Course Title: Narrative
Course Code: ENG110Y5Y
Instructor: Chester N. Scoville
Course Description: The construction of narratives is one of the most important ways in which human beings think: it is both a central form of cultural expression and a basic method of comprehending the world around us. This course will explore the elements of narrative such as focalization, closure, levels, sequence, and framing; and it will apply the understanding of these elements to literary and other cultural texts. By the end of this course, students will gain a solid grounding in literary and cultural analysis, which they can then use in further English studies or in practically any other discipline they may choose to pursue.
Required Reading:
Our basic theoretical text will be H. Porter Abbot’s Cambridge Introduction to Narrative, 2nd ed. We will also read such literary classics as Henry James’s Turn of the Screw, Christina Rossetti’s “Goblin Market,” and Bram Stoker’s Dracula, as well as examining narrative in film, television, popular music, video games, and more.
First Three Texts/Authors to be Studied: Abbot, James, Stoker
Method of Instruction: Lecture with tutorials
Method of Evaluation: There will be four short essays, as well as periodic quizzes, and a final exam. Participation in the tutorials will also be evaluated.
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Course Title: Literature for Our Time
Course Code: ENG140Y5Y
Instructor: Colin Hill
Course Description: This course offers students an exploration of how literature responds to our world through a reading of fiction, drama, and poetry drawn from a variety of national literatures. Lectures and discussions will explore texts in their literary, historical, and cultural contexts and will emphasize various critical approaches to reading and responding to literature. Engaged students can expect to read some of the most significant works of modern and contemporary literature and to come away from the course with a strong introduction to university studies in English.
Required Reading:
Novels: Chinua Achebe, Things Fall Apart; Joseph Conrad, Heart of Darkness; Jean Rhys, Wide Sargasso Sea; Shyam Selvadurai, Funny Boy; Virginia Woolf, To the Lighthouse Drama: Caryl Churchill, Cloud Nine; Tennessee Williams, The Glass Menagerie Short Fiction: stories by David Bezmozgis, Raymond Carver, Douglas Coupland, William Faulkner, Charlotte Perkins Gilman, Ernest Hemingway, James Joyce, Franz Kafka, Joy Kogawa, Gabriel Garcia Marquez, Rohinton Mistry, Alice Munro, Tim O’Brien, Thomas Pynchon Poetry: poems by Margaret Atwood, H. D., T. S. Eliot, Allen Ginsberg, Ezra Pound, Wallace Stevens, W. B. Yeats
Editions of the plays and novels will be available in the UTM bookstore. Short fiction and poetry will be included in a course pack, also available at the UTM bookstore. Students may use any edition of the assigned texts.
First Three Texts/Authors to be Studied: Gilman, Conrad, Joyce
Method of Instruction: Lecture (2 hours per week); tutorial (1 hour per week)
Method of Evaluation:
Close reading assignment: 10%
2 in-class tests: 15% each
Tutorial participation: 10%
Term paper: 15%
Final Exam: 35%
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Course Title: Reading Poetry
Course Code: ENG201Y5Y
Instructor: Brent Wood
Course Description: This course introduces students to the theory and history of poetry in English from the age of Marlowe and Shakespeare right up to the late twentieth century, including work from Canada, the U.S., and the Caribbean. The dimensions and elements of poetry are explored early in the course, with emphasis on metaphor, image, rhythm, and diction. The second term moves through the canon of Anglo-American poetry from the Elizabethan era to the second World War. Students will be required to study instructional material in the textbook in addition to the poems themselves.
Required Reading: Arp/Johnson. Perrine's Sound and Sense : An Introduction to Poetry, 14th Edition
First Three Texts/Authors to be Studied: Poetic rudiments in the first few chapters of Perrine’s Sound and Sense.
Method of Instruction: Lecture, discussion
Method of Evaluation: Three essays, multiple short assignments, test, class participation, final exam.
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Course Title: British Literature: Medieval to Romantic
Course Code: ENG202Y5Y
Instructor: Chris Koenig-Woodyard
Course Description: An introduction to influential texts that have shaped the British literary heritage, covering approximately twelve writers of poetry, drama, and prose, from Chaucer to Keats (from the Middle Ages to the Romantics), with attention to such questions as the development of the theatre, the growth of the novel form, and the emergence of women writers.
Required Reading (available at the UTM bookstore; books are bundled together):
Broadview Anthology of British Literature, Volume One: The Medieval Period (2nd edition)
Broadview Anthology of British Literature, Volume Two: Renaissance and early 17th Century (2nd edition)
Broadview Anthology of British Literature, Volume Three: Restoration and 18th Century (2nd edition)
Broadview Anthology of British Literature, Volume Four: Age of Romanticism (2nd edition)
First Three Texts/Authors to be Studied:
Beowulf
The Wife’s Lament
Marie de France, Lanval
Method of Instruction: Lecture; Discussion; and Tutorial
Method of Evaluation: Essays, tests, final exam.
WEBSITE: Portal
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Course Title: British Literature, Victorian to Contemporary
Course Code: ENG203Y5Y
Instructor: Chis Koenig-Woodyard
Course Description: An introduction to influential texts that have shaped British literary history since the nineteenth century, covering developments in poetry, drama, and prose, and including such writers as Browning, Tennyson, Elizabeth Barrett Browning, Dickens, the Brontës, George Eliot, Hopkins, Ruskin, Wilde, Joyce, Woolf, Yeats, T. S. Eliot, Beckett, Heaney, Stoppard, Carlyle, Churchill, Ishiguro, and Zadie Smith. The course will address such topics as the increasing diversity of poetic forms, the emergence of the professional novelist, the internationalization of British literature in the twentieth century, literature as social critique, and the Modernism/ Postmodernism debate. The course is intended to 1) familiarize students with selected major works of the Victorian period, and 20th and early 21st centuries; 2) expand interpretative skills through a wide range of comparative and cultural studies approaches to texts and authors; and 3) focus on honing critical writing and thinking skills. All three serve to help with other courses, broadening your historical sense of literature, and polishing critical and interpretative skills.
Required Reading:
1) Longman Anthology of British Literature, Vol. 2B: The Victorian Age, 4th edition
2) Longman Anthology of British Literature, Vol.2C: The Twentieth Century and Beyond, 4th edition
3) Other texts, to be announced
First Text(s)/Author(s) to be Studied: Browning “My Last Duchess,” Eminem “Stan”
Method of Instruction: Lecture and Discussion
Method of Evaluation: Essay, presentations, tests, and/or final exam
WEBSITE: Portal
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Course Title: Rhetoric
Course Code: ENG205H5F
Instructor: Chester N. Scoville
Course Description: A historical survey of the major theorists of rhetoric from the ancient world to the present day, including such writers as Plato, Aristotle, Cicero, Augustine, Ramus, Vico, Spencer, I. A. Richards, Kenneth Burke, Wayne Booth, Jacques Derrida, and Stanley Fish. We will explore the roots of rhetoric in Athenian political culture, trace its development through Roman law and medieval religion and literature, and consider some of its modern and postmodern varieties. Along the way, we will see the centrality in Western thought of the study and practice of persuasive speech and writing, and its relationship to politics, science, history, literature, and more.
Required Reading: Readings will be taken from Bizzell and Herzberg’s The Rhetorical Tradition.
First Three Texts/Authors to be Studied: Bizzell and Hertzberg, “General Introduction,” Plato, Aristotle
Method of Instruction: Lecture/discussion.
Method of Evaluation: Mid-term test 25%; final essay 35%; three short analyses, 30% (10% each); Participation 10%
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Course Title: The Novel
Course Code: ENG210Y5Y
Instructor: Mark Levene
Course Description: An Introduction to the novel through a reading of a selection of texts, representing a range of periods, techniques, regions, and themes.
Required Reading: Daniel Defoe, A Journal of the Plague Year; Jonathan Swift, Gulliver’s Travels; Jane Austen, Mansfield Park; Mary Shelley, Frankenstein; Charles Dickens, Hard Times; Herman Melville, Benito Cereno; Henry James, What Maisie Knew; Joseph Conrad, Heart of Darkness; D.H. Lawrence, St Mawr; Graham Greene, The Quiet American; Michael Ondaatje, In the Skin of a Lion; J.M. Coetzee, Diary of a Bad Year.
First Three Texts for Study: As Above
Method of Instruction: Lecture / discussion
Method of Evaluation: Three essays, 15% each; In Class Test, 15%; Class Participation, 10%; Final Examination 30%
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Course Title: The Short Story
Course Code: ENG213H5F
Instructor: Mark Levene
Course Description: Readers are passionate in their attraction to the short story or in their aversion to it. There seems to be something essential about the short story. It seems “truer” to human experience than does the novel: hence, both the attraction and the aversion. This course will focus on a range of short fiction from the nineteenth and twentieth centuries and will consistently center on questions about the reading processes that the genre evokes. We will consider the importance of beginnings and the nature of endings, in particular the very unstable notion of the “epiphany.” There are a number of groupings for the stories: among them, the Gothic, the comic, the fantastical, and the mythic.
Required Reading: Selections from Short Fiction: An Anthology, eds Rosemary Sullivan and Mark Levene (Oxford University Press). Writers will include Hawthorne, Poe, Chekhov, James, Kafka, Joyce, Lawrence, Hemingway, Beckett, O’Connor, Carver, Gallant, Munro, MacLeod, Stone, Erdrich, Moore, and others.
First Three Texts/Authors to be Studied: Raymond Carver, Anton Chekhov, Samuel Beckett.
Method of Instruction: Lecture/discussion
Requirements and Evaluation: Two essays, 30% each, due October 18 and November 22; term test 10%; *participation 10%; final test 20%. %. The cost of delays in submitting essays is 2% a day.
*Participation:This element will be a composite of attendance and responses to questions posed in class. If the first test is missed for documented medical reasons, it can be taken on another, agreed-upon date. Policy regarding academic integrity is set out in the “University of Toronto Code of Behaviour in Academic Matters,” Section B. Please Note: Essays submitted as e-mail attachments will not be accepted. E-mail protocol will be discussed in class.
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Course Title: The Short Story Collection
Course Code: ENG214H5F
Instructor: Dr. Daniela Janes
Course Description: In this course we will read a selection of short story collections drawn from a variety of national literatures. In our analysis we will consider the individual stories, the relationships between the stories, and the dynamics of each collection. In lectures and discussions, we will engage with formal and theoretical questions about short story collections, as well as examining the history and development of the genre.
Required Reading: Students will read six short story collections: James Joyce, Dubliners; Ernest Hemingway, In Our Time; Alice Munro, Who Do You Think You Are?; Angela Carter, The Bloody Chamber; Rohinton Mistry, Tales From Firozsha Baag; and Tim O’Brien, The Things They Carried.
First Three Texts: Dubliners, In Our Time, Who Do You Think You Are?.
Method of Instruction: Lecture and discussion.
Method of Evaluation: two essays (60%), two tests (30%), informed participation (10%).
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Course Title: The Canadian Short Story
Course Code: ENG215H5S
Instructor: Dr. Daniela Janes
Course Description: This course examines the development of the short story in Canada from the nineteenth century to the present. We will explore the formal features of the short story and its critical contexts as we move through nearly two hundred years of Canadian short fiction. Readings will cover a range of styles and genres, including the detective tale, animal story, humorous sketch, local colour narrative, realist short story, First Nations orature, and the various formal experimentations of the twentieth century. Through our readings of canonical and non-canonical writers, we will chart the shifting themes and techniques of the short story form in Canada.
Required Reading: Readings will be drawn from two anthologies: Early Canadian Stories: Short Stories in English before World War I (ed. Misao Dean) and The New Oxford Book of Canadian Short Stories in English (ed. Atwood and Weaver).
First Three Texts/Authors to be Studied: Moodie, Johnson, Scott (Dean).
Method of Instruction: Lecture and discussion.
Method of Evaluation: two essays (60%), two tests (30%), informed participation (10%).
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Course Title: Shakespeare
Course Code: ENG220Y5Y
Instructor: Holger Syme
Course Description: We will study eleven of Shakespeare’s plays, from all phases of his career as a professional playwright and from all the major genres he worked in: comedy, history, tragedy, and “romance.” The course will contextualize these plays historically and culturally, exploring early modern notions of, for instance, governance, religion, and gender and sexuality. We will pay particular attention to Shakespeare’s works as plays written for and within a specific set of theatrical conventions. The ways in which these texts have been received and transmitted over time (in print, on stage, on the screen) will also be a major theme of our discussions.
Required Reading: Titus Andronicus, Midsummer Night’s Dream, Merchant of Venice, Henry V, Much Ado About Nothing, Julius Caesar, Hamlet, Twelfth Night, King Lear, Macbeth, The Tempest.
Text: Preferably a recent edition of the collected works (Norton, Riverside, Longman) or recent single-text editions (Oxford, New Cambridge, Arden, New Folger); you MUST use an annotated text. References in lecture will be to the Norton Shakespeare, 2nd edition.
First Three Texts: Titus Andronicus, Midsummer Night’s Dream, Merchant of Venice.
Method of Instruction: Lecture, small-class tutorials with intensive discussion
Method of Evaluation:
Participation (20%), regular announced quizzes (15%), close reading exercise (10%), film review essay (10%), 5-7 page essay (20%), 7-9 page essay (25%).
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Course Title: Children’s Literature
Course Code: ENG234H5S
Instructor: Siobhan O’Flynn
Course Description: The stories we hear as children form the basis for our evolving understanding of literature and most broadly, of human interrelationships. We will consider key aspects such as the classic themes of maturation and escape, the construction and performance of gender, the significance of animal protagonists, children’s & YA serial fiction, and the often didactic function of children’s literature. We will also attend to the importance of historical and cultural contexts and the presence of “adult” concerns filtered (or not) through the presumably more limited perspective of children’s fiction and poetry.
This course will also touch on: fan-culture’s engagement with children’s and YA literature, entertainment conglomerates & the battle for IP (fans won); merchandizing, media and digital extensions; pedagogy and new literary canons, amongst other topics.
Required Reading (a selection of the following):
C. Perrault, Fairy Tales (texts online); Selections from The Brothers Grimm Fairy Tales; The Thousand and One Nights (various tales); L. Carroll, Alice’s Adventures in Wonderland; B. Potter, The Tale of Peter Rabbit; A. Milne, Winnie the Pooh; J.K Rowling, Two Harry Potter novels (TBD); M.T. Anderson, Feed; Suzanne Collins, The Hunger Games & Catching Fire; iPad book adaptations TBA (demoed in class).
First Three Texts/Authors to be Studied: Perrault; Grimm, Carroll
Method of Instruction: Lecture & Discussion, Multi-media presentations
Method of Evaluation:
2 short assignments, 1 long essay, in-class presentation, active participation, exam.
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Course Title: Science Fiction
Course Code: ENG237H5F
Instructor: Chris Koenig-Woodyard
Course Description: This course explores speculative fiction that invents or extrapolates an inner or outer cosmology from the physical, life, social, and human sciences. Typical subjects include AI, alternative histories, cyberpunk, evolution, future and dying worlds, genetics, space/time travel, strange species, theories of everything, utopias, and dystopias.
Required Reading:
1) Richard Matheson, I am Legend
2) Austin Grossman, Soon I will be Invincible
3) Collins, The Hunger Games
4) Masri, ed., Science Fiction Stories and Contexts
5) Other novels and texts to be announced
First Three Texts/Authors to be Studied: Matheson, I am Legend
Method of Instruction: Lecture; Discussion
Method of Evaluation: Essay, Test and Exam
1) 30% In Class Test (short essay; short answer)
2) 30% Short Essay (six pages)
3) 30% Final Exam (short essays; short answers)
4) 10% Informed Course Contribution
Website: Portal
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Course Title: Fantasy and Horror
Course Code: ENG239H5S
Instructor: Chester N. Scoville
Course Description: Although fantasy (with its close relative, horror fiction) is among the most popular and influential modes of writing today, it has rarely received critical and scholarly attention or respect. This course will examine a selection of some of the most important and striking texts within this mode of writing, as well as attempting to propose and discover a general theory of fantasy fiction. It will focus, for purpose of coherence, on the peculiar and recent phenomenon of contemporary or urban fantasy.
Required Reading: We will be reading such literary explorations of the fantastic in modern life as Bram Stoker’s Dracula; China Miéville’s King Rat; John Crowley’s Little, Big; Jo Walton’s Among Others; Catherynne M. Valente’s Palimpsest; and Cory Doctorow’s Someone Comes to Town, Someone Leaves Town. We may also explore such television programs as Joss Whedon’s Buffy the Vampire Slayer and such films as Edgar Wright’s Scott Pilgrim vs. the World.
First Three Texts/Authors to be Studied: Stoker, Doctorow, Miéville.
Method of Instruction: Lecture/Dicussion
Method of Evaluation: Two in-class tests, one final essay, final exam.
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Course Title: American Literature
Course Code: ENG250Y5Y
Instructor: Jeannine DeLombard
Course Description: An introductory survey of major works in American literature, this course explores works in a variety of prose genres. Reviewing the major periods in American literary history in the first term, the course will shift focus in the second term in an effort to represent the cultural diversity of American literature.
Required Reading: (may include the following)
John Winthrop, “A Model of Christian Charity”
Mary Rowlandson, The Sovereignty and Goodness of God
J. Hector St. John de Crèvecœur, Letters from an American Farmer
Susanna Rowson, Charlotte Temple
Olaudah Equiano, Interesting Narrative
Benjamin Franklin, Autobiography
Washington Irving, selected essays and short fiction
Ralph Waldo Emerson, selected essays
Harriet Beecher Stowe, Uncle Tom’s Cabin
Harriet A. Jacobs, Incidents in the Life of a Slave Girl
Maria Amparo Ruiz de Burton, The Squatter and the Don
Henry James, “The Art of Fiction”
Mark Twain, The Adventures of Huckleberry Finn
Zitkala-Sa, American Indian Stories, Legends, and Other Writings (Penguin Classics), by Sui Sin Far, selected short fiction
Abraham Cahan, Rise of David Levinsky
William Faulkner, Absalom, Absalom!
Richard Wright, Native Son
Carlos Bulosan, America is in the Heart
Oscar Zeta Ocosta, Autobiography of a Brown Buffalo
Toni Morrison, Beloved
Junot Diaz, The Brief, Wondrous Life of Oscar Wao
First Three Texts/Authors to be Studied: (as above)
Method of Instruction: Lecture/Discussion
Method of Evaluation:
• 5 Pop Quizzes: 10% (each)
• 1st Term Paper (6-8 pp.): 25%
• 2nd Term Paper (6-8 pp): 25%
• Extra Credit: Participation
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Course Title: Canadian Literature in English
Course Code: ENG252Y5Y
Instructor: Colin Hill
Course Description: This course is an introduction to some of Canada’s best fiction, poetry, and drama from pre-confederation to the present. Our writers are from diverse backgrounds and engage the cultural conditions of their evolving country from various perspectives. Class topics will include (but are not limited to) exploration and immigration narratives, Canadian literary history and development, realism, modernism, urban / rural tensions, the artist figure, gender, Canadian postmodernism and postcolonialism, multiculturalism, psychological and spiritual self-discovery, and Canadian social, cultural, and national identity.
Required Reading: Reading will be selected from some of these and other authors: Samuel Hearne, Susanna Moodie, James DeMille, Isabella Valancy Crawford, Archibald Lampman, Duncan Campbell Scott, Pauline Johnson, Stephen Leacock, E. J. Pratt, F. R. Scott, A. J. M. Smith, P. K. Page, A. M. Klein, Earl Birney, Morley Callaghan, Sinclair Ross, James Reaney, Irving Layton, Leonard Cohen, Al Purdy, Robert Kroetsch, Gwendolyn MacEwen, Joy Kogawa, Margaret Atwood, Margaret Laurence, Michael Ondaatje, Dennis Lee, bp nichol, Thomson Highway, Judith Thompson, Neil Bissoondath, Rohinton Mistry, Dionne Brand, Douglas Coupland, David Dakar, Alice Munro, Yann Martel, Roy Miki, Mary Di Michele, George Elliott Clarke, and possibly others.
First Three Texts/Authors to be Studied: TBA
Method of Instruction: Lecture and discussion
Method of Evaluation: Participation 10%; First Term: Short essay (6 pages) 10%; Term test 25%; Second Term: Essay (10 Pages) 25%; Exam: 30%
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Course Title: Colonial and Postcolonial Writing
Course Code: ENG270Y5Y
Instructor: Stanka Radović
Course Description: Postcolonial literature, emerging in the second half of 20th century, often focuses on the idea of giving voice to the cultures and histories that have been silenced by European colonialism. Salman Rushdie describes this as the postcolonial authors’ effort to “write back to the centre” in order to decolonize literature itself. In this course, we will focus on various textual examples of the way Europeans depicted the non-European “Other” and the way this “Other” (the savage, slave, or alien) responded to the exclusionary dimensions of the western canon (a body of literature understood as having universal value). We will look at select examples of postcolonial writing in order to understand what “counter-discourse” or “oppositional literature” might mean in the history of Anglophone literary production.
Required Reading: Columbus, Hulme, Trollope, Montaigne, Césaire, Discourse on Colonialism, Kincaid, A Small Place, Macauley’s Minute on Indian Education, Rushdie, “The Empire Writes Back” and “Commonwealth Literature Doesn’t Exist,” Naipaul, “Jasmine,” Friel, Translations, Coetzee, Waiting for the Barbarians, Ondaatje, The English Patient, Forster, A Passage to India, Conrad, Heart of Darkness, Phillips, “The European Tribe,” Selvon, The Lonely Londoners, NourbeSe Philip, Zong!
First Three Texts/Authors to be Studied: Columbus, Trollope, Montaigne (from the Course Reader)
Method of Instruction: Lectures and class discussions.
Method of Evaluation: One essay, two in-class tests, class participation, final exam.
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Course Title: Native North American Literature
Course Code: ENG274H5S
Instructor: Daniela Janes
Course Description: This course offers students the opportunity to explore Native North American literature, with a particular focus on writers working in Canada. This course engages with issues of identity, language, representation and power; spirituality and culture; place, the environment, and landscape; and geographical and political borders. We will also explore formal and theoretical questions relating to orature, historiography, representation, and textual and political resistance, and build a framework of critical approaches, including postcolonialism, feminism and ecocriticism. Our reading list for this course is diverse, encompassing authors of various tribal identities and including a range of genres such as songs, poetry, fiction, drama and Native-authored literary criticism. Students will also have the opportunity to delve further into their individual areas of interest with two major essays for the course.
Required Reading:
Selections from An Anthology of Canadian Native Literature in English, Fourth Edition (Ed. Daniel David Moses, Terry Goldie, and Armand Garnet Ruffo); selections from Nothing But the Truth: An Anthology of Native American Literature (ed. John L. Purdy and James Ruppert); Tomson Highway, Dry Lips Oughta Move to Kapuskasing; Daniel David Moses, Almighty Voice and His Wife; Sherman Alexie, The Lone Ranger and Tonto Fistfight in Heaven; Thomas King, Truth and Bright Water; Eden Robinson, Monkey Beach.
First Texts/Authors to be Studied: Armand Garnet Ruffo, Thomas King, George Henry-Maungwudaus, traditional orature and songs (An Anthology of Canadian Native Literature in English, 1-12).
Method of Instruction: Lecture and discussion.
Method of Evaluation:
Two term tests (2 x 15%); two essays (2 x 30%): informed participation (10%).
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Course Title: Chaucer
Course Code: ENG300Y5Y
Instructor: Chester N. Scoville
Course Description: The poems of Geoffrey Chaucer are among the greatest works of world literature. We will consider them in the context of his life in the courts of 14th-century England, as both a reflection and a critique of the major intellectual, political, and cultural issues of his time. We will also consider his pioneering use of the English language, his use of philosophical ideas and of popular story genres, and his consideration of matters such as class and gender in the creation of a uniquely vibrant fictional world.
Required Reading:
We will be reading most of Chaucer’s major poetry as well as some of his minor poems. All texts will be available in the UTM bookstore.
First Three Texts/Authors to be Studied:
Short poems, The Book of the Duchess, The House of Fame
Method of Instruction: Lecture/Discussion
Method of Evaluation: 4 short tests, 10% each. 2 term essays, 30% each.
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Course Title: Poetry and Prose 1500-1600
Course Code: ENG302Y5Y
Instructor: Liza Blake
Course Description: This course will examine the genres of poetry and prose in the sixteenth century. We will track the ways that the two kinds of writing develop separately, as well as the way they interact and define themselves with respect to one another. The sixteenth century was an exciting time for literary development, and our readings will range widely across proto-novels, poetic collections, chronicles, sonnet sequences, imaginative travel narratives, and poetic translations. We will pay close attention to paratexts – prefatory materials, translators’ notes, marginal notes, indexes, etc. – and see the crucial role they played in shaping modern literary forms. We will carefully situate texts in their original historical contexts, while also following the texts as they become unmoored from those contexts and undergo transformations as they travel into different decades, media, and forms of English. Readings include works by Skelton, More, Wyatt, Surrey, Gascoigne, Whitney, Baldwin, Nashe, Greville, Sidney, Spenser, Shakespeare, Raleigh, Marlowe, and Chapman.
Required Reading:
The New Oxford Book of Sixteenth-Century Verse, ed. Emrys Jones. ISBN 0192801953
Three Early Modern Utopias, ed. Susan Bruce. ISBN 0192838857
Tottel’s Miscellany: Songs and Sonnets of Henry Howard, Earl of Surrey, Sir Thomas Wyatt, and Others, ed. Amanda Holton and Tom McFaul. ISBN 0141192046
Amorous Rites: Elizabethan Erotic Verse, ed. Sandra Clark. ISBN 0460875302
An Anthology of Elizabethan Prose Fiction, ed. Paul Salzman. ISBN 0192839012
Sir Francis Bacon, The Essays, ed. John Pitcher. ISBN 9780140432169
(Additional texts will be made available in a course pack or online.)
First Three Texts/Authors to be Studied:
John Skelton, selected poems; Sir Thomas More, Utopia; Wyatt and Surrey, selected poems
Method of Instruction: Lecture, discussion, class presentations
Method of Evaluation:
Two short papers, one long paper, one midterm exam, class presentation, participation
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Course Title: Swift, Pope, and their Contemporaries
Course Code: ENG305H5F
Instructor: David Francis Taylor
Course Description: This course will look at a selection of the major works of the two great English satirists of the first half of the eighteenth century, Alexander Pope and Jonathan Swift. Reading such texts as Pope’s The Rape of the Lock and Swift’s Gulliver’s Travels alongside the works of William Hogarth, Lady Mary Wortley Montagu, and fellow Scriblerian John Gay, we will pay close attention to the forms and techniques of satire; to the way writers imitated, adapted, and parodied classical models; and to the imperatives of satire and the social and political role of the satirist. In order to get a sense of Pope’s poetic range we will also look at a selection of his non-satirical works, including Windsor-Forest and Essay on Man. Lectures will address the key contexts and themes of this period of literature, including party politics; commercialism; print culture and the rise of Grub Street; and the depiction of women and gendering of satire.
**Do not enroll for this course if you have already taken ENG306Y5Y Poetry and Prose 1660-1800.**
Required Reading:
Norton Anthology of English Literature, Vol. A: The Restoration and the Eighteenth Century
Other readings by handout or via Blackboard.
First Three Texts/Authors to be Studied:
Addison and Steele, selections from The Spectator
Swift, ‘A Description of a City Shower’
John Gay, Trivia: Or, the Art of Walking the Streets of London, Bk. 1
Method of Instruction:
Lecture and discussion
Method of Evaluation:
2 essays (25% each), 2 quizzes (10% each), final exam (30%)
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Course Title: Romantic Poetry and Prose
Course Code: ENG308Y5Y
Instructor: Daniel White
Course Description: This course provides a general survey of the poetry and prose of the British Romantic period (roughly from 1780 to 1830). You will thus become familiar with the astonishing literary output of Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats, the canonical Romantic poets to whom we owe many of our assumptions about the nature of poetry, the imagination, and artistic creativity. The literature of this period, however, also draws our attention to the revolutions that gave birth to our modern political order, the movement to abolish the slave trade, the advent of feminist thought and the emergence of women writers as a major cultural force, and the radical experiments with form through which numerous writers responded to the colonial enterprise. We will explore these aspects of Romantic culture through an intense encounter with both canonical and non-canonical works, written in a wide range of genres and styles.
Required Reading: Poetry and prose by A.L. Barbauld, W. Blake, E. Burke, Byron, S.T. Coleridge, W. Cowper, W. Godwin, J. Keats, H. More, M. Robinson, P.B. and M. Shelley, C. Smith, M. Wollstonecraft, and W. Wordsworth, among others
First Three Texts/Authors to be Studied:
Selections by John Locke, Edmund Burke, William Gilpin, to be followed by poems of sensibility (by Hannah More, Helen Maria Williams, William Cowper)
Method of Instruction: Lecture and discussion
Method of Evaluation: Scansion quiz (6%), four tests (11% each), two term papers (1500 words, 25% each)
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Course Title: Science and Fiction in the English Renaissance
Course Code: ENG313H5F
Instructor: Liza Blake
Course Description: This course will consider the changing and slowly developing categories of science and fiction as they grow, develop, intersect, and divide in the English Renaissance. The “Scientific Revolution” was a major event in seventeenth-century England, but this course will begin much earlier, tracking the long, awkward, and uneven development of scientific and philosophical modes of knowledge across the sixteenth and seventeenth centuries. The readings of the course will come almost entirely from Renaissance literary texts, and we will focus closely on the ways that English Renaissance literature thinks about, responds to, and shapes changing understandings of the natural world. We will read drama, poetry, and prose, and by the end of the class we will see how scientific writing grows out of literary writing, even as it takes some pains to differentiate itself from literary writing in a number of ways.
Required Reading:
Robert Greene, Friar Bacon and Friar Bungay
Christopher Marlowe, Dr. Faustus
Ben Jonson, The Alchemist
The Metaphysical Poets, ed. Helen Gardner (Penguin)
Early Modern Utopias, ed. Susan Bruce (Penguin)
Margaret Cavendish, The Blazing World and Other Writings (Penguin)
Francis Bacon, The Essays (Penguin)
(Additional texts will be made available in a course pack or online.)
First Three Texts/Authors to be Studied: Robert Greene, Friar Bacon and Friar Bungay; Christopher Marlowe, Dr. Faustus; Ben Jonson, The Alchemist
Method of Instruction: Lecture, discussion
Method of Evaluation: 2 short papers, 2 exams, participation
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Course Title: Women Writers 1660-1800
Course Code: ENG314H5F
Instructor: David Francis Taylor
Course Description: Thanks to the scholarship of the past thirty years we now recognize the long eighteenth century as a period that witnessed an explosion in the number of women writing and publishing. In this course will look at just a small selection of such writers, including the likes of Aphra Behn, Lady Mary Wortley Montagu, Susannah Centlivre, Eliza Haywood, Francis Burney, Elizabeth Inchbald, Charlotte Smith, and Mary Wollstonecraft. We will cover the range of genres in which these women were working and experimenting – poetry, fiction, drama, letter writing – and give particular attention to their literary interventions in issues such as the marriage market, education, the gendering of genre, and empire and race.
Required Reading:
Aphra Behn, Oroonoko (Oxford)
Francis Burney, Evelina (Broadview)
Mary Wollstonecraft, The Wrongs of Woman (Oxford)
Other texts be provided in a course reader.
First Three Texts/Authors to be Studied: Mary Astell, Anne Finch, Aphra Behn
Method of Instruction: Lecture and discussion
Method of Evaluation: 2 essays (25% each), 2 quizzes (10% each), final exam (30%)
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Course Title: Orwell and the Writer in the Modern World
Course Code: ENG316H5S
Instructor: Mark Levene
Course Description: The first decades of the twentieth century were times of optimistic and aggressive experimentation in the arts. The phrase, “Make It New!” was an injunction as simple as the cultural transformations it led to were complicated. In literature, “making it new” meant transformations in the nature of character and the psychology shaping it, in the nature of narrative structure, and in the nature of the relationship between the work of art and external, public society. But the heated purposes of modernism began to dissipate under the historical pressures of the thirties. There was a counter-movement, defined more by the urgency to “make it accurate.” A resurgent realism grew within social experiments such as Mass Observation and artistic forms such as documentary writing and the photojournalism of, for instance, Walker Evans and Dorothea Lange. The figure central to these changes in the prewar and postwar years and more recently to the veneration of documentary writing since 2001 is George Orwell. Beginning with Virginia Woolf”s Mrs. Dalloway as a modernist touchstone, this course will primarily explore examples of Orwell’s journalism and fiction as documents for a world altered by war and enormous social dilemmas.
Required Reading:
Virginia Woolf, Mrs. Dalloway; George Orwell, The Road to Wigan Pier; Christopher Isherwood, Goodbye to Berlin; George Owell, Down and Out in London and Paris, Homage to Catalonia, Inside the Whale, Nineteen Eighty-Four. Film: Christian Frei, War Photographer.
First Three Texts: As listed above.
Method of Instruction: Lecture / discussion.
Method of Evaluation: Two essays, 35% each; participation, 15%; test, 15%.
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Course Title: Fiction before 1832
Course Code: ENG322Y5Y
Instructor: Chris Koenig-Woodyard
Course Description: This course studies the emergence of prose fiction, focusing on the novel, as a genre recognized in both a literary and a commercial sense, with a focus on the novel. Authors may include Austen, Burney, Dacre, Defoe, Godwin, Hogg, Lewis, Scott, Swift—among others.
Required Reading: (available at the UTM bookstore)
1) The following novels are from the publisher broadview, will be bundled together—physically shrink-wrapped together:
Daniel Defoe, Robinson Crusoe
Jonathon Swift, Gulliver's Travels
Henry Fielding, Joseph Andrews
Frances Burney, Evelina
William Godwin, Caleb Williams
Matthew Lewis, The Monk
Charlotte Dacre, Zofloya
Anon. The Woman of Colour
Austen, Pride and Prejudice
Walter Scott, Ivanhoe
Jane Austen, Northanger Abbey
Mary Shelley, Frankenstein
James Hogg, Justified Sinner
2) Scott, Ivanhoe
First Text(s)/Author(s) to be Studied: Daniel Defoe, Robinson Crusoe; Jonathon Swift, Gulliver's Travels; Henry Fielding, Joseph Andrews
Method of Instruction: Lecture and Discussion
Method of Evaluation: Informed Course Contribution—10%; In Class Test—15%; Three essays (15% each); Final Exam—30%
WEBSITE: Portal
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Course Title: Fiction, 1832-1900
Course Code: ENG324Y5Y
Instructor: Daniel Wright
Course Description: The novel was the pre-eminent literary form of the Victorian period, and in many ways, even more than a century later, Victorian novels continue to serve as our model of what the genre can accomplish at its very best. In this course, we’ll read a diverse range of novels from across (and adjacent to) this period and learn about the development and cultural explosion of the genre over the course of the nineteenth century. More specifically, we’ll ask how these novels address a host of social and cultural problems: changing ideas about individuality and democracy; class mobility; gender and sexuality; capitalism and industrialization; race and colonialism; and theories of ethics and aesthetics. We’ll also learn techniques for analyzing and interpreting novels, covering ideas about character and plot; the practice of close reading; aesthetic modes such as realism and the gothic; subgenres of the novel such as the sensation novel, the social-problem novel, the bildungsroman, and the novel of ideas; and enduring narrative structures such as the marriage plot and the mystery plot.
Required Reading:
Jane Austen, Emma (1815)
Charlotte Brontë, Jane Eyre (1847)
Emily Brontë, Wuthering Heights (1847)
Elizabeth Gaskell, North and South (1855)
Anthony Trollope, Barchester Towers (1857)
Wikie Collins, The Woman in White (1860)
Charles Dickens, Great Expectations (1861)
George Eliot, Middlemarch (1873)
Thomas Hardy, The Return of the Native (1878)
Oscar Wilde, The Picture of Dorian Gray (1890)
Bram Stoker, Dracula (1897)
E. M. Forster, Howards End (1910)
First Three Texts/Authors to be Studied: Austen, C. Brontë, E. Brontë
Method of Instruction: A combination of lecture and discussion.
Method of Evaluation: Essays, quizzes, participation
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Course Title: Early Drama
Course Code: ENG330H5S
Instructor: Liza Blake
Course Description: In the beginning of the York play The Fall of the Angels, God steps forward and declares his power and his timelessness: “I am maker unmade, all mighte es in Me[!]” The appearance of a self-confident and enthusiastic supernatural character was not unusual in medieval drama, which afforded a number of opportunities for the everyday world of medieval England to open into other worlds. Metrically adventurous, theatrically complicated, gleefully metatheatrical, and socially critical, medieval drama in all its forms explores the aesthetic, philosophical, religious, social, and satirical possibilities of theater. This course will serve as an introduction to medieval drama in all its variety, including mystery plays, conversion plays, moral plays, and interludes. The course will focus especially on medieval dramatic texts in performance, including both their original performance conditions and modern performance possibilities.
Required Reading:
Greg Walker. Medieval Drama: An Anthology. Oxford: Blackwell Publishing, 2000. ISBN 0631217274
(Additional texts will be made available in a course pack or online.)
First Three Texts/Authors to be Studied: Cycle dramas from York, Chester, and N-Town
Method of Instruction: Lecture, discussion
Method of Evaluation: Two papers, an exam, scene performances, participation
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Course Title: Drama to 1603
Course Code: ENG331H5F
Instructor: Leslie Thomson
Course Description: In this course we will study English drama from its medieval origins to the death of Queen Elizabeth I in 1603. We will read morality and miracle plays, comedies, tragedies, and tragicomedies written at the beginning of one of the great periods of western drama. As well, because of the material and the time covered, we will be able to consider some of Shakespeare's major plays in their historical and literary contexts. Since all these plays were written in an age very different from our own, we will discuss the ideas and beliefs that the playwrights and their audiences would have shared. But our main focus will be on the plays as plays—that is, structured dramatic works consisting of both dialogue and stage directions, written to be performed on an early modern stage. While no special expertise is required to take this course, some previous study of drama will be an asset. In addition, you must be prepared to read a play a week throughout the course and to participate regularly in class discussion.
Required Reading:
“Man’s Disobedience and the Fall of Man,” “Abraham and Isaac,” “The Second Shepherd’s Play,” Everyman; Heywood, The Play Called the Four PP; Mr. S, Gammer Gurton’s Needle; Sackville and Norton, Gorboduc (all in Medieval and Tudor Drama, ed. John Gassner); Lyly, Endymion; Kyd, The Spanish Tragedy; Marlowe, Tamburlaine the Great, part 1; Doctor Faustus; Anon., Arden of Faversham (all in English Renaissance Drama: A Norton Anthology); Shakespeare, Richard II, Love’s Labour’s Lost, As You Like It.
Texts will be available in the UTM Bookstore and I strongly suggest that you buy and use the two anthologies listed here for the non-Shakespearean plays. Oxford editions of the Shakespeare plays will be available at the bookstore, but you can also use Arden or Cambridge editions; Penguin, Bantam or Signet editions are also acceptable; or there is the Norton Shakespeare edition of all Shakespeare’s plays and poems. You must bring a text of the relevant play to each class.
First Three Texts/Authors to be Studied: As listed above.
Method of Instruction: Lecture/discussion.
Method of Evaluation: In-class test (20%), essay (25%), “think-pieces” (10%), informed participation (10%), final exam (35%).
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Course Title: Drama 1603 to 1642
Course Code: ENG335H5S
Instructor: Leslie Thomson
Course Description: In this course we will study English drama from the accession to the English throne of King James I in 1603 to the closing of the theatres in 1642. We will read comedies, tragedies, and tragicomedies written in one of the great periods of western drama. As well, because of the material and the time covered, we will be able to consider some of Shakespeare’s late plays in their historical and literary contexts. Since all these plays were written in an age very different from our own, we will discuss the ideas and beliefs that the playwrights and their audiences would have shared. But our main focus will be on the plays as plays—that is, structured dramatic works consisting of both dialogue and stage directions, written to be performed on an early modern stage. While no special expertise is required to take this course, some previous study of drama will be an asset. In addition, you must be prepared to read a play a week throughout the course and to participate regularly in class discussion.
Required Reading:
Jonson, Volpone; Anon./Middleton(?), The Revenger’s Tragedy; Beaumont, The Knight of the Burning Pestle; Middleton, A Chaste Maid in Cheapside; Beaumont and Fletcher, The Maid’s Tragedy; Webster, The Duchess of Malfi; Middleton and Rowley, The Changeling (all in English Renaissance Drama: A Norton Anthology); Shakespeare, Troilus and Cressida, King Lear, The Winter’s Tale.
Texts will be available in the UTM Bookstore and I strongly suggest that you buy and use the two anthologies listed here for the non-Shakespearean plays. Oxford editions of the Shakespeare plays will be available at the bookstore, but you can also use Arden or Cambridge editions; Penguin, Bantam or Signet editions are also acceptable; or there is the Norton Shakespeare edition of all Shakespeare’s plays and poems. You must bring a text of the relevant play to each class.
First Three Texts/Authors to be Studied: Troilus and Cressida, Volpone, Revenger’s Tragedy.
Method of Instruction: Lecture/discussion.
Method of Evaluation: In-class test (20%), essay (25%), “think-pieces” (10%), informed participation (10%), final exam (35%).
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Course Title: Modern Drama since World War II
Course Code: ENG341H5F
Instructor: Lawrence Switzky
Course Description: Playwright Edward Bond described the ruling preoccupation of postwar drama as “the relationship between the kitchen table and the universe.” This course surveys British, American and Anglophone drama in a dizzyingly changing world, from 1945 to 2000, through its insistence on pairing radically different registers of experience: the protected world of domestic interiors and the outer world of catastrophic events; the mundane present and the eventful past; the pursuit of love and the pursuit of science. We will approach plays as texts that can be read and as blueprints for events in time and space. We will also examine the influence of social and political developments on dramatic form and content, from the Cold War and the atomic age through the sexual revolution and the AIDS crisis to the technologically mediated culture of today.
The movements and topics we will consider include: the Theatre of the Absurd and its philosophical foundations; the Angry Young Men; tragedies of sympathy and comedies of menace; drama as a series of alternately frivolous and dangerous games; the uses and abuses of violence on stage; In‐Yer‐Face theatre; “state of the nation” plays; and dramatic literature after performance art and performance studies. Readings will be selected from plays by Samuel Beckett, John Osborne, Tennessee Williams, Edward Albee, Harold Pinter, Adrienne Kennedy, Athol Fugard, Tom Stoppard, Sam Shepard, Tony Kushner, Suzan‐Lori Parks, Sarah Kane and Caryl Churchill.
Required Reading: Samuel Beckett, Endgame, “Play,” “Catastrophe”; John Osborne, Look Back in Anger; Tennessee Williams, Cat on a Hot Tin Roof; Edward Albee, Who’s Afraid of Virginia Woolf?; Harold Pinter, The Homecoming; Adrienne Kennedy, “Funnyhouse of a Negro”; Athol Fugard, Sizwe Bansi Is Dead; Tom Stoppard, Arcadia; Sam Shepard, Buried Child; Tony Kushner, Angels in America; Suzan-Lori Parks, Topdog/Underdog; Sarah Kane, Blasted; Caryl Churchill, Far Away
First Texts/Authors to be Studied: Beckett, Osborne, Williams
Method of Instruction: Lectures and discussions
Method of Evaluation: Participation (10%); Two In-Class Exams (20% each); Performance Project (20%); Final Paper (30%)
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Course Title: Victorian Poetry and Prose
Course Code: ENG347Y5Y
Instructor: Daniel Wright
Course Description: Victorian poetry was characterized by its experimentations, its risks, its modernity, and its desire to forge a unique new poetic culture appropriate to an age of innovation—a far cry from our usual ideas about uptight and conservative Victorians. Meanwhile, philosophers, social critics, and thinkers of all kinds were also trying to find stable forms and meanings in the workings of a society undergoing massive and rapid change. In this course we’ll try to come to terms with the complex meanings of this period in our own way, by reading the work of many of the most important poets and prose writers (and some playwrights) of the Victorian period, although the major focus of the course will be on poetry. We’ll touch upon many topics over the course of the year. In discussing poetry, we’ll learn about poetic form and genre, including the particularly Victorian genres of the dramatic monologue and the verse-novel, as well as Victorian experiments with tried-and-true genres such as lyric, elegy, love poetry, and verse drama. In connecting poetry to prose writing, we’ll learn a great deal about the world of Victorian England, which saw the rise of industrialization and the growth of urban centres and factory towns; unprecedented class mobility as well as poverty, child labour, and dangerous work conditions; changing ideas about marriage, gender roles, and sexualities; the height of British imperialism and colonialism; the expansion of democracy; the development of a robust political philosophy of liberal individualism; and the impact of new scientific knowledge, including Darwin’s theory of evolution. Along the way, we’ll also talk about aesthetic theories, mourning and loss, love and intimacy, autobiography and memoir, and more.
Required Reading:
The Broadview Anthology of British Literature, Vol. 5: The Victorian Era (second edition)
Elizabeth Barrett Browning, Aurora Leigh (1856)
John Stuart Mill, On Liberty (1859)
Matthew Arnold, Culture and Anarchy (1869)
Poets to be discussed include Tennyson, Browning, Barrett Browning, Clough, Arnold, Meredith, C. Rossetti, D. G. Rossetti, Swinburne, Hopkins, Levy, Field, Wilde, Yeats, and Hardy
Prose writers and playwrights to be discussed include Carlyle, Mill, Boucicault, Dickens, Nightingale, Newman, Darwin, Arnold, Eliot, Ruskin, Morris, Pater, Wilde, and Meynell
First Three Texts/Authors to be Studied: William Wordsworth, Felicia Hemans, Alfred Tennyson
Method of Instruction: A combination of lecture and discussion.
Method of Evaluation: Essays, quizzes, participation
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Course Title: Contemporary Poetry
Course Code: ENG349H5S
Instructor: Richard Greene
Course Description: This course will examine some of the most accomplished and influential poetry of the past fifty years. Included in the course are poets from England, Ireland, Wales, the United States, Canada, and Trinidad. It is hoped that by grappling with the themes and techniques in these works, students will come to understand and to enjoy contemporary poetry.
Required Reading: Margaret Ferguson, Mary Jo Salter, and Jon Stallworthy, eds. The Norton Anthology of Poetry, 5th ed. New York and London: W.W. Norton, 2005.
First Three Texts/Authors to be Studied: Robert Lowell, John Berryman, Richard Wilbur.
Method of Instruction: Lectures and discussion.
Method of Evaluation: Three in-class essays (20% each) and term-paper (40%)
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Course Title: Canadian Drama
Course Code: ENG352H5F
Instructor: Dr. Daniela Janes
Course Description: In this course we will read a selection of Canadian drama across its history, paying attention to the material conditions of production as well as formal developments and stylistic innovations. Students will be exposed to a variety of forms, including history, tragedy, satire, drama and comedy, and will be given a sense of the shape and development of Canadian theatre.
Required Reading: Students will read a variety of plays, ranging from one-act plays to more substantial works. The course reader covers nineteenth- and twentieth-century plays, including works by Nicholas Flood Davin, Sarah Anne Curzon, Merrill Denison, Herman Voaden, Len Peterson, and Lister Sinclair. Other readings will be drawn from Jerry Wasserman, ed., Modern Canadian Plays, Vol. 1 (5th Edition). Playwrights to be studied include George Ryga, Michel Tremblay, David French, John Gray, Sharon Pollock, Ann-Marie MacDonald and Tomson Highway.
First Three Texts: Plays by Davin, Curzon, Denison (course reader).
Method of Instruction: Lecture and discussion.
Method of Evaluation: two essays (60%), two tests (30%), informed participation (10%).
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Course Title: Canadian Fiction
Course Code: ENG353Y5Y
Instructor: Brent Wood
Course Description: This course focuses primarily on English-Canadian novels from the middle twentieth century up to the present day by many of Canada’s best-known writers from across the country, including Michael Ondaatje, Barbara Gowdy, Leonard Cohen and W.O. Mitchell. Our study will largely concern young protagonists both male and female, and examine the ways that writers manipulate voice, incorporate mythology, and blur the borders between fantasy and reality for the purposes of psycho-social commentary.
Required Reading: Cohen, Beautiful Losers; Ondaatje, Coming Through Slaughter; Gowdy, Falling Angels; Atwood, Alias Grace; Mitchell, How I Spent My Summer Holidays; Findley, Not Wanted on the Voyage; Ricci, Lives of the Saints; Richler, The Apprenticeship of Duddy Kravitz; Munro, Lives of Girls and Women; Smart, By Grand Central Station I Sat Down and Wept; Wilson, Swamp Angel.
First Three Texts/Authors to be Studied: Mitchell, Gowdy, Ricci.
Method of Instruction: Lecture and discussion.
Method of Evaluation: Essays, tests, participation in class discussion.
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Course Title: New Writing in Canada
Course Code: ENG357H5F
Instructor: Siobhan O’Flynn
Course Description: Focussing on new writing published after 2000, this course examines emerging and continuing trends that have come to define Canadian writing in a global context. We will consider the novel, short stories (the collection and in isolation), life writing, essays, graphic novels, and creative non-fiction, as well as new forms and platforms for digital/online writing. Critical ideas we will likely touch upon are postmodernism, postcolonialism, multiculturalism, ecocriticism, geografictione, historiography, fiction-theory, and small press experimentation. Working from the perspective of contemporary writing today, we will reconsider questions of canonicity in Canadian writing and explore how notions of a canon are being redefined.
Readings will include a selection of the following (approx. eight texts; more TBA):
David Chariandy, Soucouyant - 1551522268
Rabindranath Maharaj, The Amazing Absorbing Boy - 0307397289
Richard Van Camp, The Lesser Blessed - 1550545256; or Godless but Loyal to Heaven: Stories - 1926531736
Richard Wagamese, Indian Horse
Buffy Cram, Radio Belly - 1553659023
Richard Greene, Boxing the Compass - 1550652591
First Texts/Authors to be Studied: Soucouyant, The Amazing Absorbing Boy, Indian Horse, Godless but Loyal to Heaven
Method of Instruction: lecture/discussion/presentations/workshop
Method of Evaluation: short assignment; essay; participation/presentation; exam
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Course Title: Early American Literature
Course Code: ENG360H5F
Instructor: Jeannine DeLombard
Course Description: What was it like to leave the known world and start life anew in a “howling wilderness”? To be taken captive by Indians? To be bought and sold by whites? To be seduced and abandoned? To be condemned to death? To hear voices telling you to kill your family? To go from being a runaway to being one of the nation’s Founders?
In sermons, in the new genre of the novel, and in a wide range of personal narratives, early Americans turned to prose to portray the extreme conditions that seemed to define life in the New World. Exploring the diversity of early American experience and of written expression, this course will introduce you to some of the founding works of American literature. Written largely by people who would not have called themselves “Americans,” these works urge us to consider literature’s relationship to identity – both individual and collective.
Required Reading: (may include)
John Winthrop, “A Model of Christian Charity”
Mary Rowlandson, The Sovereignty and Goodness of God
Susanna Rowson, Charlotte Temple
J. Hector St. John de Crèvecœur, Letters from an American Farmer
Olaudah Equiano, Interesting Narrative
Benjamin Franklin, Autobiography
Charles Brockden Brown, Wieland
First Three Texts/Authors to be Studied: (as above)
Method of Instruction: Lecture/Discussion
Method of Evaluation:
• Mid-Term Test: 35%
• Writing Exercise: 15%
• Term Paper (6-8 pp): 35%
• Participation: 15%
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Course Title: Nineteenth-Century American Literature
Course Code: ENG363Y5Y
Instructor: Ira Wells
Course Description: Over the course of the nineteenth century, America evolved from a largely rural, agrarian, and (in the South) slave-based society into the most industrialized, cosmopolitan, and liberal nation in the world. This course tracks the imaginative re-invention of American culture through the seminal authors and texts of the century. Alongside major works from a variety of genres (including speeches, slave narratives, essays, short stories, poetry, and novels), we’ll explore the national trauma of slavery and the Civil War, the rise of consumer culture, the invention of “literature,” geographic expansion and the “closing of the frontier,” and the eventual consolidation of national narratives. Emphases will include the formal properties of the works in question, the ways in which literature and politics respond to and reconfigure one another, and the emergence of new models of selfhood and identity formation.
Required Reading:
Washington Irving, “Legend of Sleepy Hollow”; Edgar Allan Poe, “The Purloined Letter,” “The Tell-Tale Heart”; Nathaniel Hawthorne, short stories; Ralph Waldo Emerson, “Nature,” “The Poet”; Harriet Beecher Stowe, Uncle Tom’s Cabin; Henry David Thoreau, Walden; Frederick Douglass, Narrative of the Life of Frederick Douglass; Abraham Lincoln, “A House Divided,” “Gettysburg Address”; Herman Melville, “Bartelby, the Scrivener”; Rebecca Harding Davis, “Life in the Iron Mills”; Henry Adams, “The Education of Henry Adams”; Ambrose Bierce, “An Occurrence at Owl Creek Bridge,” “Chickamauga”; Henry James, The American; Booker T. Washington, Up From Slavery; W. E. B. DuBois, The Souls of Black Folk; Charlotte Perkins Gilman, “The Yellow Wall-paper”; Stephen Crane, “The Open Boat”; poetry by Whittier, Bryant, Whitman, Dickinson, and Dunbar.
First Three Texts/Authors to be Studied: Irving, Poe, Hawthorne
Method of Instruction: Lecture / Discussion
Method of Evaluation:
Two 8-10 page essays (25% each); class presentation (15%); term test (25%); participation (10%).
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Course Title: Twentieth-Century American Literature
Course Code: ENG364Y5Y
Instructor: Ira Wells
Course Description: This course investigates the prose, drama, and poetry produced during what Henry Luce called “The American Century.” In a widely celebrated (and criticized) 1941 editorial of that name, Luce—the founder of Time and Life magazines—urged the nation to abandon its isolationist attachments and remake the world in its own image. But at the same time, America was busily making and remaking its own image, as exemplified in the astonishing diversity of literature considered in this course. The literature of this period registers the shock of modernity along with the cultural energy of heterogeneity: the influx of millions of new Americans from overseas; the staggering internal migrations from South to North, from rural to urban (and from urban to suburban); and the exhilaration of a culture coming to grips with automobiles, Mickey Mouse, and atomic bombs. Beginning with Theodore Dreiser and ending with a memoir by the sitting American President, we will familiarize ourselves with the major writers and critical debates of the century.
Required Reading:
Theodore Dreiser, Sister Carrie
Willa Cather, My Antonia
William Faulkner, As I Lay Dying
Tennessee Williams, The Glass Menagerie
Flannery O’Connor, A Good Man is Hard to Find
Vladimir Nabokov, Lolita
James Baldwin, The Fire Next Time
Thomas Pynchon, The Crying of Lot 49
Toni Morrison, The Bluest Eye
David Mamet, Glengarry Glen Ross
Philip Roth, The Counterlife
Barack Obama, Dreams from My Father
First Three Texts/Authors to be Studied: Dreiser, Cather, Faulkner
Method of Instruction: Lecture / Discussion
Method of Evaluation:
Two 8-10 page essays (25% each); class presentation (15%); term test (25%); participation (10%).
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Course Title: Topics in American Literature: The Slave Narrative
Course Code: ENG366H5F
Instructor: Jeannine DeLombard
Course Description: “America,” proclaimed literary critic Ephraim Peabody in 1849, “has the mournful honor of adding a new department to the literature of civilization – the autobiographies of fugitive slaves.” Reformer Theodore Parker agreed, singling out “the Lives of Fugitive Slaves” as the “one portion of our permanent literature… which is wholly indigenous and original… written by none but Americans.”
Taking these claims to heart, this course examines the slave narrative as early America’s definitive literary genre. We will consider how the “classic” antebellum fugitive slave narratives of black activists Frederick Douglass and Harriet Jacobs developed out of earlier personal narratives attributed to enslaved African Americans. Along the way, we will become acquainted with the wide range of first-person accounts that fascinated early American readers, from spiritual autobiographies and Indian captivity narratives, to adventure narratives and criminal confessions. Matters of form and genre will lead us to take up questions of authenticity and authority. In turn, these concerns will lead us to consider the slave narrative’s ambiguous political and literary status.
What did it mean to read the slave narrative as America’s signature contribution to world literature – in short, to read the land of the free through the hand of the slave?
Required Reading: (may include)
• Frederick Douglass, Narrative of the Life of Frederick Douglass, An American Slave
• Henry Louis Gates, Jr., The Signifying Monkey: A Theory of African-American Literary Criticism (1988): Chapter 4, “The Trope of the Talking Book” (127-69)
• A Narrative of the Uncommon Sufferings, and Surprizing Deliverance of Briton Hammon, a Negro man,---servant to General Winslow, of Marshfield, in New-England
• John Sekora, “Red, White, and Black: Indian Captivities, Colonial Printers, and the Early African-American Narrative.” In A Mixed Race: Ethnicity in Early America, edited by Frank Shuffleton, 92-104. New York: Oxford University Press, 1993.
• A Plain Narrative of the Uncommon Suffering and Remarkable Deliverance of Thomas Brown
• The Life, and Dying Speech, of Arthur, a Negro Man
• A Brief Account of the Life, and Abominable Thefts, of the Notorious Isaac Frasier
• J. Hector St. John De Crèvecoeur, Letters from an American Farmer: Letters III & IX
• Olaudah Equiano, Interesting Narrative
• Selections from Benjamin Franklin, Autobiography
• A Narrative of the Life and Adventures of Venture, A Native of Africa
• Thomas Gray, The Confessions of Nat Turner
• Narrative of James Williams
• Selections from Harriet Beecher Stowe, Uncle Tom’s Cabin and Key to Uncle Tom’s Cabin
• Harriet A. Jacobs, Incidents in the Life of a Slave Girl
First Three Texts/Authors to be Studied: (as above)
Method of Instruction: Lecture/Discussion
Method of Evaluation:
• Mid-Term Test: 35%
• Writing Exercise: 15%
• Term Paper (6-8 pp): 35%
• Participation: 15%)
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Course Title: Postcolonial and Transnational Discourses
Course Code: ENG370H5S
Instructor: Stanka Radović
Course Description: We are often told that we now life in an era of globalization. The second half of 20th century is marked by a historical shift from the local and national to the global and multicultural understanding of the world. In this course, we shall examine what it means to think of the world as “global” and how the histories of exploration, colonialism and tourism have contributed to the idea that the world is a network of connected cultural practices. We will look at some aspects of postcolonial, transnational and globalization discourses through relevant theoretical and literary texts. Our goal is to understand how the time and space we live in are shaped by the process of globalization and its related discourses of postcolonialism and transnationalism. All of these discourses challenge the idea of any simple and firmly grounded identity in favour of our multiple, complex and fragmented relation to the global world. Our readings will focus on the problems of migration, travel and tourism, multilingualism and fragmented identity in contemporary literature.
Required Reading: Rohinton Mistry “Squatter,” Jamaica Kincaid A Small Place, Amitav Ghosh, The Shadow Lines, Xiaolu Guo A Concise Chinese-English Dictionary for Lovers, Night on Earth (film by Jim Jarmusch)
First Three Texts/Authors to be Studied: Mistry, Kincaid, Ghosh.
Method of Instruction: Lectures and class discussions.
Method of Evaluation: Two essays, in-class tests, class participation.
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Course Title: Literature and Psychoanalysis
Course Code: ENG384H5S
Instructor: Mari Ruti
Course Description: An introduction to psychoanalysis for students of literature, this course considers major psychoanalytic ideas through close readings of selected texts by Freud and related thinkers. The course also considers applications of Freud by examining a selection of literary texts and films that engage psychoanalytic theory. Themes of special interest include the uncanny, identity formation, the repetition compulsion, the return of the repressed, love, loss, mourning, melancholia, fetishism, the “male gaze,” the “mirror stage” (Lacan), trauma, abjection, mortification, creativity, and sublimation. We will also pay particular attention to the textual unconscious, and the symptomatic residue that this unconscious generates. We will be doing deconstructive reading with a Freudian twist, looking for what sticks out, signifies in excess, glides from view, resists containment, does not fit, or seems to fit too well in the texts and films under scrutiny. In the process, we will also learn what a sophisticated grasp on Freudian theory can contribute to our understanding of everyday life, particularly to what is difficult or painful about this life.
Required Reading:
Sigmund Freud, New Introductory Lectures on Psychoanalysis
Sigmund Freud, The Uncanny
E. T. A. Hoffmann, The Tales of Hoffmann
David Henry Hwang, M Butterfly
Henry James, The Turn of the Screw
Toni Morrison, The Bluest Eye
First Three Texts/Authors to be Studied: Freud, Hoffmann, Hwang
Method of Instruction: Lecture and discussion
Method of Evaluation:
2 in-class tests: 25%
5-7 page paper: 40%
class participation: 10%
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Course Title: Creative Writing
Course Code: ENG389Y5Y
Instructor: Richard Greene
Course Description: A workshop in writing fiction and poetry. Students will be expected to write poetry (in strict forms and free verse) and narrative prose. They will submit their work on a regular basis for group discussion. Admission to the course is limited. Students should submit a 10-page portfolio of their best creative writing (not academic essays) to the professor in advance of registration, and he will choose those most likely to benefit from the work-shop.
Required Reading:
William Strunk and E.B White, The Elements of Style.
James Wood, How Fiction Works.
First Three Texts/Authors to be Studied: The Elements of Style
Method of Instruction: Seminar and discussion.
Method of Evaluation: Tests and small assignments, 20%; class participation, 30%; portfolio submitted at the end of the course, 50%.
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Course Title: Female Geniuses: Klein, Woolf, Baker, de Beauvoir
Course Code: English 414H5S
Instructor: Mari Ruti
Course Description: This seminar borrows its title from Julia Kristeva’s trilogy on female geniuses. Though we will read only one volume of Kristeva’s trilogy – her book on Melanie Klein – the seminar follows Kristeva in asking what goes into the making of a female genius. Until fairly recently, women faced formidable sociocultural and economic obstacles to intellectual, creative, and literary achievement. Yet some always managed to break through. This seminar blends psychoanalysis, literature, philosophy, critical theory, and visual media to examine four case studies from the first half of the twentieth century: Melanie Klein, Virginia Woolf, Simone de Beauvoir, and Josephine Baker. We will read Kristeva’s 2004 book on Melanie Klein with Klein’s Love, Guilt, and Reparation: And Other Works 1921-1945; Woolf’s To the Lighthouse (1925) with A Room of One’s Own (1929); and de Beauvoir’s The Ethics of Ambiguity (1947) with Toril Moi’s Simone de Beauvoir: The Making of an Intellectual Woman (2009). In addition, we will supplement Baker’s film Princesse Tam Tam (1935) with Anne Anlin Cheng’s critical study Second Skin: Josephine Baker and the Modern Surface (2011) and some music videos by Beyoncé Knowles. Other texts for the course will explore notions of creativity from a theoretical perspective. Among other things, we will be asking how female geniuses might change our understanding of what counts as creativity and what the so-called creative process entails.
Required Reading:
Melanie Klein, Love, Guilt, and Reparation: And Other Works 1921-1945
Julia Kristeva, Melanie Klein
Virginia Woolf, To the Lighthouse
Virginia Woolf, A Room of One’s Own
Simone de Beauvoir, The Ethics of Ambiguity
Toril Moi, Simone de Beauvoir: The Making of an Intellectual Woman
Josephine Baker, Princesse Tam Tam
Anne Anlin Cheng, Second Skin: Josephine Baker and the Modern Surface
First Three Texts/Authors to be Studied: Klein, Kristeva, Woolf
Method of Instruction: Seminar discussion.
Method of Evaluation: Seminar participation: 20%
Two 7-10 page papers: 40% each
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Course Title: Privacy in America
(Advanced Studies: American and Transnational Literatures )
Course Code: ENG434H5S
Instructor: Jeannine DeLombard
Course Description: What is privacy? How is it different from secrecy? Can you have dignity without privacy? How might privacy be dangerous? How is one’s experience of privacy shaped by gender, race, class, or sexuality? Do homeless people, for example, have any privacy? Are battered women and children protected – or hurt – by the privacy of their own homes? For gay people, is being in the closet a kind of forced privacy? Is racial profiling an invasion of privacy?
Americans have been thinking – and writing, and reading – about privacy since before there even was a United States. Indeed, two of the American literary tradition’s most important genres, the autobiography and the novel, urge us to think about literature’s relationship to privacy. In particular, the novel, read by individual readers in secluded settings and preoccupied with sex, as well as with the home and with the inner lives of its characters, bears a particularly fraught relationship to privacy. Do writers make a living by invading others’ privacy? What about when they themselves become famous? With their personal letters and diaries subject to scrutiny, do celebrity authors have any right to privacy? Reading classic works by Nathanial Hawthorne, Harriet Jacobs, Henry James, and Edith Wharton, among others, we will explore the meaning of privacy in America.
Required Reading: (may include)
• Nathaniel Hawthorne, The Scarlet Letter
• Harriet Jacobs, Incidents in the Life of a Slave Girl
• Constance Fenimore Woolson, For the Major
• Henry James, “The Aspern Papers”; “The Reverberator”; “In the Cage”
• Henry James, Tragic Muse or Portrait of a Lady • Edith Wharton, The Touchstone
First Three Texts/Authors to be Studied: (as above)
Method of Instruction: Lecture/Discussion
Method of Evaluation: • Participation: 20% • Abstract of Selected Supplemental Readings: 15% (each of two) • Thesis Statement & Outline: 15% • Term Paper (10 pp.): 35%
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Course Title: The Addictions of David Foster Wallace
Course Code: ENG435H5F
Instructor: Ira Wells
Course Description: David Foster Wallace was the most important literary figure of his generation, a writer of staggering intelligence who also managed to forge intense emotional bonds with his readers. Wallace could write incisively (and often hilariously) about an astonishing range of subjects, from the soul-crushing atmosphere of cruise ships to the history of infinity to an afternoon at the state fair (“Wherein our reporter gorges himself on corn dogs and exchanges unpleasantries with tattooed carnies”). Perhaps his greatest contribution, however, lies in his exploration of the American geography of addiction. While Wallace’s own (sometimes nightmarish) encounters with alcohol, television, drugs and sex at times severely encumbered his artistic aspirations, his finest works transmute those experiences into a sustained, penetrating examination of some of America’s signature cravings, fixations, and dependencies. Alongside close readings of David Foster Wallace’s most important works—including his novels, essays and short stories—we’ll think about issues like depression, anxiety, mindfulness, recovery, and how we construct meaning from experience. We’ll consider the unsettling adjacency of artistic creativity and mental illness. And we’ll linger over the small miracles of wonder and beauty that Wallace retrieves from the wreckage of postmodern consumer culture—moments of compassion and unity, “on fire with the same force that lit the stars.”
Required Reading:
The Broom of the System (1987)
Infinite Jest (1996)
Brief Interviews with Hideous Men (1999)
Oblivion (2004)
Consider the Lobster (2005)
First Three Texts/Authors to be Studied: Students are strongly encouraged to get a head start on Infinite Jest
Method of Instruction: Seminar / discussion
Method of Evaluation: Seminar Presentation (20%); Seminar Response (10%); Essay Prospectus (15%); Research Essay (40%); Informed Class Participation (15%)
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Course Title: Shakespeare and the Staging of Meaning
Course Code: ENG460H5S
Instructor: Leslie Thomson
Course Description: Drama is a mix of the aural and the visual—of speech, sound, setting, properties, costumes, and actions. Consequently, a playtext consists of dialogue and stage directions. This course will study the interrelationship between these elements in six plays by William Shakespeare in order to better understand how his plays were designed to create and express meaning in the theatrical and cultural contexts for which they were written. While we will consider each work as a whole, our particular focus will be on scenes or events that present different examples of how meaning is created and affected by staging.
Required Reading: Richard III, A Midsummer Night’s Dream, Measure for Measure, King Lear, Antony and Cleopatra, The Winter’s Tale. Oxford editions of the plays will be available in the UTM bookstore. If you already have another edition and want to use it, please ask first. A list of supplementary reading materials will be available at the first class.
Oxford editions of the plays will be available at the UTM bookstore, but you can also use Arden or Cambridge editions; Penguin, Bantam or Signet editions are also acceptable; or there is the Norton Shakespeare edition of all Shakespeare’s plays and poems. You must bring a text of the relevant play to each class.
First Three Texts/Authors to be Studied: As listed above; please read (or re-read) and be familiar with Richard III for the first class.
Method of Instruction: Informal lecture; student seminar presentations; general discussion.
Method of Evaluation: Scene analysis test (20%); seminar presentation (20%); essay outline (5%), annotated bibliography for essay (15%); essay (25%); informed and regular participation (15%).
NOTE: Students wanting to take this course should have completed ENG220Y or at least one of ENG331H/335H. Those who have not taken any of these courses must have permission of the instructor before enrolling on ROSI. Professor Thomson can be reached at l.thomson@utoronto.ca
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Course Title: Sir Gawain and the Green Knight
Course Code: ENG461H5S
Instructor: Professor Alexandra Gillespie
Course Description: In this course we will read just one poem slowly and closely: the greatest surviving Middle English romance - Sir Gawain and the Green Knight (in which Gawain, a knight from the young King Arthur’s Camelot, embarks on a risky adventure involving a giant green man with a large sword, a far-off castle, a seductive married woman, her husband’s hunting expeditions, a girdle, a pentangle, and the magic of Morgan le Faye).
We will read the text in Middle English with the assistance of modern translations. The first part of each class will be based on students’ close reading of a selected passage of a text.
We will also use the class as an opportunity to survey modern criticism on Sir Gawain and its anonymous author, the Gawain-poet. Each week two students will be asked to prepare short presentations on topics of particular concern to critics. These topics will represent different theoretical and scholarly approaches to the poem, to Middle English studies, and to literature more generally. Topics will include: medieval scribes and the manuscript of Sir Gawain; historicisms new and old; authorship and anonymity; medieval religion; form and aesthetics; ecologies; and gender and sexuality.
Required Reading:
Sir Gawain and the Green Knight, ed. J.R.R. Tolkein, Norman Davis, and E.V. Gordon (Oxford, 1968).
Selected translations and articles – provided to students online.
Method of Instruction:
Seminar discussion.
Method of Evaluation:
Weekly reading assignments: 20%
Seminar presentation: 20%
Seminar participation: 10%
Essay plan: 10%
Essay: 40%
http://individual.utoronto.ca/gillespie/index.html
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Course Title: Video Games and Narrative
Course Code: ENG470H5F
Instructor: Lawrence Switzky
Course Description: Video games can contain or present stories. But thinking of games as narratives like short stories, novels or plays might distract us from the expressive possibilities of gaming that are not shared by other media: the creation of a rule-bound world that responds dynamically to a player’s actions, for instance. The first half of this seminar will consider how some novels and plays work like games; how games have evolved complex and often non-verbal means of conveying narratives; and whether narrative in fiction, theatre and film can or should be a model for storytelling in games. Our discussions in the second half of the course will focus on the recent preoccupation with moral choice as a form of player agency in narrative games. Do video games provide us with innovative ways of testing our values or do they desensitize us to real-world moral dilemmas? By asking us to make difficult, often painful choices that foreclose other options in a game, are we no longer “playing” in any traditional sense?
This seminar will ask students to consider video games, which will be played in and outside of class, through a variety of theoretical approaches. We will also discuss methods for notating and documenting gaming experiences. Students will be expected to have a general grounding in literary theory and to participate vigorously in class discussions. Students must also have access to a personal computer that can download and play games from Steam, a digital game distribution platform.
Required Reading: Course Reader of critical essays on game theory, narrative theory, video game criticism; Henry James, Washington Square (novel); Dennis Cooper, God Jr (novel).; Jennifer Haley, Neighborhood 3: Requisition of Doom (play); Blendo Games, Thirty Flights of Loving (game); Jonathan Blow, Braid (game); Telltale Games, The Walking Dead (game); Yager Development, Spec Ops: The Line (game); Ed Key and David Kanaga, Proteus (game) or Mike Bithell, Thomas Was Alone (game); various short games from Molleindustria, Persuasive Games, and others
First Texts/Authors to be Studied:
Henry James, Washington Square; Stephen Brams, selections from The Theory of Moves; Janet Murray, selections from Hamlet on the Holodeck: The Future of Narrative in Cyberspace; Mazapán, “You Have to Burn the Rope” (Flash game); Andrew Plotkin, Spider and Web (interactive fiction)
Method of Instruction: Seminar discussions, occasional lectures by professor and guests
Method of Evaluation: Participation (20%); Presentation (20%); Gaming Notation Exercise (10%); Cooperative Gaming Exercise (15%); Final Paper/Project (35%)
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