romantic Period

6 Credit Hours
Full Year: MWF 9:30-10:20 AM
Instructor: E. Effinger

The course studies the major works of British Literature in the Romantic period (c. 1780-1830). Major authors to be studied include Barbauld, Wollstonecraft, Blake, Wordsworth, Coleridge, Byron, Mary and Percy Shelley, and Keats. The literature will be placed in the context of the tremendous social, economic, political, scientific, and cultural events of the period, including the American and French Revolutions; the industrial revolution; educational reform and the rising tide of early feminism; emerging sciences and new organizations of knowledge; and the revolution in music and art. Classes will consist of lectures and discussions, and assignments will include short presentations and a paper in the fall, and an annotated bibliography, a paper, and a final examination in the winter.

3535 Modern British Poetry

3 Credit Hours
2nd Term:  T  2:30-5:20 PM  
Instructor:  L. Crawford

Modern British poetry concerns itself with a great number of themes that are even more urgent to us today: war, trauma, rapid social change, bodies, gender, sex, politics, language, art, colonization, memory, pain, and experimentation. Authors covered will range from the precursors (Hardy and Yeats) to the canonical (Owen, Eliot, Auden, Edith Sitwell, etc.) to the contemporary (Carol Ann Duffy, Jackie Kay, Sarah Maguire, Sinéad Morrissey, etc.) the experimental (cris cheek and Maggie O’Sullivan) to dub and performance-driven poetry (Benjamin Zephaniah and Linton Kwesi Johnson), and, to the work of immigrants and emigrants (Fred D’Aguiar, James Berry, Warsan Shire, etc.). This broad definition of modern British poetry will afford us a variety of dissenting views both from within the literary establishment and without. We will ask: what is the relation of poetry to national identity and to the resistance thereof? What role do we want poetry to play in the shaping of our emotions about a place—about the tricky concept of “home”?

The course will include lectures, lots of discussion, and peer review. The bulk of students’ grades will comprise two paper assignments and a final exam.

3698 Canadian Literature from 1970 to the Present

3 Credit Hours
1st Term:  MWF  10:30-11:20 AM    
Instructor:  J. Andrews

This survey of English-Canadian literature from 1970 to the present considers the social, economic, political, and cultural contexts of Canada’s development through literature over the past five decades, paying particular attention to the key thematic and formal movements that have shaped how writers understand and depict Canada. The 1960s was a period of flourishing leftist political ideas and civil rights movements which led to deeper explorations in the 1970s and beyond of the significance of democracy, the importance of equal rights for women, African-Canadian and other ethnic and racial minorities and the need to reconceive of historical relations between the Canadian government and Indigenous peoples. In recent years, debates about appropriation of voice, environmental concerns, definitions of citizenship and belonging (particularly for diasporic populations), LGBTQ rights, and the challenges of globalization continue to shape English-Canadian literature. Authors to be studied may include Chief Dan George, Maria Campbell, Thomas King, Jeannette Armstrong, Fred Wah, Rita Wong, Rohinton Mistry, Dionne Brand, Michael Ondaatje, Margaret Atwood, M. NourbeSe Philip, Raziel Reid, Lee Maracle, Lorne Simon, Sky Lee, and Marika and Jillian Tamaki. Texts will range from poems and short stories to novels, plays, and graphic novels.

3708 American Literature between 1820 and 1900

3 Credit Hours
2nd Term:  MWF  12:30-1:20 PM   
Instructor:  S. Schryer

This survey of American fiction, poetry, and non-fiction explores texts from the American Renaissance to the late-nineteenth century. During this period, the United States grew from a relatively new, agrarian nation into one of the most robust, industrial economies in the world. At the same time, the country developed a distinctive and self-consciously nationalistic literary tradition, which evolved from the transcendentalism of the 1830s and 1840s to the realism and naturalism of the post-Civil War period. Our focus, throughout the course, will be on U.S. writers’ engagement with some of the most important social and political issues faced by the developing nation: abolitionism, feminism, westward expansion, imperialism, industrialism, and the rise of the urban proletariat. Some of the authors we will discuss may include: Ralph Waldo Emerson, Henry David Thoreau, Edgar Allan Poe, Herman Melville, Nathaniel Hawthorne, Emily Dickinson, Walt Whitman, Frederick Douglass, Harriet Jacobs, Louisa May Alcott, Rebecca Harding Davis, Stephen Crane, Henry James, Caroline Kirkland, and Edith Wharton. Assignments will include two essays, a seminar, and a final exam.

3798 American Literature since 1945

3 Credit Hours
1st Term:  MWF  1:30-2:20 PM    
Instructor:  R. Leckie

If you drop a wine glass on the floor and it shatters in every direction, wine spilling, splashing, and leaking across the floorboards, then you have a picture of American literature after WWII. Literature should be political; it should be personal; it should be about the self; it should be about anything but the self; it should provide a realistic portrait of everyday life; it should not refer to reality; it should be about language and textuality; it should tell a story; it should not have a story; it should attack the very idea of narrative; poetry should rhyme, it should never rhyme; it should be free verse; it should rip language to shreds and sprinkle it across the page; literature should be hip; it should express counterculture; it should be about race; whites should not appropriate the voices of minorities; whites should write about race; it should be about the oppression of women; it should be about class; it should reaffirm American values; it should repudiate those values; it should see that the planet is in ecological crisis; it should be entertaining; it should be hard and difficult; it should be evacuated of meaning; it should say what it means.

In this course we shall try to make sense of this clamour of voices and put them into historical context, considering how literature asks Americans to think about the Cold War, the Vietnam War, the suburbs, the Civil Rights movement, the atomic bomb, television, popular music and the stereo, road trips, advertising, Hollywood, and 9/11. Assignments will include presentations, an essay, and a final exam.

3814 Literatures of Australia, New Zealand, and South Africa

3 Credit Hours
1st Term:  MWF  12:30-1:20 PM    
Instructor:  H. Morgan

This course surveys twentieth- and twenty-first-century writing in English from Australia, New Zealand, and South Africa, with an emphasis on prose fiction and poetry, but also including non-fiction, film, and literary criticism. The texts exemplify themes characteristic of former invader-settler colonies, such as Indigenous perspectives, home, exile, the environment, national identity, race/class/gender, and multiculturalism. Texts will be discussed in their cultural, historical, and sociopolitical contexts. Authors may include Doris Pilkington Garimara, Thomas Keneally, David Malouf, Colleen McCullough, Oodgeroo Noonuccal, Patrick White; Eleanor Cattan, Janet Frame, Witi Ihimaera, Katherine Mansfield, Hone Tuwhare, Albert Wendt; J.M. Coetzee, Athol Fugard, Nadine Gordimer, Nelson Mandela, Zakes Mda, and Ezekiel Mphahlele.

3909 Film Genre: Zombies

3 Credit Hours
2nd  Term:  W  6:00-8:50 PM    w/screenings W 4:00-6:00 PM
Instructor:  R. Gray

Zombie films make up one of the longest living sub-genres of horror, though representations of zombies have evolved from exoticized monstrous  figures from Haiti, to cannibalistic brain eaters and eventually to infectious bodies carrying epidemics. This course will explore the evolution of zombies from studio pictures starring Bella Lugosi, to B-movies featuring fighting ninjas and murdering cheerleaders, through to modern film zombies who look uncannily like the unconscious bored populace and/or become a loving family pet. Zombies are never simply undead; they always reflect something about our changing lives and fears. These films also permit us to explore the murky spaces between high and low culture, the history and development of horror films as a genre, and the aesthetics of fear. Students will be expected to write a research paper, give a small seminar presentation, and complete weekly reading quizzes.

Special Topics in English

3987 Fashioning the Nation: North American Television and Fashion

3 Credit Hours
2nd Term:  MWF 10:30-11:20 AM   
Instructor:  J. Andrews

This course explores the recent significance of television, its impact on the fashion industry, and the ways in which television itself has become part of the business of the creation, marketing, and consumption of fashion, from haute couture to mass market brands. In particular the course considers how the coupling of fashion and television has important implications for contemporary definitions of citizenship. It is suitable for students across faculties, and may be of particular interest to those in Business, Media Arts and Culture, English, History, Sociology, Economics, and Psychology. Texts range from novels and children’s books to episodes of Sex and the City, What Not to Wear (British and US versions), Mad Men, Fashion Police, House of Cards, and Project Runway. The course will be run in a discussion format, and the formal evaluation will include a final essay, a group presentation, short essays, and an in-class test; there will be no final exam.

Honours Seminars

5083 Literary Theory and Critical Practice

3 Credit Hours
1st Term:  MWF  11:30 AM-12:20 PM    
Instructor:  S. Sinclair

See ENGL 3083 for a description of this course, which is a required course for students taking Honours in English.

5113 War and Peace in Shakespeare

3 Credit Hours
1st Term:  T  9:00-11:50 AM    
Instructor:  R. Martin

Does Shakespeare glorify war? Many critics and actors have thought so. More than a third of Shakespeare’s plays end with climactic battle-scenes. Metaphors of guns, cannons, and combat are ubiquitous, even in the comedies. Yet from his earliest plays there are many anti-war elements in Shakespeare, and these intensify after the peace-oriented James I came to the throne in 1603. This seminar will explore Shakespeare’s changing representations of war and peace, relating them to the historical contexts that shaped them, to philosophical ideas about pacifism, and to their reception in criticism and performance during periods of peace or conflict.

5146 Bloodshed and Elbow Room in the Wild West

3 Credit Hours
2nd Term:  Th  2:00-4:50 PM    
Instructor:  M. Jarman
Using both fiction and nonfiction, this seminar will examine the forces involved in the violent settling of western North America, with particular attention given to the odd echoes and relationships between historical texts about the West and subsequent novels and stories, some of which are not overtly about the settling of the West, but have pivotal scenes hidden within that are informed by historical events decades or centuries before.

The borders between Mexico and the United States and Canada and the separation of local histories will come under scrutiny, as will issues to do with the myth of “virgin” wilderness, manifest destiny, frontiers and border crossing, cultural collisions, mixed blood, colonialism, pioneering, racism, the shifting of native territories and claims, the military and government, the law (or lack thereof), ownership, good intentions, naiveté, ego, commerce, alcohol, ghost writing, maimed rites, malaise, murder, massacres, genocide, and black humour.


Cormac McCarthy, Blood Meridian (or The Evening Redness in the West)
Laura Ingalls Wilder, Little House on the Prairie
Evan S Connell, Son of the Morning Star
Dee Brown, Bury My Heart at Wounded Knee
James Welch, Winter in the Blood
Thomas King, “Borders”
Margaret Laurence, “The Loons”

5159 Satire in Theory and Practice

3 Credit Hours
1st Term: TH 9:00-11:50 AM
Instructor: J. Ball

The impulse to satirize has endured in remarkably varied forms from ancient times through English satire’s literary heyday in the 18th Century and continuing in our time to infiltrate fiction, TV and film, journalism, and more. Controversies such as those surrounding Salman Rushdie’s The Satanic Verses and Charlie Hebdo’s cartoons continue to show the power and danger of satiric expression. Through a combination of short theoretical readings and literary texts chosen as case studies, this course will explore the protean nature of satire as a genre or mode, testing various theoretical models for their usefulness in understanding satire’s unruly critical energy; its aggressive engagement with referential “targets”; its destabilizing moral and socio-political impulses; its hope for change (or despair at entrenched conditions); its problems with closure; its uses of fantasy, parody, irony, exaggeration, humour, and other forms of indirection; its dualistic and “othering” tactics; and its troubled reception. As we move from older models of satire as targeted moral attack to more recent ones involving inquiry, provocation, ambivalence, and contamination, we will consider our wide range of primary texts for their satiric and other generic strategies as well as their broader thematic engagements.

Assignments:  In addition to weekly reading and active participation, each student is responsible for: (1) one 15- to 20-minute seminar on a primary text; (b) a short report on a theoretical reading; (c) a brief presentation on a pop-culture or journalistic satiric text or performance of the student’s choice; (d) a 10- to 12-page term paper.

Proposed Texts:  Theory

Short readings (on e-reserve) from such 20th- and 21st-century theorists as Northrop Frye, Robert Elliott, Leonard Feinberg, Jewel Spears Brooker, Alvin Kernan, Edward Rosenheim, Patricia Meyer Spacks, George Test, Dustin Griffin, and Fredric Bogel

Proposed Texts:  Primary (9 or 10 will be selected from this representative list)

Selected short poems from Donne, Rochester, Dryden, Pope, Blake

Selections from TV/internet/journalistic satire

(plus 8 or 9 from the following list)

Jonathan Swift, Gulliver’s Travels (selections) and “A Modest Proposal”

Jane Collier, An Essay on the Art of Ingeniously Tormenting

Dorothy Parker, selected short stories

Aldous Huxley, Brave New World

George Orwell, Animal Farm or 1984

Evelyn Waugh, Vile Bodies or The Loved One

Nathanael West, The Day of the Locust

Bernadine Evaristo, Blonde Roots

V.S. Naipaul, The Suffrage of Elvira

Chinua Achebe, A Man of the People

Kiran Desai, Hullaballoo in the Guava Orchard

5167  The American Sitcom and Feminist Theory

3 Credit Hours
2nd Term:  T  9:00 AM-12:00 NOON
Instructor:  E. Snook                    

This course will consider how female-centred American sitcoms responded to feminist writing and social activism from the 1950s to the present. Taking into account the generic conventions of the situation comedy and including those based on the family, workplace, and friends, the course will examine sitcoms in relation to twentieth- and twenty-first-century feminist theory and history. It will explore how the sitcom has dealt with—or not—issues such as women’s work and pay inequity, gender and sexual identities, sexual relationships with men and other women, reproductive rights, sexual assault and harassment, domestic violence, class, race, and the politics of appearance. It will contemplate why, until the present day, so many of the women on U.S. television are cis-gendered, white, heterosexual, thin, and middle class, but it will also consider the shows that question that dominant paradigm of womanhood. The course will provide grounding in feminist theory, as well as insight into women’s history. It will examine the pace of social change, the political engagements of television programing, the way in which television, particularly in stories focused on women, engaged, questioned, rejected, or ignored feminist thought, and how feminism is engaged with television.

Television (episodes selected from):  I Love Lucy (1951-1957), Bewitched (1964-1972), Julia (1968-1971), The Mary Tyler Moore Show (1970-1977), Maude (1972-1978), The Golden Girls (1985-1992),  Roseanne (1988-1997),  Murphy Brown (1988-1997), Living Single (1993-1998), All American Girl (1994), Ellen (1994-1998), Sex and the City (1998-2004), 30 Rock (2006-2013), Girls (2012-present), The Mindy Project (2012-present), Transparent (2014-present), Broad City (2014-present), Insecure (2016-present).

Feminist Thought (selected and excerpted from):  Simone de Beauvoir, The Second Sex (1949, trans. 1953); Betty Friedan, Feminine Mystique (1963); Germaine Greer, The Female Eunuch (1970); Shulasmith Firestone, The Dialectic of Sex (1970); Adrienne Rich, Of Woman Born: Motherhood as Experience and Institution (1976) and “Compulsory Heterosexuality and Lesbian Existence” (1980); Helene Cixous, “The Laugh of the Medusa” (1975); Susan Brownmiller, Against Our Will: Men, Women, and Rape (1975) and Femininity (1984); Luce Irigaray, This Sex Which is Not One (1977); Andrea Dworkin, Pornography: Men Possessing Women (1981); Cherrie Moraga and Gloria E. Anzaldua, All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave: Black Women’s Studies (1982); Angela Davis, “Racism, Birth control, and Reproductive Rights” (1983) and Women, Culture, Politics (1990); Gloria Steinhem, Outrageous Acts and Everyday Rebellions (1983); Audre Lorde, Sister Outsider: Essays and Speeches (1984); Kimberlé Crenshaw, “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics” (1989); Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (1990); Patricia Hill Collins, Black Feminist Thought: Knowledge, Consciousness and the Politics of Empowerment (1990); Eve Kosofsky Sedgwick, Epistemology of the Closet (1990); Rebecca Walker, “Becoming the Third Wave” (1991); Judith Halberstam, Female Masculinity (1998); Jennifer Terry, An American Obsession (1999); Jessica Valenti, Full Frontal Feminism: A Young Woman’s Guide to Why Feminism Matters (2007); The Transgender Studies Reader 2 (2006); Sara Ahmed, Living a Feminist Life (2017).

Proposed Courses for 2018-2019

First-Year Courses

1000       Introduction to Modern Literature in English

1103       Fundamentals of Clear Writing

1144       Reading and Writing Non-Fiction Prose

1145       An Introduction to Prose Fiction

1173       Introduction to Acting and Performance

Second-Year Courses

2173       Acting:  Body and Text

2174       Technical Production and Design for the Theatre

2175       Mainstage Production I

2195       Introduction to Creative Writing:  Poetry and Drama

2196       Introduction to Creative Writing:  Fiction and Screenwriting

2263*    Shakespeare and Film

2603*    Literature of Atlantic Canada

2608*    Introduction to Contemporary Canadian Literature

2703*    Introduction to Modern American Literature

2901       English Literature to 1660

2902       English Literature 1660-1900

2903*    Literature of the Abyss

2909       International Film History

* These second-year courses are offered on an occasional basis as
Departmental resources permit. Normally, at least one of
these courses will be offered annually

Third and Fourth-Year Courses

3040       Chaucer & Co.

3083       Literary Theory and Critical Practice

3119       Writing in Academic and Professional Contexts

3123       Creative Writing:  Poetry

3143       Creative Writing:  Short Fiction

3153       Creative Writing:  Non-Fiction

3170       Advanced Drama Production

3175       Mainstage Production II

3183       Creative Writing:  Screenwriting for Short Formats

3186       Creative Writing:  Feature Screenplay

3260       Shakespeare

3284       Poetry and Prose of the Later Renaissance

3385       Restoration and 18th-Century Literature

3410       Victorian Literature

3540       The Modern British Novel

3608       Canadian Literature to 1900

3688       Canadian Literature from 1900 to 1970

3707       American Literature before 1820

3788       American Modernism

3813       Literatures of Africa, the Caribbean, and South Asia

3883       Women’s Writing in English

3903       Film Theory

Honours Seminars

Literary Theory and Critical Practice

Food, Glorious Food!  Queering the Culinary in Text, On-Screen, and in our Mouths

Beasts and Beauties:  The Animal in Nineteenth-Century British Literature

Hit Men, Serial Killers, and Those Who Hunt Them Down

“Innovative” Poetics in English Canada since 1945