DEPARTMENTOFENGLISHUTSC

CoursesOfferedin2017-18

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2017-18TEACHINGSTAFF

MariaAssif 416-208-2725 HW319 massif@utsc.utoronto.ca ChristineBolus-Reichert onleave2017-18 bolus@utsc.utoronto.caNealDolan 416-287-7147 HW317 dolan@utsc.utoronto.caAndrewDuBois 416-287-7187 HW318 dubois@utsc.utoronto.caDeirdreFlynn 416-287-7141 HW334 deirdre.flynn@utoronto.caKaraGaston 416-208-2235 HW323 kgaston@utsc.utoronto.caMarleneGoldman 416-287-7157 HW321mgoldman@chass.utoronto.caSarahKing 416-287-7480 AC210C sking@utsc.utoronto.caNeiltenKortenaar 416-287-7155 HW330 kortenaar@utsc.utoronto.caKatherineLarson 416-287-7169 HW322 katie.larson@utoronto.caGarryLeonard 416-287-7141 HW334 leonard@utsc.utoronto.caAliceMaurice onleave2017-18 maurice@utsc.utoronto.caSonjaNikkila 416-287-7144 HW333 sonja.nikkila@utoronto.caMarjorieRubright 416-287-7166 HW320marjorie.rubright@utoronto.caSaraSaljoughi 416-208-2236 HW325 sara.saljoughi@utoronto.caDanielTysdal 416-287-7161 HW317A dtysdal@utsc.utoronto.caKarinaVernon 416-287-7165 HW327 kvernon@utsc.utoronto.caAndrewWestoll 416-208-2234 HW328 awestoll@utsc.utoronto.caLauraJaneWey onleave2017-18 laurajane.wey@utoronto.ca Chair: ProfessorC.Bolus-Reichert(throughJune30,2017) AssociateChair: ProfessorK.Larson(throughJune30,2017)Foradviceregardingcourseselectionandprogramrequirements,pleasecontactUndergraduateAdvisor,SeanRamrattanatramrattan@utsc.utoronto.ca.

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Summer2017

Six-weekintensivecoursesENGC10H3F:StudiesinShakespeareInstructor:MarjorieRubrightTOPIC:SHAKESPEAREINPERFORMANCEThisnew6-weeksummercourseinvitesyoutoexploreShakespeare'splaysasthey'vebeenadaptedaroundtheglobeinfilm,theatre,danceandtelevision.Thecentrepieceofourcoursewillincludeaday-longtripwithProf.Rubrighttotheworld-renownedStratfordOntarioShakespeareFestivalwherewewillwatchaliveperformanceofTwelfthNight,touranarchiveofperformancematerialspreparedespeciallyforourclass,andenjoyaprivateQ&Awiththeactorsanddirectorfollowingtheshow.Otherspecialeventsinclude:afieldtriptotheThomasFisherRareBookLibraryontheSt.GeorgeCampuswherewe’lllookat—andtouch!—rareeditionsofShakespeare’splaysprintedduringtheRenaissance,includingtheFirstFolio(1623).You’llbeinvitedtoworkcloselywiththerarebooksasyouplaythedetectiveinagameofShakespeare‘lost&found.’ThefinalweekofthecoursewillfeatureaspecialguestlectureonthetopicofShakespeareinDance.GuestProfessorAmyRodgers(MountHolyokeCollege)isaformerprofessionalNYCballetdancerturnedShakespeareprofessorwhoisnowthefounderandcuratorofTheShakespeareandDanceProject.So,packyourbagsandkickofyourshoesfora6-weekrompthroughShakespeareinPerformance!Pre-1900course.

Sometextsinclude:WilliamShakespeare’sTwelfthNight,Hamlet.TomStoppard’sRosencrantzandGuildensternareDead.&manyfilm&tvadaptationsincludingShakespeareinLove,Slings&Arrows,TheSimpson'sHamlet&more.MethodsofEvaluation:shortcreativeandcriticalwritingassignments;elective‘popup’performances;critical,witty,andirreverent‘reviews’oftheatricalandfilmperformances;inclassopenbooktestNopriorShakespearecoursesorperformanceexperienceisrequiredforenrolment.

ENGD52H3F:Cinema:TheAuteurTheoryInstructor:AndrewDuBoisTOPIC:THEFILMSOFANITALOOSTheauteur(almostalwaysaman)isanothernameforthemoviedirectorwhoreallycontrolsthewholeshow,whohasa“style”(moreorless),andwhohassomesignificantbodyofworkmadeoveradecentstretchoftime.Butwhatiftheauteurwasanauthor(“inplainAmericanwhichcatsanddogscanread!”—MarianneMoore)andwhatiftheauthorwasnotamanbut....awoman?!ThiscourseisdedicatedtoAnitaLoos(1889-1981),whosecareerinfilmstretchedfrombeingaveryyoungneophyteinaverynascentbusinesswritingfortheveryfirstAmericanauteuruntil....well,frankly,she’sstillgotacareerinfilm.AnitaLoos’sworkisthereevenifnoteverybodyknowsit.

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Studentswillwatchshortsilentfilmsandexcerptsfromearlysilentepics,aswellasblack-and-whitetalkiesandmusicalsincolor;readtreatments,screenplays,plays,novels,andmemoirs;andhaveaccesstoraremanuscripts,typescripts,photographs,films,andevensterlingexamplesofAnitaLoos’smythiccollectionofhatsbysuchmajesticmillinersasBalenciaga,Dior,RobertDudley,JeanneLanvin,andSallyVictor.Workstobestudiedinclude:TheMuskateersofPigAlley,TheNewYorkHat,Nell’sEugenicWedding,Macbeth,Intolerance,TheMysteryoftheLeapingFish,HisPictureinthePapers(silentfilms);TheLoveExpert,TheWholeTown’sTalking(screenplay;play);GentlemenPreferBlondes(novelandmovie);ButGentlemenMarryBrunettes(novelandmovie);Red-HeadedWoman(screenplayandmovie);SanFrancisco(screenplayandmovie);TheWomen(play,screenplay,movie);andthememoirsAGirlLikeIandKissHollywoodGoodbye.

Twelve-weekcoursesENGB03H3Y:CriticalThinkingaboutNarrativeInstructor:RachelF.StapletonAnintroductiontotheliteraryanalysisofnarrative.Thiscoursewillstudycloselyasmallnumberofnarrativesandnarrativegenresfromdifferentperiodsinordertodevelopthecriticalskillstoanalysenarratives.ENGB04H3Y:CriticalThinkingaboutPoetryInstructor:JoelRodgersAnintroductiontotheliteraryanalysisofpoetry.Thiscoursewillstudycloselypoemsandpoeticformsfromdifferentperiodsinordertodevelopthecriticalskillstoanalysepoetry.ENGB05H3Y:CriticalWritingaboutLiteratureInstructor:NiyoshaKeyzadIntensivetrainingincriticalwritingaboutliterature.Studentslearnessay-writingskills(explication;organizationandargumentation;researchtechniques;bibliographiesandMLA-stylecitation)necessaryforthestudyofEnglishattheuniversitylevelthroughgroupworkshops,multipleshortpapers,andamajorresearch-basedpaper.Thisisnotagrammarcourse;studentsareexpectedtoenterwithsolidEnglishliteracyskills.ENGB05H3Y:CriticalThinkingaboutLiteratureInstructor:KathleenOgdenIntensivetrainingincriticalwritingaboutliterature.Studentslearnessay-writingskills(explication;organizationandargumentation;researchtechniques;bibliographiesandMLA-stylecitation)necessaryforthestudyofEnglishattheuniversitylevelthroughgroupworkshops,multipleshortpapers,andamajorresearch-basedpaper.Thisisnotagrammarcourse;studentsareexpectedtoenterwithsolidEnglishliteracyskills.

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ENGB12H3Y:LifeWritingInstructor:KaelynKaomaLife-writing,whetherformalbiography,chattymemoir,postmodernbiotext,orpublishedpersonaljournal,ispopularwithwritersandreadersalike.Thiscourseintroducesstudentstolife-writingasaliterarygenreandexploresmajorissuessuchaslife-writingandfiction,life-writingandhistory,thecontractbetweenwriterandreader,andgenderandlife-writing.ENGB37H3Y:PopularLiteratureandMassCultureInstructor:NathanMurrayThiscourseconsidersthecreation,marketing,andconsumptionofpopularfilmandfiction.Genresstudiedmightincludebestsellers;detectivefiction;mysteries,romance,andhorror;fantasyandsciencefiction;"chicklit";popularsong;pulpfictionandfanzines.ENGC08H3Y:SpecialTopicsinCreativeWritingIInstructor:A.M.DellamonicaThismulti-genrecreativewritingcourse,designedaroundaspecificthemeortopic,willencourageinterdisciplinarypractice,experientialadventuring,andrigoroustheoreticalreflectionthroughreadings,exercises,fieldtrips,projects,etc.Admissionbyportfolio.ENGC44H3Y:SelfandOtherinLiteratureandFilmInstructor:TomUeAstudyoftherelationbetweenselfandotherinnarrativefictionandfilm.Thiscoursewillexaminethreeapproachestotheself-otherrelation:themoralrelation,theepistemologicalrelation,andthefunctionalrelation.Exampleswillbechosentoreflectengagementswithgenderedothers,withhistoricalothers,withgenerationalothers,withculturalandnationalothers.*Pleasenote:ThiscoursewillnowbeacceptedfortheMinorPrograminLiteratureandFilm.ENGC48H3Y:SatireInstructor:SteveMinukAninvestigationoftheliteraturesandtheoriesoftheunthinkable,thereformist,theiconoclastic,andtheprovocative.Satirecanbeconservativeorsubversive,correctiveoranarchic.Thiscoursewilladdressarangeofsatireanditstheories.WritersmayrangefromJuvenal,Horace,Lucian,Erasmus,Donne,Jonson,Rochester,Dryden,Swift,Pope,Gay,Haywood,andBehntoPynchon,NabokovandAtwood.Pre-1900course.ENGD58H3Y:TopicsinCanadianLiteratureInstructor:KarinaVernonTOPIC:CRITICALMIXEDRACELITERATURE

“Ohmybody,makeofmealwaysa[wo]manwhoquestions!”

--FranzFanonAlthough“race”islongoverasacrediblescientificcategory(indeed,itneverreallywasone),

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“race”hasprovedtobeanincrediblytenaciousconcept.Ourlivescontinuetobeshaped(andmisshaped)inprofoundwaysbyracializationasasocialprocess.Thiscoursefocusesonmixed-raceliteratureinordertothinkabouthowdiscoursesofracecirculateincontemporaryCanada.Whatsocial,political,andliteraryworkdoestheideaofraceperform?Specifically,howdoideasabout“race”articulateandjustifyrelationsofpowertoday?Whatlightdo“mixed-race”identificationsshedonideasofraceandracial“authenticity”?Andinwhatwaysdomixed-raceidentificationsexpressandinterruptdiscoursesofCanadianmulticulturalism?Studentswillhavetheopportunitytoconsiderthesepersonal,political,andliteraryquestionsinrelationtoawidevarietyofgenres:essays,poetry,documentaryfilmand“biofiction.”

Grades:Participation:15%Weeklyreadingjournal:30%Twoshortessays:55%Readings(subjecttochange)1.Hill,Lawrence.Blackberry,SweetJuice:OnBeingBlackandWhiteinCanada2.Wah,Fred.DiamondGrill3.Wah,Fred.Fakingit:PoeticsandHybridity4.Compton,Wayde,AfterCanaan:EssaysonRace,WritingandRegion5.Taylor,DrewHayden.Funny,YouDon’tLookLikeOne:ObservationsofaBlue-EyedOjibwa.

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Fall2017ENGA10H3F:IntroductiontoTwentieth-CenturyLiteratureandFilm:1890toWorldWarIIInstructor:GarryLeonardAstudyofliteratureandfilmagainstthebackdropoftheTwentiethCentury,from1890totheonsetofWorldWarII.MatthewArnoldputitthisway:“Iwanderbetweentwoworlds.Onedead,theotherpowerlesstobeborn.”Audenannouncedthecomingof“theAgeofAnxiety.”Eliot’sdefining1922poemiscalled“TheWasteland.”AndyettheTwentiethCenturyandtheTwenty-firstarestillseenasparticipatingintheEnlightenmentproject,aprojectdevotedtoconstantannouncementsofprogress,perpetualofferingsofunprecedentedsatisfaction,andaggressivelymarketedexamplesofinnovation.Wewillbegininthe1890s,atimethatsawtheinventionofcinemaaswellas,inthespaceoftenyears,thepublicationofDrJekyllandMrHyde,ThePictureofDorianGray,Dracula,HeartofDarkness,andFreud’sInterpretationofDreams.Alloftheseworks,separatelyandtogether,tellofadeepuneaseattheheartofwhathascometobeknownas“modernity.”MovingforwardthroughworksbyJamesJoyceandVirginiaWoolf,wewilllookattheculturaltraumaofWorldWarI.AnemphasisonfilmanditsuniquerelationshiptotheTwentiethCenturywillbefosteredbylecturesonCharlieChaplin’sModernTimesandthewayitshowcasesrisingconcernsthatmodernityhasprofound,oftenhiddencostsatthepersonallevel,evenasitismadetoappearmoreandmoreastonishingandprogressiveonthegloballevel.ENGB02H3F:EffectiveWritingintheSciencesInstructor:DeirdreFlynnThiscoursewillprovidesciencestudentswithpracticalstrategies,detailedinstructions,andcumulativeassignmentstohelpthemhonetheirabilitytowriteclear,coherent,well-reasonedproseforacademicandprofessionalpurposes.Topicswillincludescientificjournalarticleformatsandstandards,peer-review,andrhetoricalanalysis(ofbothscientificandlay-sciencedocuments).ENGB03H3F:CriticalThinkingAboutNarrativeInstructor:SonjaNikkilaTheabilitytoshape(andre-shape)storiesisoneofhumanity’smostnotabletraits,andeverythingthatmakesus“human”canbefoundinthenarrativeswetell—fromthepersonalandimmediatetothepoliticalandhistorical,from“agalaxyfar,faraway”to“there’snoplacelikehome.”Inthiscoursewewilllearnhowtoanalyzemultiplenarrativeforms(books,movies,podcasts,comics,etc.)throughreadingand“closereading,”andmostimportantly,wewilllearnhowtoempowerourselvesbyrecognizingthepowerthatstoriescanhaveoverus.Narrativeistrulya“lifeordeath”matter,andforthatreasonwewillbefocusingourattentiononstoriesoflifeanddeath—wewillbedetectiveshuntingdownmurderersaswellasthejudgeandjurywhoputthemontrialanddecidetheirfate.

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EvaluationMethod:Yourmarkforthecoursewillbebasedonacombinationofwrittenassignments(shortessays)andparticipation(indiscussiontutorialsandonline),alongsidethefinalexam.TextsMayInclude:GabrielGarcíaMárquez’sChronicleofaDeathForetold,MargaretAtwood’sThePenelopiad,SherlockHolmesstories,ShaneBlack’sKissKissBangBang,andSeason1oftheSerialpodcast.

ENGB05H3F:CriticalWritingaboutLiteratureInstructor:MariaAssifetal.EnglishB05teachesessay-writingskillsthatarespecifictotheanalysisofliterature,mainlyfiction,atauniversitylevel,andistaughtthroughworkshops.Thisisnotagrammarcourse;youareexpectedtoenteritwithsolidEnglishliteracyskills.(Instructorswillassiststudentswithliteracyresourcesifrequired.)Throughouttheterm,wewillbeexaminingandpracticingdifferentwritingskills(paraphrasing,quoting,explicating,analyzing,in-classwriting,critiquing,metawriting,andresearching),discussingavarietyoflibraryresearchtechniques,bibliographies,andMLA-stylecitationguidelines.Toapplytheseacquiredskills,youwillbeaskedtodoin-classexercises,produceparagraphsandshortpapers,anddeveloparesearch-basedassignmentbytheendofthecourse.Ultimately,youshouldfeelcomfortabledevelopingyourownvoice,asdistinctfromthecriticsyouinvestigate,andshouldconsequentlygainmoreconfidenceinyourownreadingsofbothprimaryandsecondarysources.Requiredtextsmayvarybysection.ENGB06H3F:CanadianLiteratureI:ImaginingtheNationInstructor:KarinaVernon

"Heywhatareyoudoing?"shesaid,andhesaid"i’mjuststandingherebeingaCanadian."andshesaid,"Wowisthatreallyfeasible?"andhesaid,"Yesbutitrequiresplentyofimagination."—LionelKearns"PublicPoemforaManitoulinCanadaday"

Whydoes“beingaCanadian”involvesuchaleapoftheimaginationasKearnsdescribes?Inwhatwaysisthenationitselfaboldactofcollectiveimagination?Inthiscourseweexploresuchquestionsbydelvingintothearchiveofearly(pre1920s)Canadianliterature.Wewillseehowthenationhasbeenimaginedandre-imaginedbywritersandstorytellersacrosstime.WewillhavetheopportunitytosurveythewidevarietyofliteratureproducedinvaryingimaginingsofthisterrainfromTurtleIslandtoCanada,includingpre-contactInuitandFirstNationsoraltraditions,writingsofearlyEuropeanexplorers,workofpioneersettlers,andwritingsofthepost-confederationperiod.Wewillalsohavethepleasureofwatchingafilm,

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lookingatsomepaintingsandpoliticalcartoons,andreadingacontemporarygraphicnovel.AttheendofthecoursestudentswillhaveinterrogatedtheirinheritedimaginingsofCanada,andhavethoughtcarefullyaboutthewaysdifferingliteraryrepresentationsofCanadaserve—andsometimeschallenge—thesocietiesthatproducethem.Pre-1900course.

ReadingsCynthiaSugarsandLauraMoss,CanadianLiteratureinEnglish:TextsandContextsVolumeI.Toronto:Penguin,2008.GradesTwoin-classquizzes20%ShortEssay(5double-spacedpages)20%LongEssay(8double-spacedpages)30%FinalExam30%)

ENGB14H3F:Twentieth-CenturyDramaInstructor:TBAAstudyofmajorplaysandplaywrightsofthetwentiethcentury.Thisinternationalsurveymightincludeturn-of-the-centuryworksbyWildeorShaw;mid-centurydramabyBeckett,O'Neill,Albee,orMiller;andlatertwentieth-centuryplaysbyHaroldPinter,TomStoppard,CarylChurchill,PeterShaffer,AugustWilson,TomsonHighway,DavidHwang,orAtholFugard.ENGB25H3F:TheCanadianShortStoryInstructor:MarleneGoldmanAstudyoftheCanadianshortstory.ThiscoursetracesthedevelopmentoftheCanadianshortstory,examiningnarrativetechniques,thematicconcerns,andinnovationsthatcaptivatewritersandreadersalike.ENGB27H3F:ChartingLiteraryHistoryIInstructor:TBAAnintroductiontothehistoricalandculturaldevelopmentsthathaveshapedthestudyofliteratureinEnglishbefore1700.Focusingonthemedieval,earlymodern,andRestorationperiods,thiscoursewillexaminethenotionsofliteraryhistoryandtheliterary“canon”andexplorehowcontemporarycriticalapproachesimpactourreadingsofliteratureinEnglishinspecifichistoricalandculturalsettings.Pre-1900course.ENGB50H3F:WomenandLiterature:ForgingaTraditionInstructor:TBAAnexaminationofthedevelopmentofatraditionofwomen'swriting.ThiscourseexploresthelegacyandimpactofwriterssuchasChristinedePizan,JulianofNorwich,MaryWollstonecraft,AnneBradstreet,MargaretCavendish,JaneAusten,MaryShelley,EmilyDickinson,andMargaretFuller,andconsidershowwritingbywomenhaschallengedandcontinuestotransformtheEnglishliterarycanon.Pre-1900course

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ENGB60H3F:CreativeWriting:PoetryIInstructor:DanielScottTysdalTOPIC:TRADITIONANDTHEGENERATIONINYOURBONES:WRITINGPOETRYINTHEPRESENCEOFTHEPASTANDTHEFUTUREInhisessay“TraditionandtheIndividualTalent,”T.S.Eliotarticulatesananxietyallwritersfeel:thetensionthatsubsistsbetweenpasttraditionsandthegenerationonenowfeelsrattlinginhisorherbones.Putdifferently,writersareuniquelypoisedtoexperiencethepullofthepast(theformsandpracticeofpreviousgenerations)andthepullofthefuture(theformsandpracticesthisgenerationhasyettodiscover).Inthisworkshopwewillsubmittotherespectivepullsofthepastandfutureinordertosearchforformswecanexploreinourowncreativecompositions.WewillfollowEliotandworktoobtainthehistoricalsensehevaluesbyexploringtraditionaloccasions,forms,genresandtools;wewillalsoleaveEliotandpermitourown“rattlingbones”toleadusasweexplorethecreativepotentialofour21st-centuryenvirons.Wewilltestthecreativepotentialofcontemporarycultureandtechnology—from1337(leet)tocellphonestotheWorldWideWeb—forgingthroughthe“new”nature,theworldoftheory,popmythos,andtheexpected(advertising)andunexpected(plasticsurgeons?)incontemporaryart.Admissionbyportfolio.ENGB61H3F:CreativeWriting:FictionIInstructor:AndrewWestollTOPIC:WRITINGSHORTFICTIONTheshortstoryisanessentialform,butitisalsoonethatlacksasatisfactorydefinition.ForRaymondCarver,agoodstorydelivers“newsoftheworld.”ForJohnUpdike,agoodstoryturnsthedailygrindinto“somethingshimmeringandabsolute.”ForAliceMunro,astoryis“ahomewithoutablueprint,”astructurebuiltfromthegroundupthatenclosesspacesandgraduallymakesconnectionsbetweenthem.Shortstoriesareperhapsbestcharacterizedbytheirconcernwithsmallmomentsthathavehugepotential.Inthiscoursewewillexplorethevastpossibilitiesoftheshortstoryformbystudyingtherangeofnarrativeelements—frommetaphortopsychicdistance,fromcharactertoplot,fromstructuretodialogue—thatcomposethewell-toldstoryanduniquelyimaginedworld.Evaluation:workshops,finalportfolio.Text:NortonAnthologyofShortFiction.Admissionbyportfolio.ENGB63H3F:CreativeNon-fictionIInstructor:AndrewWestollTOPIC:THELITERATUREOFFACTNoliterarygenredemandsadeeperengagementwiththeworld,orengendersmorecontroversyforit,thancreativenonfiction.Theproblembeginswithitsname:whatothergenreisdefinedbywhatitisn’t?Creativenonfictionhasbeencalledmanythings–narrativenonfiction,literaryjournalism,personalessay,memoir,thefourthgenre.WriterJohnMcPhee,oneofthepreeminentpractitionersoftheform,callscreativenonfiction“theliteratureoffact,”andforourpurposesthisisthebestwaytosumitup.Becausenomatterthelabelallgoodcreativenonfictionsharesonekeycharacteristic:thestorybeingtoldmustbetrue.This

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workshopcoursewillintroduceyoutothediversityofstyles,techniquesandobstaclescommontoCNF.Throughweeklyreadingsandcraftexercises,originalwritingsubmissionsandconstructiveworkshopssessionsyouwilllearntocomposeyourownworksofCNFandgaintheconfidencetobegintransformingtruehappeningsintotrueprose.Bytheendofthecourse,youwillhaveafirmgrasponthe"tenkeys"tocreativenonfictionandasophisticatedunderstandingofthevastartisticpossibilitiesofthegenre.Mostimportantly,youwillhavelearnedthetruthbehindwriterKatherineBoo’sobservation:thatthehardworkofcreativenonfiction,althoughdiscomfortingattimes,canbe“mind-stretching,life-enhancing,slap-upfun.”Evaluation:workshops,finalportfolio.Text:classiclongformnonfiction(e.g.,JoanDidion,JonKrakauer,TedConover)Admissionbyportfolio.ENGB70H3F:IntroductiontoCinemaInstructor:SaraSaljoughiWhywascinemacalledtheartofthetwentiethcentury?Howisitthatwhenwewatchahorrorfilm,weknowwhenwearebeingcuedtobescared?WhatmakesMartinScorcese'sTaxiDriveraclassic?Inthiscourse,studentswilllearnhowtoanswerthesequestionsbylookingathowmovieswork.Studentswillbeintroducedtothebasicelementsoffilmform,suchasediting,cinematography,mise-en-scène,andsound.Butthecoursewillalsolookathowmoviestellstories,constructworlds,andmakemeaning.Nopriorknowledgeoffilmstudiesisrequiredtotakethiscourse.IntroductiontoCinemawillgivestudentstheskillstotakeadvancedcoursesinfilmandmediaculture,aswellashelpingstudentsunderstandthecrucialrolemoviesplayinoursociety.FilmsmayincludeDotheRightThing,TheGodfather,andChinatown.Evaluationmayincludeamid-term,ashot-by-shotanalysis,andafinalexam.

ENGC23H3F:FantasyandtheFantasticinLiteratureandtheOtherArtsInstructor:SonjaNikkilaDisclaimer:Herebedragons.(Aswellaswizards,witches,djinni,andafewoftheearth’smightiestheroes…)Thiscourseisaimedbothatstudentsfamiliarwithfantasyliteratureandatthosenewtothegenre,andeveryoneshouldexitthecoursehavinglearnedtothinkdifferentlyaboutwhat“fantasy”means.Wewillbelookingatfantasy(asagenreorcategory)andthefantastic(asamodeorelement),andwhilethecoursewillfocusprimarilyonliteraryfiction,wewillalsobeexploringotherartforms(suchasillustration,comics,andfilm).Keyconceptswillincludetheproblemsofdefinitionandcategorization,corefantasyconcernssuchasworldbuildingand“thequest,”andthethemesoforiginand“recursiveplundering”(a.k.a.,fantasy’sobsessionwithretellingandrevisingstories).

EvaluationMethod:Yourmarkforthecoursewillbebasedonatermessayaswellasseveralshortercreative-criticalassignments(pastversionsofthecoursehaveincludedeverythingfrommappingtobloggingtore-designingacoursesyllabus),in-classparticipation,andafinalexam.TextsMayInclude:L.FrankBaum’sWonderfulWizardofOz(andvariousTVandfilmadaptations),ChristopherNolan’sInception,DianaWynneJones’sHowl’sMovingCastle

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(aswellasMiyazaki’sfilmversion),TerryPratchett’sMenAtArms,variousretellingsofTheArabianNights,andentriesfromtheMarveluniverseincludingMs.Marvel/KamalaKhanandCaptainAmerica/SteveRogers.AsyoumightimaginewithaFantasycourse,J.R.R.Tolkienwillfeatureinwaysthatarebothspecificandoverarching,butyouwillnotbeassignedTheLordoftheRingsinitsentirety.

ENGC29H3F:ChaucerInstructor:KaraGastonThisclassfocusesonGeoffreyChaucer’sCanterburyTales,akaleidoscopicstorycollectionpopulatedbynobleknights,talkingbirds,lasciviousmonks,andpowerfulwomen.TheTalesrunthegamutfromthescatologicaltotheprofound,pushingtheboundariesofwhatwasconsideredpossibleforEnglishpoetryinChaucer’stime.WewillreadtheCanterburyTalesinChaucer’sownlanguage,MiddleEnglish,andgivespecialattentiontothebeautyandskillofhisverse.AssignmentswillincludeashortMiddleEnglishquiz,adictionaryactivity,andinterpretiveessays.Pre-1900course.ENGC38H3F:NovelGenres:Fiction,Journalism,News,andAutobiography,1640-1750Instructor:TBAAnexaminationofgenericexperimentationthatbeganduringtheEnglishCivilWarsandledtothenovel.WewilladdresssuchauthorsasAphraBehnandDanielDefoe,alongsidenews,ballads,andscandalsheets;andlookatthebooktrade,censorship,andthegrowthofthepopularpress.Pre-1900course.ENGC42H3F:RomanticismInstructor:TBAAstudyoftheRomanticMovementinEuropeanliterature,1750-1850.ThiscourseinvestigatestheculturalandhistoricaloriginsoftheRomanticMovement,itscomplexdefinitionsandvarietiesofexpression,andtheresponsesitprovokedinthewiderculture.ExaminationofrepresentativeauthorssuchasGoethe,Rousseau,Wollstonecraft,Wordsworth,Coleridge,Blake,P.B.Shelley,Keats,ByronandM.ShelleywillbecombinedwithstudyofthephilosophicalandhistoricalbackgroundsofRomanticism.Pre-1900course.ENGC51H3F:ContemporaryArabWomenWritersInstructor:MariaAssifThiscourseexploresArabwomen'sexperiencesandstoriesthroughanexaminationofwritingsbyArabwomenfromthe1860stothepresent.AfteradiscussionoftheproblematicsoflookingatArabwomen’slivesandnarrativesexclusivelywithinaEurocentricand/orWesternframeofreference,wewilladdressthehistoricaldevelopmentofArabwomen’sliteraryproductions—readinganddiscussingfiction,poetry,memoirs,blogs,andpolemicalpiecesbyArabwomenwritersfromtheArabworldanddiaspora.TheseclassmeetingswillfocusonthewaysinwhichArabwomenhavearticulatedtheirsubjectivity,challengedorreformulatedsocietalandfamilialroles,negotiatedtraditions,respondedtopoliticalandculturalexigencies,andformulatedliteraryandfeministaesthetics.

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Requiredtexts:AMapofHome:ANovelbyRandaJarrarBurnedAlive:ASurvivorofan"HonorKilling"SpeaksOutbySouadThePoetryofArabWomen:AContemporaryAnthologyeditedbyNathalieHandalWomanatPointZero(SecondEdition)byNawalElSaadawiTheMoor'sAccountByLailaLalamiPLUSselectedtextspostedonline.

ENGC78H3F:DystopianVisionsinFictionandFilmInstructor:DeirdreFlynnTherecanbeno“dystopia”(badplace)withouta“utopia”(not-placeoridealplace);thewordsformamutuallyconstitutivebinary.However,theterm“utopia”camefirst:shortlyaftertheEuropeansfirstlandedinwhatwenowrefertoasNorthAmerica,ThomasMorepublishedanovelentitledUtopia(1516),settinghisidealplaceonanislandofftheNewWorld.Theterm“dystopia”cameintouseover250yearslaterinreferencetoanotherisland,Ireland,whenJ.S.Millgavean1886parliamentaryspeech,critiquingtheConservativeBritishGovernmentasbeing“dys-topians,orcacotopians”becausetheyweretreatingIrelandanditspeopleinwaysthat,heargued,were“toobadtobepracticable.”Giventhisbriefhistoryofthesetwoterms,itseemstheysharefourkeyqualities:anenclosedspace,self-containedresources(eithersufficientornot),captiveinhabitants(eitherconsciousoftheircaptivity,ornot),andatotalandtotalizing“visionforhowlifemaybelived”(ClareArcher-Lean,RevisitingLiteraryUtopiasandDystopias:SomeNewGenres).Thiscourseexaminesdystopianconstructionsofspace,time,community,andsubjectivityinthefollowingstories,novels,andfilms:BraveNewWorld,1984(film),LaJetée,12Monkeys,“TheOnesWhoWalkAwayFromOmelus,”DoAndroid’sDreamofElectricSheep?,TheHandmaid'sTale(novel),ChildrenofMen,Interstellar,andSafe.Inadditiontopostingfiveshortdiscussionboardentries,youwillwriteamidtermessay,takeamidtermtest,andtakeafinalexam.ENGC84H3F:CinemaandMigration(NEWin2017!)Instructor:SaraSaljoughiInthiscourse,wewillcriticallyexaminetherepresentationofmigrationincinema.Wewilluseawidearrayoffilmsfromaroundtheworldasourprimarytexts.WhetherexaminingfilmsaboutrefugeescaughtinawebofcrimeonLondon'sstreets(DirtyPrettyThings)orportraitsofArabfamilieslivinginFrance(TheSecretoftheGrain),wewillaskhowcinemaconfronts"theimmigrant"or"refugee"asacategoryandidentity.Otherfilms,suchas2015'sDheepan,whichisastoryaboutthreeTamilrefugeesarrivinginFrance,willhelpusconsiderhowmigration,asacinematictrope,allowsustoconsiderquestionsofwar,trauma,ethnicity,race,class,sexuality,andgender.Throughclosereadingsofourprimarytexts,wewillaskquestionssuchas:whotellsthenarrativeofimmigrantsandrefugees?Canfilmsaboutmigrationchallengedominantdiscourses?Isthereanaestheticsofthecinemaofmigration?Howhasfilmhistoryitselfbeenshapedbymigration?Studentswillproduceashortfilmaboutimmigrationasthefinalprojectinthiscourse.Theothercourserequirementsincludeashortessayandarewrite

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ofthatessay,aswellasparticipationinclassdiscussionandactivities.ENGC86H3F:CreativeWriting:PoetryIIInstructor:DanielScottTysdalTOPIC:TRADITIONANDTHEGENERATIONINYOURBONES2:WRITINGPOETRYINTHEPRESENCEOFTHEPASTANDTHEFUTUREInhisessay“TraditionandtheIndividualTalent,”T.S.Eliotarticulatesananxietyallwritersfeel:thetensionthatsubsistsbetweenpasttraditionsandthegenerationonenowfeelsrattlinginhisorherbones.Putdifferently,writersareuniquelypoisedtoexperiencethepullofthepast(theformsandpracticeofpreviousgenerations)andthepullofthefuture(theformsandpracticesthisgenerationhasyettodiscover).Inthiscoursewewillsubmittotherespectivepullsofthepastandfutureinordertosearchforformswecanexploreinourowncreativecompositions.Thus,tosupplementourweeklyworkshop,wewillfollowEliotandworktoobtainthehistoricalsensebyexploring20th-CenturyPoetictraditions,whileatthesametimepermittingourown“rattlingbones”toleadusasweexplorethecreativepotentialofourlocalenvironsthroughdiscussions,readings,andwritingexercises.Admissionbyportfolio.ENGC88H3F:CreativeNonfictionIIInstructor:AndrewWestollTOPIC:EXPERIENTIALWRITINGCreativenonfictionhasbeencalled“theweirdestgenreonEarth,”andoneofthereasonsisthattheauthorisoftendeeplyinvolvedinthestorytheyaretelling.Thisisespeciallytrueforasubgenrecalled“experientialwriting,”inwhichthewriterbecomesafully-fledgedcharacteronthepage.Thiskindofwritingcanbethemostchallengingtopulloff,asthewritermustnecessarilysufferboththepersonalandthecreativediscomfortthatresultsfromexposingoneselftotherealworld–andthenwritinghonestlyaboutit.Thiscoursewillintroducepracticednonfictionwriterstothediversityofmodesandapproachesavailabletotheexperientialwriter.Throughamixtureoflectures,discussions,writingchallengesandconstructiveworkshopsessions,youwilllearntowriteconvincinglyaboutyourselfandtheworld-at-largewhilepushingyourcreativecomfortzone.Youwillalsoexploresomeofthelatestinnovations,bothoralanddigital,intheexperientialform.Asalways,youwillpaycloseattentiontocraft,tohonourthetruthofWilliamZinsser’sclaimthat“aclearsentenceisnoaccident.”ButyouwillalsobecomewhatphilosopherRomanKrznariccalls“empathicadventurers,”writerswhocommunicatetheirlifeexperienceinsuchawaythatenlightensandentertainsinequalmeasure.Evaluation:workshops,finalportfolio.Text:classiclongformnonfiction(e.g.,NellieBly,BarbaraEhrenreich,BillBuford).Admissionbyportfolio.ENGD03H3F:TopicsinContemporaryLiteraryTheoryInstructor:EragRamiziTOPIC:LITERATURE,HISTORY,ANACHRONISMThroughaseriesoftheoreticaltexts,thiscoursewillinterrogatethelinksbetweenliterature,historyandtime.Byanalyzingtheparticularitiesofthenovelasaliterarygenreandrealismasanaestheticmode,wewillexaminethetensionsbetweenmaterialrealityandfictional

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representationinordertounderstandtheintersectionsbetweennarrationandhistoriography.Wewillconsiderthecategoriesofempiricism,positivism,mimesisandverisimilitude,andhowtheyareemployedbyrealiststorytellingandhistoricalnarratives.Thiswillultimatelyleadustoponderhowthedynamicbetweenthepastandthepresentcanbereflectedintextualform,andwewillbecomefamiliarwithvarioustheoriesontimeandtemporality.Wewilldiscusswhyanachronismisconsideredamortalsinbyhistoriansandhow,conversely,literaturemakesproductiveuseofanachronism.Equippedwiththistheoreticalarsenal,wewillreadThomasHardy’s1891novelTessofthed’Urbervillesasacasestudyofourinquiriesthroughoutthesemester.TheoreticaltextswillincludepiecesbyMikhailBakhtin,GeorgLukács,ErichAuerbach,FredricJameson,RaymondWilliams,HaydenWhite,WalterBenjamin,JacquesRancière,andGiorgioAgamben,amongothers.

Evaluation:AttendanceandParticipation:10%DiagnosticWrittenAssignment:5%OralPresentation:25%MidtermPaper(5pages):25%FinalResearchPaper(10pages):35%

ENGD19H3F:TheoreticalApproachestoEarlyModernEnglishLiteratureandCultureInstructor:TBAAnin-depthstudyofsixteenth-andseventeenth-centuryliteraturetogetherwithintensivestudyofthetheoreticalandcriticalperspectivesthathavetransformedourunderstandingofthisliterature.Pre-1900course.ENGD42H3F:StudiesinMajorModernistWritersInstructor:GarryLeonardTOPIC:JAMESJOYCEJoyce’sbiographer,RichardEllmann,onceremarked“wearestilllearningtobeJoyce’scontemporaries.”It’sanobservationJoycemightwellhavebeenpleasedtohearifwejudgefromthisnotehesenttohispublisherinanefforttogethisfirstwork,Dubliners,published:“IseriouslybelievethatyouwillretardthecourseofcivilisationinIrelandbypreventingtheIrishpeoplefromhavingonegoodlookatthemselvesinmynicelypolishedlooking-glass.”AcharacterinUlyssesremarks,“Shakespeareisthehappyhuntinggroundofallmindsthathavelosttheirbalance.”Inasimilarmanner,Joyce’sfictionhasbeenthehappyhuntinggroundofliterarycriticsandtheoristsseekingtomaintaintheirbalance.NoliterarytheoryofthepastfiftyyearshasfailedtotouchdownatsomepointonJoyce’swork.Asaresultitissometimesdifficulttoapproachthefictionassomethingotherthanaparadigmofanynumberofmethodologies.Thisseminarwillnotentirelyavoidthatfate,andstudentseminarpresentations/discussionswillbedesignedtointerrogatethestrengthsandweaknessesofvariousapproaches,andyetourprimaryquestionwillbewhatdidJoycethinkhewasdoinginwritingthesestoriesandnovels,andwhatdoesheappeartohaveaccomplishedindoingso?Orientingone’sreadingofatextthroughauthorialintentionhasalwaysbeenaproblematic

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approachtosaytheleast,andyetJoycewentoutofhisway,timeandtimeagain,topresenthimselfassomeoneonamission,someonewhomustnotbestoppedunlessweseek“toretardthecourseofcivilisation.”HischaracterStephenDedalusisnolessmessianic:“Igotoencounterforthemillionthtimetherealityofexperienceandtoforgeinthesmithyofmysoultheuncreatedconscienceofmyrace.”Youthfulhubris?Probably.But,givenwhatJoyceaccomplished,alsoprettymuchonthemark.Accordingly,whilewewillencounterandreviewallthemajorapproachesinthisseminar,wewillalsomaintainaninterestthroughoutin“therealityofexperience”Stephensetouttoencounter,especiallyasitpertainstotheformationofanaestheticthatwouldbecomemodernism--anaestheticforged,inlargepart,inthe“smithy”ofwhatwenowcallmodernity.Morespecifically,this“smithy”includedtheriseofadvertisingandcommodityculture,thebirthofanewArtform(cinema),andthecorrespondingexplosionofformandcontentinfuturism,Dadaismsurrealism,andimpressionism.ENGD48H3F:StudiesinMajorVictorianWritersInstructor:SonjaNikkilaTOPIC:THEBRONTËSATWORKEmily,Anne,andCharlotteBrontëstandtogether—andalone—amongVictorianwriters.Theywrotepassionatelyandpowerfullyaboutmanyissues,fromintensesketchesoftheintimateandpersonal(love,romance,vengeance,forgiveness)tobroadstrokespaintedacrossthesocialcanvasofVictorianEngland(women’ssufferingandwomen’srights,industrialization,education,morality,religion).Inthiscourse,wearegoingtofocusourattentiononhowtheBrontësistersengagedwiththeideaof“work”intheirnovels,bothintermsofessentialquestions(howshallIearnaliving?whatkindofemploymentsuitsmebest?amIqualifiedforthejobIwant?)aswellasexistentialconcerns(whatdoesitmeantobe“called”toavocation?whatistheplaceofwomenoutsidehearthandhome?whatisthedifferencebetween“home”and“work”?).WewillfinishthesemesterbycomparingandcontrastingtheBrontë’sworkwithcontemporaryadaptations(orspiritualsisters)oftheirnovelstodeterminehow—andwhether—theissueof“womenatwork”haschangedintoday’sworld.Pre-1900course.

EvaluationMethod:Yourmarkforthecoursewillbebasedonaresearchessay(includingproposal),asmall-grouppresentationproject,andin-classparticipation.Pleasenotethattheseminarformatleansheavilyonbeingpartofthediscussion—attendanceandengagementarecrucial!TextsMayInclude:BrontënovelsJaneEyreandAgnesGrey(individualgroupswilllookatShirley,Villette,TenantofWildfellHall,andWutheringHeights),novelandfilmversionsofTheNannyDiaries,PatriciaPark’sReJane,StevenShainberg’sfilmSecretary

ENGD59H3F:TopicsinAmericanPoetryInstructor:NealDolanTOPIC:WALTWHITMANThisseminarwillprovideadvancedintensivestudyoftheAmericanpoetWaltWhitman,

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followingthedevelopmentoftheauthor'sworkoverthecourseofhisentirecareer.Pre-1900course.ENGD62H3F:TopicsinPostcolonialLiteratureandFilmInstructor:NeiltenKortenaarEuropeanempiresfirstunitedtheworldinunequaleconomicandpoliticalrelations,butsincetheirdemiseotherforceshavecontributedtoglobalization,theever-tighteninglinkageoftheworld,includingfinancecapitalism,migrations,electronicanddigitalmedia,andterrorismandespionage.WewillexaminehowthisnewinterconnectedworldhasbeenimaginedinliteratureandfilminsitesotherthanNorthAmerica.

Textstobestudiedarelikelytoinclude:MohsinHamid HowtoGetFilthyRichinRisingAsiaHariKunzru TransmissionCarylPhillips CrossingtheRiverKevinKwan CrazyRichAsiansAbdulRahmanMunif CitiesofSaltKamilaShamsie BurntShadowsFilmstobestudiedarelikelytoinclude:JiaZhangke TheWorldAbderrahmaneSissako BamakoFatihAkin EdgeofHeavenTheoreticalarticlesbyArjunAppadurai,FredricJameson,ImmanuelWallerstein,FrancoMoretti,GayatriSpivak.Evaluation:weeklyresponses(20%),2shortessays(40%),classparticipation(10%),exam(30%)

ENGD84H3F:CanadianWritingforaNewCenturyInstructor:KarinaVernonAnanalysisoffeaturesofCanadianwritingattheendofthetwentiethandthebeginningofthetwenty-firstcentury.Thiscoursewillconsidersuchtopicsaschangingthemesandsensibilities,canonicalchallenges,andmillennialandapocalypticthemesassociatedwiththeendofthetwentiethcentury.ENGD98Y3:SeniorEssayandCapstoneSeminarInstructor:MariaAssifCourseDescription:Thisyear-longseminarisanadvancedwritingcoursethatmeetseveryotherweek.Itenablesstudentstodevelopthewritingskillstheyneedtobecomesuccessfulwritersintheiracademicandpost-academiccareers.Coursetopicsincludewritingsummaries,annotatedbibliographies,critiques,literaturereviews,abstracts,introductions,senioressays,

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andrevisions.Strategiesforreadingcritically,organizinganddevelopingthoughts,choosingappropriatevocabulary,andrevisingtheirownwritingandothers’arealsocovered.Ultimately,alltheseskillsshouldbeusedtowardsthedevelopmentofamajorindependentresearchproject,incollaborationwithanotherfacultymemberspecializedinthefieldoftheirchoice.Epistemologically,theseminarwillalsobeachancetoexposethestudentstovariousEnglishliteraryfieldsandmethodologiesandenhancetheirknowledgeoftheirselectedfield.Beyondthegratificationofthisrichcontentitself,thecourseaimsatcreatingandfosteringasafeandtrustingcommunityofEnglishstudents,whothriveinstudent-ledseminarsanddiscussions,peer-reviewsessions,andindividualizedconsultationswithfaculty.Dependingonthesubjectareaofthesenioressay,thiscoursecanbecountedtowardsthePre-1900requirement.

Prerequisites:AMinimumGPAof3.5.inEnglishcourses;15.0credits,ofwhichatleast2.0mustbeattheC-orD-levelinEnglish.Pleasenotethatsomeoftheserequirementscanbewaived—onacase-by-casebasis.RequiredTexts:AHandbookofCriticalApproachestoLiteraturebyWilfredL.Guerin,EarleLaboretal.andStyle:LessonsinClarityandGrace,11thEdition,WillamsandBizup

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Winter2016ENGA11H3S:IntroductiontoTwentieth-CenturyLiteratureandFilm:1945toTodayInstructor:GarryLeonardInENGA11,wewillcontinueourstudyofliteratureandfilmagainstthebackdropoftwentieth-centurymodernity,from1945tothepresent.InlecturesonworkssuchasBecket’sWaitingforGodot,wewillplacetheriseoffascism,anditsdiscourseofmastery,alongsidethelossoftranscendentalcertitudeandthepost-enlightenmentcrisisbroughtonbytheAtomicAgeandtheHolocaust.Ethnic,racial,andpostcolonialissueswillfigureprominentlyindiscussionsofNaipaul’sMiguelStreetandMorrison’sTheBluestEye.IssuesofidentityandpostmodernismwillbeexploredinthenovelWhiteNoiseandHitchcock’sVertigo.Atalltimeswewillbeinterestedinthelivedexperienceofmodernity—whatitfeltlike—aswellaswhateveritwas,andwhateveritstillis.ENGB04H3S:CriticalThinkingaboutPoetryInstructor:NealDolanThetitle“CriticalThinkingAboutPoetry”saysmuchaboutwhatwehopetoaccomplishinthiscourse.Wearegoingtoamassarangeofcriticaltoolsthatwillhelpustoreadpoetrydeeplyandwithpleasure.AlongthewaywewilllearnmuchaboutthehistoryofpoetrywritteninEnglish.Wewillseethatpoetryisnotsomealiendiscoursefromouterspace,butiswrittenbyandforhumanpeoplerighthereonearth.Wewillalsoseehowthebestpoemsaredesignedwiththeutmostcareandhowsuchwell-craftedobjectsoffermanycompellingtruthsandkindsofbeauty.MostofthegreatpoetsinEnglishwillbeconsidered.Successinthiscourseiscontingentoncomingtoclassanddoingthereadingwithcare.ENGB05H3S:CriticalWritingaboutLiteratureInstructor:MariaAssifetal.EnglishB05teachesessay-writingskillsthatarespecifictotheanalysisofliterature,mainlyfiction,atauniversitylevel,andistaughtthroughworkshops.Thisisnotagrammarcourse;youareexpectedtoenteritwithsolidEnglishliteracyskills.(Instructorswillassiststudentswithliteracyresourcesifrequired.)Throughouttheterm,wewillbeexaminingandpracticingdifferentwritingskills(paraphrasing,quoting,explicating,analyzing,in-classwriting,critiquing,metawriting,andresearching),discussingavarietyoflibraryresearchtechniques,bibliographies,andMLA-stylecitationguidelines.Toapplytheseacquiredskills,youwillbeaskedtodoin-classexercises,produceparagraphsandshortpapers,anddeveloparesearch-basedassignmentbytheendofthecourse.Ultimately,youshouldfeelcomfortabledevelopingyourownvoice,asdistinctfromthecriticsyouinvestigate,andshouldconsequentlygainmoreconfidenceinyourownreadingsofbothprimaryandsecondarysources.Requiredtextsmayvarybysection.ENGB28H3S:ChartingLiteraryHistoryIIInstructor:TBAAnintroductiontothehistoricalandculturaldevelopmentsthathaveimpactedthestudyof

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literatureinEnglishfrom1700toourcontemporarymoment.Thiscoursewillfamiliarizestudentswiththeeighteenthcentury,Romanticism,theVictorianperiod,Modernism,andPostmodernism,andwillattendtothesignificanceofpostcolonialandworldliteraturesinshapingthenotionsofliteraryhistoryandtheliterary“canon.”ENGB32H3S:ShakespeareinContextInstructor:TBAAnintroductiontothepoetryandplaysofWilliamShakespeare,thiscoursesituateshisworksintheliterary,socialandpoliticalcontextsofearlymodernEngland.ThemainemphasiswillbeonclosereadingsofShakespeare'ssonnetsandplays,tobesupplementedbyclassical,medieval,andRenaissanceproseandpoetryuponwhichShakespearedrew.ENGB34H3S:TheShortStoryInstructor:TBAAnintroductiontotheshortstoryasaliteraryform.Thiscourseexaminestheoriginsandrecentdevelopmentoftheshortstory,itsspecialappealforwritersandreaders,andtheparticulareffectsitisabletoproduce.ENGB35H3S:Children’sLiteratureInstructor:TBAAnintroductiontochildren’sliterature.Thiscoursewilllocatechildren'sliteraturewithinthehistoryofsocialattitudestochildrenandintermsofsuchtopicsasauthorialcreativity,race,class,gender,andnationhood.ENGB39H3S:Tolkien’sMiddleAges(NEWin2018!)Instructor:KaraGastonThiscourseconsiderstherelationshipbetweenmodernfantasyandmedievalliteraturethroughtheworkofJ.R.R.Tolkien.AprofessorofmedievalliteratureatOxford,Tolkienusedhisacademicresearchtodevelopthemythology,language,andliteratureofMiddleEarth.ThiscoursewillsurveybothTolkien’swriting,includingtheLordoftheRingstrilogy,andthemedievalpoetrythatinspiredit,fromOldEnglishheroicepictoWelshfolklore.Throughout,wewillconsiderhowandwhythemiddleagesoffersuchcompellingmaterialfor20thand21stcenturyfantasy.ENGB61H3S:CreativeWriting:FictionIInstructor:DanielScottTysdalTOPIC:“SOMETHINGGLIMPSEDFROMTHECORNEROFTHEEYEINPASSING”:WRITINGSHORTFICTIONTheshortstoryisanessentialbecauseubiquitousform,yetitisalsoonethat,despitethisubiquity,lacksasatisfactorydefinition.Theshortstoryisperhapsbestcharacterizedbyitsconcernwiththefleeting,theliminal,thetraumaticandintruding.Thisconcernisvariouslyconceivedbyanumberoftheform’sfinestpractitionersasseeingby“theflashoffireflies”(NadineGordimer),asbearingwitnesstooutsiderpeople“wanderingaboutthefringesofsociety”(FrankO’Connor),asattendingto“somethingglimpsedfromthecorneroftheeyein

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passing”(V.S.Pritchett).Inthiscourse,wewillexploretheshortstory’srealmofthesecret,thelacking,thetruncated,andtheunsaidasameansofstudyingtherangeofnarrativeelements—frommodetometaphor,fromdesigntodialogue—thatcomposethewell-toldstoryanduniquelyimaginedworld. ENGB75H3S:CinemaandModernity:Melodrama,FilmNoir,andWesternInstructor:DeirdreFlynnInthisclasswewillexplorethewaysinwhichmodernity(thesocio-historical,economic,andculturalcontextofthefilms)intersectswithnarrativecontent(character,plot,andvariousmise-en-scèneelementsthatarepartofthefilm’snarrative)andcinematicform(cameraangles,shottypes,editing,lighting,sound,andothercinematicelementsthatarenotpartofthestoryitself)intheHollywoodgenresofMelodrama,FilmNoir,andWestern.Wewillaskhoweachgenreoffersadifferententrypointintomodernity,suggestingprioritiesandvaluesparticulartothegenreand,insomecases,depictingsolutionstoresolvetheirresolvableproblemsofmodernity.Wewillviewanddiscussthefollowingfilmsinthefollowingorder:BrokenBlossoms,Now,Voyager,ImitationofLife,AmericanBeauty,Detour,DoubleIndemnity,LostHighway,HighNoon,Shane,andTaxiDriver.Inadditiontopostingfiveshortdiscussionboardentries,youwillwriteamidtermessay,takeamidtermtest,andtakeafinalexam.ENGC01H3S:IndigenousLiteratureinCanada/TurtleIslandAges(NEWin2018!)Instructor:KarinaVernon

ThiscourseintroducesstudentstoadiverseselectionofrecentwritingbyIndigenousauthorsinCanada/TurtleIsland,includingnovels,poetry,drama,essay,oratoryandautobiography.DiscussionofliteratureisgroundedinIndigenousliterarycriticism,whichaddressessuchissuesasappropriationofvoice,language,land,spirituality,orality,colonialism,gender,hybridity,authenticity,resistance,sovereigntyandanti-racism.

GradesCriticalReflections30%Participation10%GroupPresentation30%FinalEssay30%Readings(subjecttochange)IntroductiontoIndigenousLiteraryCriticisminCanada,eds.HeatherMacfarlaneandArmandGarnetRuffo(2015)AnAnthologyofCanadianNativeLiteratureinEnglish,edsDanielDavidMoses,TerryGoldieandArmandGarnetRuffo(2013)

ENGC03H3S:TopicsinCanadianFictionInstructor:MarleneGoldmanAnanalysisofCanadianfictionwithregardtotheproblemsofrepresentation.TopicsconsideredmayincludehowCanadianfictionwritershaverespondedtoanddocumentedthe

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local;socialruptureandhistoricaltrauma;andtheproblematicsofrepresentationformarginalizedsocieties,groups,andidentities.ENGC04H3S:CreativeWriting:ScreenwritingInstructor:DanielScottTysdalTOPIC:ENTERINGTHEDARKROOMSOFOURSOULS:WRITINGTHESHORTFILM

“Filmasdream,filmasmusic.Noartpassesourconscienceinthewayfilmdoes,andgoesdirectlytoourfeelings,deepdownintothedarkroomsofoursouls.”

—IngmarBergman

“It’salwaysbeenaliethatit’sdifficulttomakefilms.”—LarsvonTrier

Film,asBergmansuggests,possessesthepowertoengulfus,totranscendtheconscienceanddelve“deepdownintothedarkroomsofoursouls.”Oneofthereasonsforthispoweristhatfilmisacombinationofallofthearts—theatre,music,painting,architecture,poetry,andonandon.Andyetasenthrallingasthepowerofthiscombinationofmediumsandformscanmanifestforusasviewers,thissamecombination—initssheervarietyandrange—canleaveusasartistsfeelingoverpowered.ThisiswhyweneedtoholdvonTrier’scommentclosetooursoul’sdarkrooms.ForimplicitinvonTrier’stypicallytricksteryassertionisabasicfact:thesecrettomakingafilmistomakeafilm,totakethatfirststep,knowingthatifyourvisionmovesothersandyouarewillingtoputintheworkyouwillnotwalkalone.

Inthiscourse,wewilltakethemostfoundationalfirststeptogether:writingthescript.Ourfocuswillbetheshortfilmscreenplay,andthroughourreadings,screenings,discussions,andwritingwewillexploreboththepowerofthemediumsoeloquentlydescribedbyBergmanandthepracticaltechniquesthatcreatethispower,techniquesthat,mastered,willallowustoagreewholeheartedlywithvonTrier,notonlyintheorybutbasedonwhatwehavemade.Wewillaccomplishthisthroughavarietyofactivities,includinggeneratingstoryideas,discussingshortfilms,writingandworkshoppingscripts,learninghowandwhytomakepitches,and,even,preparingaportionofourscriptsforpublicpresentation,whetherthroughadramaticreading,storyboards,orascreening.Admissionbyportfolio.ENGC15H3S:ConceptsinLiteraryCriticismInstructor:AndrewDuBoisAstudyofselectedtopicsinliterarycriticism.SchoolsofcriticismandcriticalmethodologiessuchasNewCriticism,structuralism,poststructuralism,Marxism,psychoanalysis,genderandsexualitystudies,NewHistoricism,andpostcolonialismwillbecovered,bothtogivestudentsaroughlycentury-widesurveyofthefieldandtoprovidethemwitharangeofmodelsapplicabletotheirowncriticalworkaswritersandthinkers.RecommendedforstudentsplanningtopursuegraduatestudyinEnglishliterature.ENGC17H3S:ColonialandPostcolonialLiterature(NEWin2018!)

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Instructor:NeiltenKortenaarOverthecourseoffivecenturies,Europeanempireschangedthefaceofeverycontinent.Thepresentworldbearsthetracesofthoseempiresintheformofnation-states,capitalism,populationtransfers,andthespreadofEuropeanlanguages.Ofcourse,conquestandcolonizationwerealsoresisted.Thiscoursewillconsiderhowempireandresistancetoempirehavebeenimaginedandnarratedinavarietyoftextsovercenturiesandcontinents.Thecoursewillexamineanticolonialismandpostcolonialism,theintellectualmovementsthatchallengetheEurocentricunderstandingofhistory,literature,andcultureinheritedbytheformercolonies.

Textstobestudiedarelikelytoinclude:Shakespeare TheTempestSelectedstoriesbyJosephConrad,RudyardKipling,GeorgeOrwell,KarenBlixenFrantzFanon BlackSkinsWhiteMasksJMCoetzee WaitingfortheBarbariansTsitsiDangarembga NervousConditionsMahaswetaDevi ImaginaryMapsTheoreticalarticlesbyAiméCésaire,EdwardSaid,DipeshChakrabarty,RanjitGuha,SimonGikandi,GayatriSpivak,HomiBhabhaEvaluation:weeklyresponses(20%),2shortessays(40%),classparticipation(10%),exam(30%)

ENGC21H3S:TheVictorianNovelto1860Instructor:SonjaNikkilaInmanyways,readingnovelsfromthefirstdecadesofVictoria’sreign(1837-1860)islikebeingastrangerinastrangeland.Peopledresseddifferently,spokedifferently,andonsomeverycrucialpoints(includinggender,race,andreligion)thoughtquitedifferentlyfromus.Butaswewilldiscoverinthiscourse,thereisasmuchthatconnectsustothosewackoVictoriansasthereisthatseparatesus.WewillexplorethenovelsofsomeofthemostbelovedandenduringauthorsinEnglishliteraturealongsidemodernfilmadaptationstoreconciletheunfamiliarityoftheperiodwiththeuniversalityandtimelessnessofthestoriestheytold.Pre-1900course.

EvaluationMethod:Yourmarkforthecoursewillbebasedonanessay(includingatopicproposalexercise),severalshortwrittenassignments,andin-classparticipation,alongsidethefinalexam.TextsMayInclude:Dickens’sOliverTwist,Thackeray’sBarryLyndon,AnneBrontë’sAgnesGrey,Gaskell’sNorth&South,Trollope’sTheWarden,GeorgeEliot’sAdamBede

ENGC33H3S:Deceit,Dissent,andtheEnglishCivilWars,1603-1660Instructor:TBA

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Astudyofthepoetry,prose,anddramawritteninEnglandbetweenthedeathofQueenElizabethin1603andtheRestorationofthemonarchyin1660.Thiscoursewillexaminetheinnovativeliteratureofthesepoliticallytumultuousyearsalongsidedebatesconcerningpersonalandpoliticalsovereignty,religion,censorship,ethnicity,courtshipandmarriage,andwomen'sauthorship.ENGC39H3S:TheEarlyNovelinContext,1740-1830Instructor:TBAAcontextualstudyofthefirstfictionsthatcontemporariesrecognizedasbeingthenovel.Wewillexaminethenovelinthecontextofitsreaders;ofneighbouringgenressuchasletters,non-fictiontravelwriting,conductmanuals;andofculturemoregenerally.AuthorsmightincludeRichardson,Fielding,Sterne,Burney,Austenandothers.Pre-1900course.ENGC54H3S:GenderandGenreInstructor:SonjaNikkilaThiscoursewillbeabout“definition”:howwecategorizetexts(novelorpoemorplay,comedyortragedy,literatureorfiction),aswellashowwecategorizepeople(bygenderandsexuality,byraceandethnicityandnationality,byprofessionandageandappearance).Perhapsmostimportantly,wewillbethinkingabouthow“definition”doesn’twork,andwhathappenswhentheshapesandformsandcategoriesshift.Whatdowedowhenthepiecesdon’tfitintoanestablishedorder?Byfocusingontextsandidentitiesthatchallengesimpleclassification—usingnotionsof“queer,”of“trans,”of“non-conforming”—wewillfindourselveschallengedtodefineandthenre-defineourideasaboutliteratureandgender,aswellasourownwaysofunderstandingtheworld.Note:Thiscoursewillsatisfyapre-1900requirement.

EvaluationMethod:Yourmarkforthecoursewillbebasedonwrittenassignments(responsepapersplusatermessay),ashortperformancepiece(eitherindividualorgroup),andin-classparticipation,alongsidethefinalexam.TextsMayInclude:ElizabethCary’sTheTragedyofMariam,MargaretCavendish’sTheConventofPleasure,FrancesBurney’sEvelina,AngLee’sfilmversionofSense&Sensibility,SallyPotter’sOrlando,UrsulaK.LeGuin’sLeftHandofDarkness,theWachowskis’TheMatrix

ENGC82H3S:CinemaStudies:ThemesandTheoriesInstructor:GarryLeonardAvariablethemecoursethatwillfeaturedifferenttheoreticalapproachestoCinema:feminist,Marxist,psychoanalytic,postcolonial,andsemiotic.Thematicclustersinclude"MadnessinCinema,"and"FilmsonFilms."ENGC87H3S:CreativeWriting:FictionIIInstructor:DanielScottTysdalTOPIC:“PLUNDERINGWHATISINTHEM”:WRITINGTHROUGHREADING

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“EverygoodwriterIknoworhaveknownbeganwithaninsatiableappetiteforbooks,forplunderingwhatisinthem,forthenourishmentprovidedbythem,whichyoucan’tgetfromanyothersource.”

—RichardBauschEverytrade,art,andcraft—fromcarpentrytocookingtoplumbingtopainting—involvesundertakinganapprenticeship,learning,asthesayinggoes,atthefootofamaster.Forwriters,thesituationisnodifferent.Ourapprenticeshipiscomposedofjoiningourdeepimmersioninlanguageandtheworldwithanequallydeepimmersionintheworksofgreatwriters.Inthiscoursewewillturntoavarietyofverydifferentgreats,immersingourselvesineverythingfromthelyricminimalismofBeattietotheeloquentandreflectivemourningofMukherjeetothepostmodernmulti-formedcontemplationsofOates.Thegoalissimple:totryourhandsattheirhandsasameansofmakingusbetterwritersandstorytellers.Wewillnotseektocreatemindlesspastiches,but,instead,wewillbuildwiththestoryteller'stoolsinthewaythatthesewritersbuild,ourownwayofswingingthehammerandwieldingthepaint-soakedbrushinevitablycomingtobearonthework,mergingourvoiceswiththeirvoicestocreatesomethinguniqueandnew.Admissionbyportfolio.ENGD12H3S:TopicsinLifeWritingInstructor:SarahKingItisoftensaidthatacknowledgingtherealityofdeathcanbeaspurtolivingamoremeaningfullife.Inthiscoursewewillreadandanalyzearangeofautobiographicalnarrativesbyandabouttheendoflifeinlightofcurrentthinkingonbothlife-writinganddeathnarratives.Whyandhowdosomepeople,facedwiththeirownimpendingdeath,orobservingthedeathofsomeoneclosetothem,turntowritingasasourceofmeaning?Howdoeswritingaboutdeath—orlifeinthefaceofdeath—makemeaningforwritersandreaders?Whatistherelationshipbetweendeath-writingandidentity,experience,andclosure?Wewillalsoconsiderpolitical,ethicalandmaterialquestionsaroundwhosedeathnarrativeispublished,bywhom,andwhobenefits.Full-lengthtextswillinclude:

PaulKalanithi’sWhenBreathBecomesAir,abouthisdiagnosiswithlungcanceratage36,andwhatfollowed,includinganewbabyAlisonBechdel’sFunHome—agraphicmemoiraboutthedeathofherfather(who,incidentally,bothtaughtEnglishandranafuneralhome)JoanDidion’sTheYearofMagicalThinking—abouttheyearfollowingthesuddendeathofherhusbandViktorFrankl’sMan’sSearchforMeaning—abouthisexperienceinaWWIIconcentrationcamp

WewillalsoreadarangeofshorterworksorexcerptsbyAtulGawande,ChristopherHitchens,bellhooks,AudreLorde,OscarMoore,OliverSachs,VirginaWoolf,aswellastheoreticalarticlesaboutlife-writing.

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Wewillwriteaswellasread,reflectingonourownattitudetowardsdeath,andwiththat,towardslife.Thisisaperfectcourseforstudentsapproachingtheendoftheirundergraduatecareer,astheyreflectonwhatismeaningfulinlife,andhowtolive.Itdoesrequireawillingnesstoengagewiththefactthatdeathisoneofthecertaintiesoflife.ENGD22H3S:SpecialTopicsinCreativeWritingIIInstructor:TBAThismulti-genrecreativewritingcourse,designedaroundaspecificthemeortopic,willencourageinterdisciplinarypractice,experientialadventuring,andrigoroustheoreticalreflectionthroughreadings,exercises,fieldtrips,projects,etc.Admissionbyportfolio.ENGD29H3S:ChauceratWorkInstructor:KaraGastonAdvancedstudyofChaucerthatexplorestheprocessofwritingpoetryinfourteenth-centuryEngland.SpecifictopicsvaryfromyeartoyearandmightincludeanexplorationofChaucer’sculturalandliterarycontextsorasurveyofcontemporarycriticalapproachestoChaucerandMedievalEnglishliterature.Pre-1900course.ENGD57H3S:StudiesinMajorCanadianWritersInstructor:MarleneGoldmanAdvancedstudyofaselectedCanadianwriterorsmallgroupofwriters.Thecoursewillpursuethedevelopmentofasingleauthor'sworkoverthecourseofhisorherentirecareeroritmayfocusonasmallgroupofthematicallyorhistoricallyrelatedwriters.ENGD60H3S:TopicsinAmericanProseInstructor:AndrewDuBoisThisseminarcoursewillusuallyprovideadvancedintensivestudyofaselectedAmericanprose-writereachterm,followingthedevelopmentoftheauthor'sworkoverthecourseofhisorherentirecareer.Itmayalsofocusonasmallgroupofthematicallyorhistoricallyrelatedprose-writers.ENGD71H3S:StudiesinArabNorthAmericanLiteratureInstructor:MariaAssifEnglishD71isaseminarcoursethataimsatstudyingArabNorth-Americanwritersfromthetwentiethcenturytothepresent.ThefocusisprimarilyonlifewritinginArabNorthAmericanliterature;someoftheissuesexaminedwillbegender,identity,history,andtrauma.Equalemphasiswillbeplacedonsecondarysources,bothinrelationtotheseparticulartextsaswellastherelevantgenresandhistorical,criticalstudies.NoknowledgeoftheArabiclanguage,cultureandhistoryisrequired.

Requiredtexts:

AThousandFarewells:AReporter'sJourneyfromRefugeeCamptotheArabSpring

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PaperbackbyNahlahAyedIntolerablebyKamalAl-SolayleeLookingforPalestine:GrowingUpConfusedinanArab-AmericanFamilybyNajlaSaidOutofPlacebyEdwardSaidHowDoesItFeeltoBeaProblem?BeingYoungandArabinAmericabyMoustafaBayoumi

ENGD93H3S:TheoreticalApproachestoCinemaInstructor:SaraSaljoughiTOPIC:POSTCOLONIALTHEORY(NEWIN2018!)Hollywoodcinemaisoftendescribedasa"dominant"cinemathatovershadowsmarginalandoppositionalformsoffilmmaking.HollywoodmovieshavebeenseenasanintegralcomponentofU.S.imperialistideology.Infact,themovingimagehaslongbeenintimatelyconnectedwithacolonialmodelofglobalexplorationanddomination.Howhasthishistoryinfluencedfilmmakingthroughouttheworld?Howhascinemarepresentedcolonialandpostcolonialexperiences?Howdocinematictechniquesilluminatethesubtletiesofpostcolonialtrauma?Canpostcolonialfilmsresistreproducingthe"dominant"styleofHollywood?Inthiscourse,wewillexaminethesequestionsusingpostcolonialtheoryandfilmsasourprimarytexts.Indoingso,wewilllookathowcinemahasengagedsomeofthekeytermsandconceptsofpostcolonialthoughtsuchashybridity,colonialdiscourse,nation/nationalism,anddifference.

Filmsmayincludeethnographicdocumentaries,selectionsfromLatinAmerica's"ThirdCinema,"andcontemporaryexaminationsofthepostcolonialnation,suchasGirlhood(2014)andCaché(2005).Assignmentsincludeashortessay(andre-write),participationindiscussion,responsestofilms,andatermpaper.