Ugradcourses PDF

Queens English Department Undergraduate Courses 20132014!
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Department of English
Language and Literature
Undergraduate Courses
Handbook for Undergraduate Students 20142015
Department of English, Queens University, Kingston, ON K7L 3N6, Canada, 613-533-2158
The Arts and Science Calendar offers generic descriptions

of English courses. This booklet provides detailed
descriptions of the courses that are actually offered in the
coming academic year. These descriptions were written by
the prospective instructors, so they give you the clearest
idea of the readings you can expect and the assignments
for which you will be responsible. This listing is subject to
revision; for the most up-to-date information, refer to the
departmental web site.!
Overview of English
Course Levels
For complete information, consult the booklet English at
Queens and the English Departments web site.!
100-Level Courses!
ENGL 100, Introduction to Literary Study, is the gateway course to further study in English. Its goal is to provide knowledge and skills essential to university-level
literary study. Students attend two lectures every week,
plus one small-size tutorial meant to foster intensive disContents
English Courses!............................................................2!
100 Level!..................................................................2!
200 Level!..................................................................2!
300 Level!..................................................................9!
400 Level and Above!...........................................12!
ugrad.english@queensu.ca
cussion. Grading is shared between instructors and

teaching assistants, who lead the tutorials.!
200-Level Courses!
ENGL 200, History of Literature in English, is a required lecture course for all students registered in an
English Plan. Majors and Medials are also required to
take a second-year seminar, ENGL 290 (30 students max),
which develops students writing abilities and also introduces the basic research tools of literary studies.!
The format of all other 200-level courses is lecture and
discussion. These non-required 200-level courses are
subdivided into broad Surveys (English 201229) and
courses in genre (230249), authors in context (250269),
issues and themes (270289), and theory and criticism
(291299). Grading is shared between instructors and
teaching assistants.!
To enrol in 200-level courses, students need a minimum
of C in ENGL 100.
300-Level Courses!
Small lecture surveys of particular literary periods (60
students max). Courses offered at the 300-level are divided into the following three historical distribution groups:
Group I, pre-1800 literature; Group II, roughly 1780-1920;
Group III, post-1900 literature. Grading is shared between instructors and teaching assistants.
Creative Writing Courses!..........................................19!
To enrol in 300-level courses, students normally must be

in either a Major or Medial English Plan, must have
completed ENGL 200 and 290, and must have a minimum GPA of 2.4 or better in all previous English units.!
Courses in Other Subjects!........................................21!
400-Level Courses!
Online, Spring-Summer, and BISC Courses!........21
Seminars focused on specific topics; intensive discussion

is a vital component of these courses. All grading is done
by the instructor. To enrol in these courses, students need
a minimum GPA of 2.4 in all previous English units.
Queens English Department: http://www.queensu.ca/english/!
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160/6.0 Modern Prose Fiction
English Courses
100 Level

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Term: Full year!

Instructors: Robert May!
Description: This course is designed to promote interest
in and appreciation for modern and contemporary prose
fiction by introducing students to a selection of the most
influential short stories and novels of the twentieth
century. The course will provide students with a
vocabulary for reading and discussing twentieth-century
works of prose, and it will explore some of the most
important themes, ideas, and preoccupations in modern
and contemporary prose fiction. American, British,
Canadian, and world authors will be represented.!
Requirements: Evaluation methods will include written
assignments, class attendance and participation, periodic
quizzes, and a final exam.!
Note: Enrolment is limited to students not registered in
an ENGL Plan, and preference is given to upper-year
students. This course may not be used as a foundation for
an ENGL Plan or a prerequisite for upper-year ENGL
courses.!
Exclusion: No more than 6.0 units from ENGL 100/6.0,
ENGL 110/6.0, ENGL 112/6.0, ENGL 160/6.0.!
100/6.0 Introduction to Literary Study

Term: Full year!
Instructors: John Pierce (100 001), John Pierce / Marta
Straznicky (100 002)!
Description (from the Arts & Science Calendar): An
introduction to literary study, with an emphasis on the
formal analysis of a diverse range of poetry and prose.
Specific content and approach vary from section to
section, but all sections share the goals of developing
sensitivity to genre, cultivating writing skills, and
providing students with a set of literary terms and critical
techniques as a foundation for further literary study.!
Note: This course is offered in two sections, each involving two lectures and one tutorial per week. Students must
enrol in the same section and the same tutorial for the entire
year. Enrolment preference is given to first-year students.
ENGL 100 is a prerequisite for all subsequent ENGL courses. Also offered as an online course; first-year on-campus
Arts students are excluded from the online section.!
ENGL 110/6.0, ENGL 112/6.0, ENGL 160/6.0.!
100/6.0 Introduction to Literary Study (online

course)
Term: Full year!
Instructors: Robert Morrison!
Description: This English course introduces you to the
four main literary genres: fiction, poetry, drama, and the
essay. It is also designed to improve your writing skills,
and to develop your knowledge of literary terms and
critical techniques as a foundation for further literary
study. Why study literary genre? We need poems and
stories and novels and plays, as well as essays, replies
the great American writer Scott Russell Sanders. Each
genre offers us paths through the dark woods of this life,
and we need all the paths we can find.!
Note: Also offered as an on-campus course; first-year oncampus students are excluded from the online section.!
ENGL 110/6.0, ENGL 112/6.0, ENGL 160/6.0.!
200 Level

The prerequisite for ENGL 200299 is a minimum grade

of C in ENGL 100/6.0. Note that courses at the 200 level
have limited enrolments. Students registered in an
English plan applying to take these courses have priority
over those applying to take them as electives.!
200 001/6.0 History of Literature in English

Term: Full year!
Instructor: Ruth Wehlau!
Description: This course will provide an overview of the
predominantly British and Anglo-Irish literary tradition
from the Anglo-Saxon period up to and including
contemporary literature in English from around the
world. The aim of the course is to introduce students to
the major works and literary movements of this tradition
within their historical context, to consider the reception of
these works, and to examine the changes in the
understanding of literature and its place in the world that
occur throughout more than a thousand years of writing
in English. To this end we will investigate a variety of
issues: orality vs. literacy, the rise of the novel, the
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Romantic movement, and post-colonialism, among
others. Works to be read include prose, poetry and drama
by writers such as Chaucer, Shakespeare, Milton, Austen
and Wordsworth.!
Requirements: Essays, in-class quizzes, exam.!
Note: ENGL 200 is required for English Majors, Medials,
and Minors in their 2nd year before advancing to 3rd year.
Enrolment preference is therefore given to English
Majors, Medials, and Minors.!
ENGL 200/6.0.!
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literature on our understanding of diverse and shared

experiences.!
!
Texts may include Vol. 1 of Canadian Literature in
English; Execution Poems, by George Elliott Clarke; Rez
Sisters, by Tomson Highway; Disappearing Moon Cafe, by
Sky Lee; Lives of Girls and Women, by Alice Munro;
Running in the Family, by Michael Ondaatje; As For Me and
My House, by Sinclair Ross; Les Belles Soeurs, by Michel
Tremblay; The Lesser Blessed, by Richard Van Camp; and
The Swamp Angel, by Ethel Wilson.!
Requirements: A test, 2 essays, an exam, short reading
responses, participation/attendance.!
200 002/6.0 History of Literature in English

Term: Full year!
Instructor: Gwynn Dujardin!
Description: This survey course introduces students to
the history of literature in the English language, from
early writings from the Anglo-Saxon period to
contemporary works from around the English-speaking
world. Organized around canonical works representative
of periods in literary history (e.g., medieval, Victorian,
contemporary), the course traces developments in the
definition of English as a literary language, the status and
role of the writer in society, and the ways literature
circulates in oral, material, and digital forms.!
Requirements: Assessment will be by essays, in-class
quizzes and a final exam.!
Note: ENGL 200 is required for English Majors, Medials,
and Minors in their 2nd year before advancing to 3rd year.
Enrolment preference is therefore given to English
Majors, Medials, and Minors.!
ENGL 200/6.0.!
215/6.0 History of Literature in English

Term: Full year!
Instructor: Heather Macfarlane!
Description: Canada is home to a long and rich variety of
literary traditions, making it impossible to speak of one
Canadian literature. In order to determine what Canadian
Literatures are, and how they influence our perception of
Canada, we will examine both the similarities and
differences between various communities literatures, as
well as the contexts in which they were written. Starting
with examples of traditional Indigenous literatures, we
will look at novels, short stories, plays, poetry, songs and
films from many communities, regions and historical
periods with the goal of demonstrating the impact of
217/6.0 Postcolonial Literature

Term: Full year!
Instructor: Holly McIndoe / Kris Singh!
Description: The postcolonial condition could be
understood as the struggle to live hopefully while (or
through) remembering the harrowing nature of the
colonial past which still haunts us. This course, then, will
consider not only the literatures of those who were once
imperial subjects, but also contemporary writing so that
we may think about what the aftermath and continuation
of this imperial history means for us all in our
postcolonial, increasingly globalized world. Postcolonial
studies is concerned with particular historical events, of
course; however, it is equally as preoccupied with how
we conceive of the past and our relationship to it, how to
imagine the future, and who exactly we are.!
!
In order to pursue these lines of thought, ENGL 217
will consider some of the most provocative and
innovative twentieth-century literature in English from
Australia, the Caribbean, Ghana, Botswana, Nigeria,
South Africa, India, and Britain, and from in-between
places with a neither/both perspective on home and
nation. The course will also introduce students to critical
approaches and debates central to postcolonial studies,
such as colonial discourse analysis, literature and / as
resistance, language and representation, nationalist
narrative as liberation and oppression, literature and
commodification, and the representation and
performance of gender.!
!
The course is thematic in approach which allows for
the study of a number of different genres, including but
not limited to novels, short stories, and poetry. After a
short introduction on Colonialism and Postcolonialism,
the course will be divided into four overlapping sections:
Settlers and Indigenous People, Nation and Migration,
Globalization and Neo-colonialism, and Postcolonial
Literature and Commodification. We will of course be
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attentive to historical and political context; however, we
will keep the literary qualities and the question of the
literary central to our enquiries in order to help us
consider what the role of the literary is for postcolonial
studies. Given the areas commitment to political, ethical,
and educational causes, what is the space of the literary?
And what is made possible by the aesthetic ventures of
these postcolonial writers?!
Requirements: Both the Fall Term and the Winter Term
will have the following grade break-down and course
assignments: participation (reflections and closereadings), 15%; mid-term essay, 20%; end of term essay,
30%; exam, 35%.!
ENGL 223/3.0 Selected Women Writers II (online

course)
Instructor: Asha Varadharajan
Offered: Fall Term
Units: 3.0!
Description: In A Room of Ones Own (1929), Virginia
Woolf wonders, who shall measure the heat and
violence of the poets heart when caught and tangled in a
womans body? This course introduces you to fiction,
poetry, and drama by twentieth-century and twenty-first
century women writers who have sought both to
measure and to heal the division between poets heart
and womans body that Woolf so eloquently describes.
We will concern ourselves with the global diversity of
feminine Anglophone literary traditions across categories
of genre, race, ethnicity, class, sexuality, and geography.
We will explore how women writers adapt and alter
masculine literary influences to both scandalous and
sobering effect. Finally, we will consider how they trace
the effects of the radical social, economic, technological
and cultural transformations of the modern world on
time, reality, and psyche.!
Requirements: 2 essays and several voluntary and
assigned participation exercises.!
Note: Students registered in a Gender Studies Plan may
take this course without the usual prerequisite of ENGL
100.!
Equivalency: ENGL 265/3.0.!
ENGL 234/3.0 The Short Story in English

Instructor: Shannon Minifie
Offered: Fall Term
Units: 3.0!
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Description: This course traces the formal and thematic

developments of the American short story in the period
after 1945, focusing on the contexts from which
contemporary authors of the short story emerge. Such
contexts will include the popularity of the creative
writing workshop (or MFA program), as well as
changing publishing conditions (such as the rise of the
university-sponsored journal and the popularity of
magazines such as The New Yorker). Students will also
examine innovations in the short story form during this
period (including a consideration of the legacy of what
John N. Duvall has called the institutionalization of
minimalism, that unacknowledged hegemony of
creative writing programs); subsequent battles between
Realism and postmodern metafiction, as well as other
questions of genre and style; and the short storys
engagement with history (including World War II, the
Cold War years and its various political upheavals, and
the events of 9/11). Students will also consider the
important challenge, by emerging American Indian,
Asian, Latino/a, Indigenous, and African American,
among other ethnic and/or minority writers, to the
canon of short fiction previously crowded with white
male authors. Overall, consideration of the selected
literary and (occasionally) theoretical or sociological texts
will serve as the basis for discussions about changes in
the formal and thematic characteristics of the short story
in the contemporary United States, as well as the ways in
which literary (and popular) culture register and/or
refashion contemporary reading practices.!
!
Authors may include J.D. Salinger, Flannery
OConnor, Philip Roth, Raymond Carver, Joyce Carol
Oates, John Updike, Robert Coover, Alice Walker, Donald
Barthelme, James Baldwin, Tim OBrien, David Foster
Wallace, A.M. Homes, George Saunders, Louise Erdrich,
Leslie Marmon Silko, Philip K. Dick, John Barth, Cynthia
Ozik, Sherman Alexie, Jhumpa Lahiri, Lydia Davis.!
Requirements: A shorter essay (20%), a longer essay
(30%), occasional quizzes and other in-class assignments
(25%), and a final exam (25%).!
ENGL 237 001/3.0 Childrens Literature

Instructor: Amber Hastings
Offered: Fall Term
Units: 3.0!
Description: This course takes as its focus the history of
childrens literature in Britain from the Middle Ages to
the early twentieth century, with an emphasis on
nineteenth-century works for children. The first part of
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this course will focus on texts included in the anthology
From Instruction to Delight and will move through a
selection of fairy tales from the early nineteenth century
to bring us to the Golden Age of childrens literature in
the mid-nineteenth century. As we move through this
historical survey of literature for children we will
challenge stereotypes and assumptions that childrens
literature must be educational, conservative and
moralizing. We will question the ways that literature for
children reinforce or challenge ideological and cultural
assumptions about childhood. We will explore the ways
that childrens literature engages with a dual audience of
adult and child readers as it intersects with a wide range
of issues including, but not limited to, gender, race,
technology, politics, religion, economics, fantasy and the
imagination.!
Requirements: In-class response papers (15%), close
reading assignment (20%), essay (30%), and a final exam
(35%).!
Note: Also offered as an online course.!
ENGL 237 002/3.0 Childrens Literature

Instructor: Melissa Li Sheung Ying
Offered: Winter Term
Units: 3.0!
Description: This course will introduce students to the
history of childrens literature from its beginnings as a
genre through to its current interdisciplinary form in the
twenty-first century. Our discussion of recent works for
children and young adults will be built on a survey of the
historical development of a literature specifically shaped
for young readers. Central to our study will be the
questions of what distinguishes childrens literature from
other genres and how the construction and nature of
childhood is challenged historically and socio-politically
across the centuries.!
!
As we move towards more recent texts and narratives
for young readers, we will consider how childrens
literature continues to cultivate, engage, and promote an
awareness of the world around it. By considering the
relationship between the child and his or her landscape,
both real and imagined, we will explore the connections
linking childrens texts and childrens environmental
experiences and how these may challenge, renew, and/or
reflect our current concerns about the environment.!
Requirements: In-class response papers (15%), close
reading assignment (20%), essay (30%), and a final exam
(35%).!
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Note: Also offered as an online course.!

ENGL 237/3.0 Childrens Literature (online course)

Instructor: Heather Evans
Offered: Fall & Winter Terms
Units: 3.0!
Description: This course takes as its focus the history of
childrens literature in Britain from the Middle Ages to
the twentieth century, with an emphasis on nineteenthcentury works for children. The first half of the course
concentrates largely on texts included in the anthology,
From Instruction to Delight and on John Bunyans The
Pilgrims Progress, and is designed to survey the
development of a literature shaped specifically for
children from its beginnings to the golden age of the
nursery in the mid-nineteenth century. The last half of the
course will explore one dominant genre in childrens
literature of the twentieth centuryfantasyand will
include works by writers such as George MacDonald,
Oscar Wilde, J. M. Barrie, Beatrix Potter, Russell Hoban,
Roald Dahl, Philip Pullman, and J. R. R. Tolkien. Central
to our study will be an examination of the construction of
childhood across the centuries; consideration of the
intersections and relationships between literature,
politics, philosophy, commerce, religion, economics, art,
and other cultural sites; and an investigation of the
dynamic between literature written for adult audiences
and books read by children. As we work through our
course we will interrogate hackneyed clichs and popular
assumptions such as that the primary function of books
read by children (past or present) is to stimulate the
imagination of the child; or that childrens literature is
simplistic, conservative, or moral; or that children are
naturally sweet, innocent little angels.!
Requirements: Two short essays (15% and 25%), active
participation in online discussions (10%), and a final
exam (50%).!
Note: Also offered as an on-campus course.!
ENGL 257/3.0 Elizabethan Shakespeare

Instructor: Erin Weinberg
Offered: Fall Term
Units: 3.0!
Description: Early modern playwright Ben Jonson called
Shakespeares works, Not of an age, but for all time.
These words ring true today because, even 400 years later,
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we can identify with the ideas he shares about love,
hatred, revenge, family, monarchy, power, gender and
more. Yet, despite the plays contemporary resonances,
Shakespeares works are very much a product of their
time. The plays we will study are Romeo and Juliet, The
Merchant of Venice, Titus Andronicus, 1 Henry IV, Twelfth
Night, and Hamlet. We will explore these plays first
through the practice of close reading, and will then reflect
on how Shakespeares words come alive and shift in
meaning through the medium of performance. We will
reflect on the staging of Shakespeares plays in
Elizabethan outdoor playhouses, and consider the ways
in which adapting Shakespeare has evolved over the
centuries, culminating in film adaptations of
Shakespeares works today. How are Shakespeares plays
of an age, and in what ways are these works for all
time?!
Requirements: Pop quizzes (top 5 of 6 count towards
final grade), 15%; close reading assignment, 20%; essay,
30%; 2-hour exam, 35%.!
Exclusion: No more than 6.0 units from ENGL 256/6.0
(formerly ENGL 226/6.0), ENGL 257/3.0 (formerly ENGL
227/3.0), ENGL 258/3.0 (formerly ENGL 228/3.0)!
ENGL 259/3.0 Global Shakespeare (online course)

Instructor: Marta Straznicky
Units: 3.0!
Description: A study of the dissemination of
Shakespeares plays across a range of cultures and sites
from the early seventeenth century to the present, with a
focus on the development of Shakespeare as a global
author. Selected plays will be studied in historical context
and in geographically diverse adaptations in theatrical,
print, and electronic media.!
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disciplined unsexiness. Despite these lasting associations,

the latter part of the nineteenth century saw an almost
obsessive desire to understand, pathologize and
categorize various aspects of sex and gender, as fears and
anxiety about prostitution, promiscuity, womanly men
and manly women began to pervade the cultural
atmosphere.!
!
This course aims to explore how textual narratives by
turns responded to, reinforced or subverted expectations
around sex and gender. We will look at figures as varied
as the Angel in the House, the fallen woman, the dandy
and the New Woman, as well as explore issues of sexual
violence, prostitution, cross-dressing and genderbending. Ultimately, our goal will be to consider the ways
in which Victorian literature wrote and responded to
issues of sex and gender, and how these obsessions and
anxieties helped to create new categories of sexuality (i.e.,
the homosexual) and even new ways of being in ones
gender. While exploring the various natures of femininity
and masculinity, heterosexuality and homosexuality, we
will seek to consider how issues of sex and gender
intersect with questions of race, eugenics, degeneracy and
the expansion of the British Empire.!
Requirements: Participation, a close reading assignment,
a term paper and a final exam.!
ENGL 278/3.0 Literature and Place

Haunted Ground: The Gothic Environment
Instructor: Mikaela Withers

Offered: Fall Term
Units: 3.0!
Description: The word Victorian has in todays
vernacular become nearly synonymous with modesty,
prudishness, and rigid sexual codes. Despite Queen
Victorias prolific brood of children and life-long romantic
obsession with her husband, her image has represented,
and continues to represent, matronly domesticity and a
Instructor: Steve Asselin

Units: 3.0!
Description: This course aims to put the nature back in
supernatural by examining the role of the environment
in Gothic fiction of the last two centuries. From the
ancient, isolated castle of Otranto to the zombie-strewn
ruins of The Walking Dead, it has often been suggested that
the setting in Gothic fiction is a character unto itself; these
locations, foreign or familiar, are replete with barelycontained secrets to threaten the protagonists of these
stories. At the same time, the human body itself becomes
the site of Gothic haunting, as the repressed tendencies of
body and mind claw their way to the surface. This course
will introduce students to the theoretical background of
the Gothic and the literary study of the environment. We
will discover how Gothic settings are gendered,
racialized, alienated by technology, and otherwise
transformed into strangely Other spaces. Authors
examined may include Horace Walpole, Samuel
Coleridge, Mary Shelley, Edgar Allan Poe, Bram Stoker,
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ENGL 277/3.0 Literature and Gender

Victorian Sexology

H.P. Lovecraft, William Faulkner, Stephen King, Doris
Lessing, Tim Burton, and Robert Kirkman.!
Requirements: Short in-class quizzes, a brief written
assignment mid-way through the semester, a longer
essay, and a final exam.!
290/3.0 Seminar in Literary Interpretation

This description from the Arts & Science Calendar
applies to all sections of ENGL 290: An intensive study
of one text or a cluster of related texts, cultivating close
reading skills through discussion. The course develops
students writing abilities and also introduces the basic
research tools of literary studies. Enrolment restricted to
second-year students registered in an English Major or
Medial Plan.!
Note: ENGL 290 is required for Majors and Medials in
English in their 2nd year before advancing to 3rd year.!
ENGL 290 001/3.0 Seminar in Literary Interpretation

Henry Jamess Portrait of a Lady!
Instructor: S. Brooke Cameron
Offered: Fall Term
Units: 3.0!
Description: This seminar course will focus on Henry
Jamess masterpiece The Portrait of a Lady (1881), which
the author himself described as a tragic story about a
poor girl who dream[s] of freedom and nobleness but
finds herself in reality ground in the very mill of the
conventional. Class discussions and writing assignments
will help students develop skills of close reading and
critical interpretation. Additional course readings will
include biographical and secondary material on both the
author and novel.!
Requirements: A sourced essay, four in-class response
papers, a group presentation, pop quizzes, regular
participation, and a final exam.!
Note: Available only to English Majors and Medials who
chose their English plan after May 2011, for whom it is a
required course.!

The Poetry of Elizabeth Bishop!
Instructor: Yal Schlick
Offered: Fall Term
Units: 3.0!
Description: Though our focus will be on Elizabeth
Bishops poems, and though we will devote the majority
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of our time to a close reading of them, we will also use

Bishop as a means of entering into discussions about
gender and travel, about the nature of the self and of the
animal world. (In an interview she once said, I think
geography comes first in my work, and then animals. But
I like people, too.) Well explore her depiction of specific
places (Key West, Brazil, Nova Scotia), situate her in the
world of 1950s and 60s America when the confessional
lyric began to dominate the poetry scene, and explore
how our own contemporary moment appraises and treats
her writings. In short, Elizabeth Bishop will be our entry
point to gaining close reading skills, exploring issues
central to our own concerns today, and understanding the
multiple interpretive possibilities that a writers works
offer readers.!
Requirements: Course work will include short essays, inclass graded writing assignments, a seminar presentation,
and a final exam.!
required course.!

Adventures of Huckleberry Finn and Slave Narratives!
Instructor: Laura Murray
Offered: Fall Term
Units: 3.0!
Description: Students in this section of ENGL290 will
read Twains comic novel (1885) about the travels of an
abused child and an escaped slave alongside three slave
autobiographies: Narrative of the Life and Adventures of
Henry Bibb, An American Slave, Written by Himself (1849),
Narrative of the Life of Frederick Douglass, An American
Slave, Written by Himself (1855), and Harriet Jacobss
Incidents in the Life of a Slave Girl (1861). We will look into
the historical context of these works, but also questions of
genre, gender, form, style, and voice. How were slave
writers constrained and enabled by the conventions of
autobiography and testimony? How did Twain reinvent,
subvert, or reflect on the slave narrative in fiction?
Twains novel was written after the abolition of slavery,
but is it really a post-slavery novel?!
Requirements: Because one of its central objectives is to
help students develop independent critical voices, the
course will require intensive seminar engagement: all
students will be expected to contribute to all discussions.
Assignments will include short reading responses, a
library research exercise, a presentation, and a final paper.!
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required course.!

Herman Melvilles Moby-Dick!
Instructor: Glenn Willmott
Units: 3.0!
Description: This seminar course introduces students to
the analytic interpretation of narrative fiction, and
specifically to close reading the novel. Seminar discussion
will be emphasized. Course requirements are designed to
teach and test basic literary analytic skills rather than full
literary argument development and essay composition.
Our two required readings will be a formalist textbook,
such as George Hughes Reading Novels (2002) or
equivalent depending on availability, and Herman
Melvilles Moby-Dick, or the Whale (1851).!
Requirements: Weekly reading quizzes, four close
reading assignments, a final examination, attendance and
participation.!
required course.!

Charles Dickenss Bleak House!
Instructor: Carla Manfredi
Units: 3.0!
Description: This seminar examines Charles Dickenss
18521853 novel Bleak House. In addition to introducing
students to the Victorian print and publishing culture,
this seminar investigates the novels unique narrative
structure and literary aesthetics; the representation of the
English civil justice system and legal reform; and the
depiction of scientific and technological advancement,
most famously in the form of spontaneous human
combustion. Through class discussion, individual
research, and writing, this seminar allows students to
develop their close-reading and analytical skills.!
Requirements: Regular attendance and participation,
weekly reading quizzes, two close reading assignments,
an essay (20002500 words), and a final examination.!
required course.!
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Reading Michael Ondaatje!
Instructor: Heather Macfarlane
Units: 3.0!
Description: The study of literature is a multidisciplinary
undertaking, and offers insight into such numerous
domains as aesthetics, language, sociology, gender,
geography, politics and psychology, to name but a few.
This seminar will allow participants to engage intimately
with three Ondaatje texts in order to develop closereading skills and hone their ability to think critically.
Through discussion, research and writing we will
consider a broad range of critical approaches to the texts
themselves and to literature in general, and examine the
impact of literature on our understanding of the world
around us.!
Requirements (subject to change): Active participation, a
test, a seminar, an essay (20002500 words) and an exam.!
required course.!
ENGL 292/6.0 Introduction to Literary Criticism and

Theory
Instructor: Maggie Berg
Offered: Full year
Units: 6.0!
Description: This course asks what we are doing when
we read literature and why we are doing it. We will
examine what people have proposed about the nature of
literature and its role in our lives. In the Fall Term we will
consider various ways in which people have interpreted
literary texts in terms of their language and structure,
author, social context, or reader. In the Winter Term we
will focus on contemporary theories that are relevant to
how we read literature, including Marxist, structuralist,
poststructuralist, feminist, psychoanalytic, postcolonial,
disability, and queer. Each term we will employ literary
texts as case studies, to see the implications of the
various theories for how we read works of literature.!
Requirements: Two term papers, some creative projects,
and an end of year examination.!
Revised July 2014

ENGL 293/3.0 Introductory Approaches to Cultural
Studies
Instructor: Chris Bongie
Units: 3.0!
Description: This lecture course introduces students to
some of the major critical approaches associated with the
interdisciplinary field of cultural studies, with a
particular emphasis on how that field has reshaped our
understanding of popular culture. Cultural studies draws
on a variety of disciplines, such as sociology,
anthropology, film and media studies, but the primary
focus here will be on the ways in which it intersects with
literary studies and helps us better understand (for
example) distinctions between high and low or
middlebrow literary production, and the often
disavowed relations between literature and the
marketplace. The course proceeds chronologically,
charting changing conceptions of popular culture in (for
the most part) Britain and North America from the
nineteenth century to the present, with specific attention
paid to the genres of horror fiction and romance.
Required readings for this course include Bram Stokers
Dracula (1897), Daphne du Mauriers Rebecca (1938),
Stephen Kings Salems Lot (1975), and Stephenie Meyers
Twilight (2005).!
Requirements (provisional): Two or three short (34 pp.)
papers, several in-class writing assignments, Moodlebased research assignment (in which students are asked
to post a document analyzing some aspect of
contemporary popular culture), and a final exam.!

300 Level
ENGL 310/6.0 Medieval Literature of the British Isles

Instructor: Matthew Scribner
Offered: Full year
Units: 6.0!
Description: When we think of the Middle Ages, we
dont usually think multicultural, but the British Isles
in the early medieval period were home to a diverse set of
languages and cultures. Irish, Scottish and Welsh people
interacted with invaders who spoke Anglo-Saxon, Old
Norse, and French, while everyone was struggling to
reconcile their traditional pagan beliefs with those of the
Latin Church. It was not until much later that (Middle)
English established itself as the dominant language in the
"9
region, producing celebrated works of literature in

multiple genres, including romances, autobiography, and
plays. This course will follow medieval Britains literary
transformation, starting with early Celtic texts and Old
English poetry before moving to Latin and French, then
ending with the Middle English classics. Texts studied
could include The Mabinogion, Beowulf, The Lais of Marie de
France, selected Canterbury Tales, and Le Morte DArthur.!
!
All texts will be read in translation except for the
relatively unchallenging late Middle English works. We
will practice short poems in Middle English to make sure
that we are up to speed before beginning those works.!
Requirements (subject to change): Attendance,
participation, essays, and a final exam.!
ENGL 321/6.0 Renaissance Poetry and Prose

Instructor: Gwynn Dujardin
Offered: Full year
Units: 6.0!
Description: At the beginning of the sixteenth century,
John Skelton described English verse as ragged,/
Tattered and jagged/Rudely rain beaten,/ Rusty and
moth eaten. A century and a half later, John Milton
opened Paradise Lost proclaiming that he pursues/
Things unattempted yet in prose or rhyme. Focusing on
the development of English as a literary language, this
small lecture course studies English writing from the
Tudor era of King Henry VIII and Elizabeth I through
Stuart England to the English Civil War. Lectures and
discussions will examine ways that English Renaissance
authors define their writing in relation to classical,
continental, and medieval literatures, express contentious
religious and political points of view, and publicly
represent private concerns such as love and sexuality.
Reading a diverse selection of verse and prose texts, we
will also consider the relationship between popular and
literary forms of writing, the immediate and longstanding impact of print publication (introduced to
England in the late fifteenth century), and ways that
different forms, modes, and genres interrelate and crosspollinate throughout the period.!
Requirements: Attendance; routine participation,
including small group work; 12 creative assignments;
two formal essays; and a final exam.!
Exclusion: No more than 6.0 units from: ENGL 221/6.0,
ENGL 321/6.0.!
Revised July 2014

ENGL 326/6.0 Shakespeare and Renaissance Drama
Instructor: Scott-Morgan Straker / Ian Maness
Offered: Full year
Units: 6.0!
Description: Every so often moments of incredible
cultural richness blaze forth: they appear to emerge from
nowhere, and although they tend to last for only a short
time, their influence can endure for centuries. English
theatre in the late sixteenth and early seventeenth
centuries was one such cultural moment: Shakespeare is
the most famous figure associated with it, but he was part
of a community of writerssometimes collaborators,
sometimes rivalswho collectively took theatrical art to
heights it had never reached before.!
!
In this course we will examine some of the roots of
this cultural flowering, and will discover that it really
didnt emerge from nowhere: it was the product of some
very talented people working intelligently with a diverse
array of rich source material. We will see how they
shaped this material into the now-familiar genres of
tragedy, comedy, and history, but we will also read texts
that do not fit these categories (e.g., romance, masque).
We will examine Shakespeare alongside his
contemporary playwrights, including Thomas Kyd,
Christopher Marlowe, Ben Jonson, Thomas Middleton,
and John Webster, to see that the English theatre in this
period really was a community of writers and performers
who routinely worked together, influenced each other,
and stole from each other. We will also study the theatre
as an institution to understand the material conditions in
which plays were commissioned, performed, censored,
and published.!
Requirements: Students will receive a grade for each
terms work; the final grade will be the average of the
two. In the Fall Term, in addition to a short research
assignment, an longer research essay, and a 2-hour exam,
students will be expected to participate in discussions,
read from plays, and perform short scenes. This is a
course for students who are willing to talk and who do
not want to spend the whole class sitting down.!
Equivalency: ENGL 241/6.0, ENGL 341/6.0.!
ENGL 340/6.0 Romantic Literature

Instructor: Mark Jones
Offered: Full year
Units: 6.0!
Description: ENGL 340 surveys English Romantic
literature, including poetry and poetics of Blake,
Wordsworth, Coleridge, Byron, Shelley, and Keats, fiction
"10
by Austen and Mary Shelley, and essays relating to

poetics, politics, and contemporary events. Thematically,
the course relates Romantic literature and literary theory
to the authoritarian and counter-authoritarian currents of
an age of revolution and counter-revolutionary war.!
Requirements: 80% attendance, regular preparation and
class participation, occasional quizzes, two term essays,
and a 3-hour final exam.!
Equivalency: ENGL 250/6.0, ENGL 350/6.0.!
ENGL 356/6.0 British Fiction of the 19th Century

Offered: Full year
Units: 6.0!
Description: The nineteenth century witnessed the
dazzling rise of the novel as both the most popular and
dominant literary form. This course will chart that rise
through a representative sampling of texts. Our class
conversations will attend closely to questions of form,
character, and genderfor as Nancy Armstrong reminds
us, the first modern subject was a woman (Desire and
Domestic Fiction). We will therefore look at the range in
gendered and classed characters associated with an evergrowing range in novel genres, including epistolary,
gothic, domestic, bildungsroman, social problem, and
sensational fiction. Possible authors include (but are not
limited to) Jane Austen, Maria Edgeworth, Walter Scott,
the Bront sisters, Elizabeth Gaskell, Charles Dickens,
George Eliot, Wilkie Collins, and Thomas Hardy.!
Requirements (provisional): Two researched term
papers, several in-class response papers, a group
presentation, pop quizzes, regular participation, a midterm and final exams.!
ENGL 365/6.0 Modern and Contemporary Poetry!

Instructor: Glenn Willmott / Yal Schlick
Offered: Full year
Units: 6.0!
Description: This lecture-discussion course will introduce
students to poetry from the fin-de-sicle to the 1940s in
the Fall Term, and from the 1940s to the present in the
Winter term. In Fall Term we will seek to understand how
poets confronted the experiences and ideas of twentiethcentury modernity, exploring what it meant to be
modern, how to live and who to be, creating new kinds of
selves and lives for a dramatically changing, crisis-ridden
world. We will immerse ourselves in the work of four
exemplary poetsYeats, Eliot, Pound, and H.D.while
Revised July 2014

touching upon others of their generation. In the Winter
Term, well explore the diverse directions poetry takes
from mid-century to the present day: from confessional
writing to the Beats, from new formalism to poetry that
explores our relations with the natural world. Winter
term readings will include works by W.H. Auden,
Elizabeth Bishop, John Berryman, Seamus Heaney, James
Merrill, John Ashbery, Jorie Graham, Mark Strand, Roo
Borson, and other poets.!
Requirements (provisional): Evaluation for each term
will be calculated separately by each instructor and
combined for your overall grade for the course. Each term
grade will be based on a verse analysis presentation and
submission (15%), a term essay (50%), a term examination
(35%), and a participation adjustment of +/- 5% to the
cumulative term grade.!
human/animal/machine? of imagining Natures body

and urban ecology? Evaluation will be based on
participation including quizzes and posts to a discussion
forum, essays, and a final exam.!
Requirements: Participation including quizzes and posts
to a discussion forum, essays, and a final exam.!
ENGL 389/6.0 Context North America

Instructor: Petra Fachinger
Offered: Full year
Units: 6.0!
Description: This course will explore how nature and the
relationship between humans and the non-human world
are constructed in contemporary American, Canadian,
and Indigenous fiction in this age of climate change,
environmental crises, population growth, and loss of
biodiversity. We will begin by considering the non-fiction
texts of some of the pioneers of ecological writing (Henry
David Thoreau, Catharine Parr Traill, Aldo Leopold, and
Rachel Carson), ecofeminism, and the Creation and ReCreation stories in the Anishinaabe tradition, as retold by
Basil Johnston. The course is organized in six
interconnected sections: climate change; endangered
species; water; biodiversity and organic farming;
landscape, geopolitics, and war; post-apocalyptic writing.
Among other things, we will explore how fictional texts
that focus on environmental issues transform
consciousness and create dialogue about sustainability
and biocultural restoration and revitalization. We will
consider a variety of modes and genres, including young
adult fiction, the graphic novel, and Indigenous ways of
storytelling, to explore questions of ecological poetics and
environmental aesthetics. Course texts will include novels
by Julia Alvarez, Margaret Atwood, Jamie Bastedo, Ann
Eriksson, Jean Hegland, Linda Hogan, Barbara
Kingsolver, Jim Lynch, Josh Neufeld, Ruth Ozeki, Leslie
Marmon Silko, and Thomas Wharton.!
Requirements: Participation including quizzes, two
essays, and a final exam.!
ENGL 369/6.0 Modern and Contemporary Prose

Fiction!
Offered: Full year
Units: 6.0!
Description: This course takes an international and
cosmopolitan approach to Anglophone prose fiction in
the twentieth and twenty-first centuries. We will balance
our interrogation of geographies, cultures, histories,
ecologies, and sexualities with a serious attention to the
generic innovations and transformations that make such
interrogation possible. Some of the modes featured might
be autobiography and/or the Bildungsroman; allegory;
metafiction; crime, horror or pulp; travelogue; manifesto;
cyberpunk; realism; satire. The authors under
consideration might be Kathy Acker, Jessica Anderson,
Mark Behr, Truman Capote, Percival Everett, Adam
Foulds, Chester Himes, Mindy Hung, Harper Lee,
Gautam Malkani, Andrew OHagan, Redmond
OHanlon, Helen Oyeyemi, Chuck Palahniuk, Charles
Portis, W.G. Sebald, Indra Sinha, John Steinbeck, Neal
Stephenson, and Jeanette Winterson. Some of the
questions we explore might be what does the word have
to say in a world dominated by sound, spectacle,
virtuality? what makes prose fiction erotic, uncanny,
innocent, dangerous, hilarious, truthful, or just? whats
new about contemporaneityhavent we always been
bored, anxious, restless, ephemeral, cynical, and
anguished? how might the chosen works on the syllabus
guide us safely past the post-modern, secular, colonial,
to name only some of its incarnations? how do the works
on our syllabus offer new ways of thinking and being
"11
400 Level and Above

400-level courses are repeatable: you may take as many

versions of these courses as you like provided that the
topics are different, and all versions that you take will
count toward your program and toward your GPA.
Three-digit numbers after the course number are not
Revised July 2014

section numbers, as in the case of ENGL 100, 200, 237, and
290; instead, SOLUS uses them to differentiate between
versions of a course offered in the same term.!
There are repeatable courses at the 200 level, but none is
offered in 20142015. In this academic year, all 400-level
courses are repeatable, and all lower-level courses are not.
If you have any questions about which courses are
repeatable, or about how repeatable courses work,
contact the Undergraduate Chair.!
ENGL 421/3.0 Topics in Renaissance Drama I

Topic: The Classical and the Popular in Renaissance Drama!
Instructor: Elizabeth Hanson
Offered: Fall Term
Units: 3.0!
Description: The drama of Renaissance England arguable
achieves its extraordinary vitality through the fusion it
effects of classical forms and English popular traditions.
In this course we will examine this fusion in the works of
Christopher Marlowe, William Shakespeare and Ben
Jonson. All three playwrights attended humanist
grammar schools where they encountered the works of
Plautus, Terence and Seneca. From these plays they
gleaned genres (comedy and tragedy), situations (identity
mix-ups, revenge plots) and character types (the wily
servant, the noble avenger, the braggart soldier). But they
also encountered English popular drama. From this they
gleaned different character types (the Vice, the clown, the
shrew), modes of signification (allegory) and a subtle
sense of theatrical space. In this course we will first look
at some instances of both the classical and the popular
dramatic traditions and then at some of the major plays of
the English Renaissance (Dr Faustus, Hamlet, Twelfth
Night, The Alchemist, and Bartholomew Fair) which draw
on both. Our goal will be to assess what thematic and
dramatic meanings are made available by the
combinations of classical and popular English traditions
these playwrights wrought.!
Requirements: Students will be required to participate in
class discussion, write several short responses on Moodle,
and stage a scene and perform it for the class, then write a
final paper of 10 pages discussing the decisions involved
in the staging and the implications of these for an
understanding of the play. There will be a 2-hour final
exam.!
ENGL 328/3.0, ENGL 421/3.0, ENGL 422/3.0.!
"12
ENGL 421/3.0 Topics in Renaissance Drama I

Topic: Shakespeare and Early Modern Print Culture!
Instructor: Marta Straznicky
Units: 3.0!
Description: This course will explore the publication,
dissemination, and readership of Shakespeares plays in
the late sixteenth and early seventeenth centuries.
Approaching Shakespeares texts as material books, we
will learn about the early modern book trade, the
production and circulation of print material in the period,
literacy and readership, and the relationships among
performance, script, actors part, and printed play. Our
focus will be on plays that have a particularly interesting
or complicated textual history: Hamlet, King Lear, Henry V,
and Pericles, but there will be an opportunity to explore
any of Shakespeares texts in depth. Towards the end of
course, we will also study the history of Shakespearean
textual scholarship, including the technical, legal, and
theoretical issues involved in electronic editions.!
Requirements: Assignments will include several short
research exercises, an in-class test of a factual nature, a 15minute presentation, a research essay developed from the
presentation, and a final exam.!
ENGL 328/3.0, ENGL 421/3.0, ENGL 422/3.0.!
ENGL 436/3.0 Group I: Special Topics I

Topic: Medieval and Tudor Drama!
Instructor: Ruth Wehlau
Units: 3.0!
Description: Medieval and Tudor drama is a lively and
accessible genre, dealing with serious themes of life and
death and yet often filled with comic horseplay. This
course will sample a variety of plays from the medieval
and Tudor era, including biblical plays from the mystery
cycles, the Croxton Play of the Sacrament, and the morality
plays Mankind, Everyman, and Magnificence. All plays will
be read in Middle English, but students will receive help
and instruction in acquiring the skills needed to read and
pronounce the language.!
Requirements: Students will be expected to write an
essay and an exam, and to do a class presentation.
Students will also be assessed on their class participation
and to perform or read a portion of a play in conjunction
with other students.!
Revised July 2014

ENGL 441/3.0 Topics in Romanticism I
"13

Offered: Fall Term
Units: 3.0!
Description: Introductory seminar on Wordsworths
major works in poetry and poetics, emphasizing Lyrical
Ballads and other works (both lyric and narrative) of his
golden decade (17971807).!
class participation, one seminar facilitation, one or two
essays, and a 2-hour final exam.!
ENGL 354/3.0, ENGL 441/3.0, ENGL 442/3.0.!
document the citys slums and its underclass or

marginalized poor. We will conclude the course with a
discussion of the citys literary legacy, from Edith
Whartons Age of Innocence to neo-Victorian
interpretations and steampunk. Because this course
places such a strong emphasis on the link between place
and text, we will also experiment with digital
technologies in order to map the literary citythe city
of impressions, literary networks, and dystopian dreams.!
Requirements: Regular participation, two short response
papers, a final research essay, a final exam, and a
collaborative mapping project.!
ENGL 354/3.0, ENGL 441/3.0, ENGL 442/3.0. !
ENGL 441/3.0 Topics in Romanticism I
ENGL 451/3.0 Topics in Victorian Literature I
Topic: Poetry and Poetics of Wordsworth!
Topic: Poetry and Poetics of John Keats!

Units: 3.0!
Description: Introductory seminar on Keatss major
works, spanning his short career but emphasizing his
stunning final volume of 1820.!
class participation, one seminar facilitation, one or two
essays, and a 2-hour final exam.!
ENGL 354/3.0, ENGL 441/3.0, ENGL 442/3.0.!
ENGL 446/3.0 Topics in Literature of the Americas I

Topic: Literary New York City in the Gilded Age!
Offered: Fall Term
Units: 3.0!
Description: New York is appalling, fantastically
charmless and elaborately dire.Henry James!
!
This course will survey a range of authors writing
about urban experience in New York City at the end of
the nineteenth century (the Gilded Age). We will look
at how writers innovative approaches to both narrative
form and content produce a literary history of this unique
city as a site of exhilaration and hope, as well as anxiety
and/or despair. Novels by Henry James and William
Dean Howells paint a picture of urban prosperity and the
politics of class and polite society, while authors such as
George Egerton and Theodore Dreiser write of the
newcomer within the cosmopolitan city of opportunity.
Still others, such as Stephen Crane and Jacob Riis,
Topic: At Table with the Victorians: Gastronomy, Cookery

Books, and Food in Nineteenth-Century Literature
Offered: Fall Term
Units: 3.0!
Description: This course will offer an introduction to the
history and literature of nineteenth-century gastronomy,
the art of fine dining. Treating the long nineteenth
century as a grand literary banquet, we will whet our
appetites on gastronomic treatises by writers such as
Alexandre Balthazar Laurent Grimod de la Reynire,
William Kitchiner, Jean-Anthelme Brillat-Savarin, and
Thomas Walker, and nibble our way through tasty essays,
fiction and poems penned by both epicurean and
abstemious writers, such as Charles Dickens, William
Makepeace Thackeray, Lewis Carroll, Elizabeth Gaskell,
Christina Rossetti, and Sarah Grand. Along the way, we
will snack on Victorian cookbooks and stir up issues such
as vegetarianism, famine, the emergence of the
restaurant, women cooks, tippling, temperance, and the
importance of tea.!
Requirements: One seminar presentation, one term
paper, active participation, and a final exam.!
ENGL 359/3.0, ENGL 451/3.0, ENGL 452/3.0.!
ENGL 451/3.0 Topics in Victorian Literature I

Topic: Slumming in the 19th Century
Units: 3.0!
Revised July 2014

Description: This course will look at Victorian literatures
effort to make visible working-class and urban poverty, or
the costs of industrialism and the shift to a new capitalist
economy. So-called slumming was an obsession with
Victorian citizens and writers. As a category, slumming
covers everything from a voyeuristic tourism of darkest
London to genuine acts of social reform and charitable
efforts. We will read a variety of texts covering this wide
range in forms of nineteenth-century slumming. These
readings will be divided into 4 course units: 1) the politics
of dirt, 2) the city of dreadful night, 3) in darkest London
and the way out, and 4) the aesthetics of the city. Rather
than reproduce any impulse of voyeurismtherein
othering the urban poorwe will instead focus on
literary efforts to understand and, at times, humanize the
working-class and urban poor. We will consider the
important role of Victorian literature as an active
participant in writing cultural history and urban reform.
Texts will include Oliver Twist, by Charles Dickens; The
Sign of the Four, by Arthur Conan Doyle; A Child of the
Jago, by Arthur Morison; Dr Jekyll and Mr Hyde, by Robert
Louis Stevenson; and The Picture of Dorian Gray, by Oscar
Wilde.!
Requirements: Regular participation, a short group
presentation, response papers, a final research paper, and
a final exam.!
ENGL 359/3.0, ENGL 451/3.0, ENGL 452/3.0.!
"14
ENGL 461/3.0 Topics in Modern/Contemporary

British Literature I
Topic: War Literature between the Wars!
Instructor: Robert Morrison

Units: 3.0!
Description: This course examines Thomas De Quincey
and his portraits of addiction in works such as Confessions
of an English Opium-Eater (1821) and On Murder Considered
as One of the Fine Arts (1827). It then examines the ways in
which De Quinceys various self-representations are
exploited, undermined, and appropriated in a series of
texts, including Charles Baudelaires The Flowers of Evil
(1857), Robert Louis Stevensons Dr Jekyll and Mr Hyde
(1886), Arthur Conan Doyles Adventures of Sherlock
Holmes (1892), Peter Ackroyds Dan Leno and the Limehouse
Golem (1994), and David Morrells Murder as a Fine Art
(2013).!
Requirements: An essay, a final exam, class participation,
and a series of unannounced quizzes.!
Instructor: Patricia Rae

Offered: Fall Term
Units: 3.0!
Description: This seminar will concentrate on literature
and culture in Britain between the First and Second
World Wars (19191939). Our focus will be on examples
of the elegy and the memoir, two important genres in an
era marked by a boom in sorrow (W.H. Auden.)!
!
The course content will be divided roughly into two
halves. In the first half of the course, well think about the
First World War. Well familiarize ourselves with the
discourses of consolation used both during the war, and
in its aftermath, to cope with its extraordinary cost in
human lives. Well start by looking at some World War I
elegies for the dead, by Rupert Brooke and others, that
encourage recovery from loss, or what Freud called
success in mourning. Well then turn to poems that
approach loss and sorrow differently: anti-elegies whose
aim is to disrupt or prevent consolation, or to cultivate
melancholia. Our analyses of these alternative
responses to grief will assist us as we turn to two famous
memoirs of the War, by Siegfried Sassoon and Vera
Brittain. Both memoirs describe World War I from the
vantage point of the early 1930s. They offer windows into
the grief and suffering it produced, but also critique the
consolatory strategies and commemorative rituals it
inspired. Well reflect on the political messages implicit in
these critiques of consolation: their pacifism, their antiArcadianism, their recipes for constructive social action.
Supplemented by poems by women elegists (and by
some male misogynists) of the War, the memoirs will also
get us thinking about how views of mourning are
inflected by gender. Finally, with both poems and
memoirs in mind, well consider the role commemorative
practices play in constructing collective memory. Well
think about the anxieties associated with
commemoration, the tension between collective and
personal memory, and the often paradoxical
relationship between commemoration and forgetting.
Our discussion will be enriched by references to
commemorations of the centenary of the start of the war
taking place in 2014; students should emerge with tools
enabling them to assess the merits and weaknesses of
those events.!
!
In the second half of the term, well begin asking
questions about what happened to the consolatory and
anti-consolatory discourses of World War I as the 1930s
Revised July 2014
456/3.0 Group II: Special Topics I

Topic: Drugs, Death, and Detectives: Thomas De Quincey
and the Literature of Addiction

progressed and Fascism became a mounting threat in
Europe. In this context, well focus especially on British
writers responses when pressured to take sides on the
Spanish Civil War (193639): a conflict widely regarded as
the first great test of the anti-fascist movement and a
dress-rehearsal for World War II. Looking again at poems,
by several little-known poets, and a memoirGeorge
Orwells famous account of the war, Homage to Catalonia
well ask how elegiac discourse changes with this, very
different, war. Well ask whether the categories of elegy
and anti-elegy still apply, and well consider some
entirely new types of poetry on loss that reflects the truth
of the conflict. Turning to Orwells memoir, well ask how
his account of the Spanish war and its costs compare with
those of World War I. How do the discourses of
consolation and commemoration play out in it? What
distinctive forms of consolation (or its opposite) are to be
found there?!
!
Well conclude the course by reading some poems
written just as World War is about to break out for the
second time in just over two decades. What happens to
elegiac consolations when World War repeats itself so
soon?!
Requirements: One group seminar, one research paper,
and a final exam.!
Exclusion: This course will be closed to students who
have previously taken ENGL 274/3.0 Literature and War.!
ENGL 466 001/3.0 Topics in Modern/Contemporary

Canadian Literature I
Topic: Canadian Poetry: Modernism and After
Instructor: Tracy Ware
Offered: Fall Term
Units: 3.0!
Description: After a brief look at the Confederation poets,
this course will spend about five weeks on Canadian
Modernism and five weeks on Canadian Postmodernism.
We will try to elaborate working definitions of such terms
as we proceed, recognizing their limitations as well as
their usefulness. What category could ever describe such
poets as Leonard Cohen or Anne Carson? How does the
sonnet (which we will read in the Wells anthology) relate
to these broad terms? The course will demonstrate that, to
a surprising extent, poets in Canada are at least as
politically engaged as novelists, and Modernists at least
as engaged as Postmodernists. Students must still decide
for themselves if political engagement is always a good
thing, and we will weigh the claims of aesthetics and
politics as necessary. Since many of the enduring
generalization about Canadian literature are based on
"15
some of the poets on this course, we will also consider the

debates inspired by the influential work of such critics as
Margaret Atwood, Northrop Frye, Frank Davey, and
D.M.R. Bentley.!
Requirements: There will be one mid-term examination,
one term paper, one seminar presentation, and a final
examination.!
ENGL 386/3.0, ENGL 466/3.0, ENGL 467/3.0.!

Topic: Gay Voices in Canada
Instructor: Robert May
Offered: Fall Term
Units: 3.0!
Description: In 1943, critic John Sutherland referred to a
homoerotic image in a poem by Patrick Anderson as
twisted and not quite normal, effectively outing
Anderson at a time when homosexual relations were still
punishable in Canada with prison sentences. Sutherlands
attack, and subsequent half-hearted retraction, shone a
harsh spotlight on Canadas ambivalent attitude towards
gayness. This course will trace the growth and
development of gay poetry in Canada, beginning at the
turn of the twentieth century with trailblazers such as
Frank Oliver Call and mile Nelligan, proceeding into the
middle part of the century with figures such as Edward
A. Lacey (who published what has been called the first
openly gay collection of Canadian poetry) and bill
bissett (the extremity of whose work was denounced in
the House of Commons), and ending with some of the
most recent gay Canadian poets such as John Barton and
R.M. Vaughan. The course will examine these poets
depiction of same-sex male desire, the male body, and the
gay experience, in the larger contexts of Canadian
nationhood, culture, and evolving sexual politics,
towards elucidating their legitimate place in the canon of
Canadian literature.!
Requirements: Course requirements include one term
paper, one seminar presentation with both an oral and a
written component, and one two-hour exam. Students
will also be evaluated on class participation.!
ENGL 386/3.0, ENGL 466/3.0, ENGL 467/3.0.!
Revised July 2014

Topic: Canadian Short Story Collections
Instructor: Tracy Ware
Units: 3.0!
Description: In Canada, short fiction remains vital
though sometimes overshadowed by the novel. This
course will investigate the ways in which five authors
arrange their stories into books: at one end of the
spectrum, a sequence of stories may have the same
protagonist and setting, as in Margaret Laurences A Bird
in the House; at the other extreme, a miscellaneous
collection may be most notable for the diversity of its
stories. Somewhere in between come the typical books of
Alistair MacLeod and Alice Munro, with their recurring
themes and strong sense of place. In addition to A Bird in
the House, we will read MacLeods The Lost Salt Gift of
Blood, Munros Runaway, Rohinton Mistrys Tales From
Firozsha Baag, and Margaret Atwoods Moral Disorder.!
Requirements: The course work will involve one term
paper, one seminar presentation, a mid-term examination,
and a final examination.!
ENGL 386/3.0, ENGL 466/3.0, ENGL 467/3.0.!

Topic: Diasporic and Transnational Perspectives in Contemporary Canadian Fiction
Units: 3.0!
Description: This seminar explores the representation of
diasporic and transnational contexts in contemporary
Canadian fiction. Transnationalism has become
fundamental to debates about literature as scholars
wrestle with the interrelated phenomena of economic and
cultural globalization, migration, diaspora, and global
travel. What are the connections among literature,
nationalism, and cultural identity in the context of everexpanding transnational relations? What is the
relationship between diaspora and transnationalism?
How is the intersection between the local, the national,
and the transnational imagined in Canadian fiction? The
increasingly transnational character of Canadian writing
also raises questions about the creative, institutional, and
political conditions that shape it and about identity
formation, trauma, multidirectional memory, and
"16
citizenship. The seminar is organized in four

interconnected sections: transnational shifts in Asian
Canadian fiction; narratives of war, terrorism, and
peacekeeping; writing the global city; narratives of
transnational and transracial adoption. Course texts may
include Gurjinder Basrans Everything Was Good-By, Anita
Rau Badamis Can You Hear the Nightbird Call?, Dionne
Brands What We All Long For, Catherine Bushs The Rules
of Engagement, Camilla Gibbs The Beauty of Humanity
Movement, Maggie Helwigs Between Mountains, Jen
Sookfong Lees The End of East, Kyo Maclears The Letter
Opener, Tessa McWatts Step Closer, Kerri Sakamotos One
Hundred Million Hearts, and Madeleine Thiens Certainty.!
Requirements: Active participation in discussion, one
group presentation, a midterm exam, and a final paper.!
ENGL 386/3.0, ENGL 466/3.0, ENGL 467/3.0.!
ENGL 476/3.0 Topics in Postcolonial Literature I

Topic: Terra Australis: An Introduction to Australian Literature and Culture
Units: 3.0!
Description: Convicts, crocodile hunters, celebrity
couples, kangaroos, and colourful slang. Crikey! Surely
theres more to the land down under than meets the eye
(or mouth that savours Fosters beer)! This course traces
the complex and contentious formation of Australian
national culture in and through an eclectic selection of
significant literary and cinematic works. Some effort will
be made to include art, music, and documentary film in
our reflections on the shaping of Australian identity,
socio-political and environmental concerns, and moral
and cultural values. These works probe, with both
irreverence and insight, the anxious proximities of
settler and aborigine, including the founding of the
nation as a penal colony; the colonial manifestations of
gothic, romance, and adventure in tales, parables, and
fables; the tropes of mateship, the bush, and the
dreaming; the fantasy of the white nation and the
meaning of tolerance; the cultural cringe; and the
antipodean I/eye. Some of the authors and poets under
scrutiny are Marcus Clarke, Katharine Susannah
Prichard, Henry Handel Richardson, Peter Goldsworthy,
Christos Tsiolkas, Sally Morgan, Alexis Wright, Patrick
White, Christina Stead, Louis Stone, George Johnston,
Judith Wright, Les Murray, and David Malouf. We will
trace the representation of aboriginal culture,
Revised July 2014

epistemology, and history in films such as Rabbit-Proof
Fence, Walkabout, The Chant of Jimmy Blacksmith, Samson
and Delilah, The Fringe-Dwellers, and Bran Nue Dae; pair
films such as Romper Stomper with Stones Jonah or
Gallipoli with Maloufs Fly Away Peter to explore urban
violence and war and masculinity respectively; consider
adaptations of Tsiolkas Loaded and The Slap to reflect on
class, ethnicity, the family, misogyny, and sexuality; and
examine The Chaser among other examples of humour
and anarchy on the Australian scene.!
Requirements: Assigned and voluntary participation,
reaction pieces or journal entries, and a major research
project using the resources of visual, aural/oral, and
digital cultures.!
ENGL 384/3.0, ENGL 476/3.0, ENGL 477/3.0.!
ENGL 481 001/3.0 Topics in Indigenous Literatures I

Topic: Introduction to Indigenous Literatures in Canada
Instructor: Heather Macfarlane
Offered: Fall Term
Units: 3.0!
Description: This course examines Indigenous novels,
traditional stories, poetry, short stories, plays and films
from various time periods and numerous nations across
Canada. We will study the themes, aesthetics and politics
of the texts using a combination of culturally specific and
pan-Native approaches. In order to develop a broader
understanding of the powerful anti-colonial sentiment at
the core of Indigenous cultural production, we will also
consider the texts in the light of current critical
methodologies.!
!
Texts may include An Anthology of Canadian Native
Literature in English, 4th edition; Dry Lips Oughta Move to
Kapuskasing, by Tomson Highway; Monkey Beach, by Eden
Robinson; The Epic of Qayaq, by Lela Kiana Oman; and
Halfbreed, by Maria Campbell.!
Requirements (subject to change): Active participation, a
test, a seminar, an essay, and an exam.!
ENGL 388/3.0, ENGL 481/3.0, ENGL 482/3.0.!
ENGL 481 002/3.0 Topics in Indigenous Literatures I

Topic: Aboriginal and Chinese Canadian Connections in
Contemporary Literature in Canada
Offered: Fall Term
Units: 3.0!
"17
Description: This seminar is inspired by Rita Wongs

article Decolonizasian: Reading Asian and First Nations
Relations in Literature and the 2012 special issue of
Ricepaper Magazine entitled Aboriginal & Asian
Canadian Writers. As Wong observes, The challenging
relationships between subjects positioned as Asian
Canadian and indigenous raise questions regarding
immigrant complicity in the colonization of land as well
as the possibility of making alliances toward
decolonization (15859). Chinese migration to British
Columbia, which dates back to the 1780s, reconfigured
colonial relations between Aboriginal peoples and
European Canadians. We will discuss novels and short
stories that portray relationships between Chinese and
Indigenous people, like Sky Lees Disappearing Moon Caf
and Lee Maracles Yin Chin, and read other texts like
Wayson Choys The Jade Peony and Ruby Slipperjacks
Silent Words in juxtaposition to tease out textual and
cultural affinities as well as fundamental differences. In
its discussion of the relationship between indigeneity and
(the Chinese) diaspora, the seminar will also be
concerned with the implications and limitations of crosscultural and textual affiliative politics. The seminar is
organized in six interconnected sections: joint histories,
cross-cultural relations, and decolonizing antiracism;
knowledge holders, language and storytelling,
decolonization and reconciliation; rewriting the
European Gothic and the spectres of settlement; living
in the hyphen as life writing; transnational/transracial
adoption; assimilation and the lifeblood of resurgence.!
Requirements: Active participation in discussion, one
group presentation, a midterm exam, and a final paper.!
ENGL 388/3.0, ENGL 481/3.0, ENGL 482/3.0.!
ENGL 481/3.0 Topics in Indigenous Literatures I

Topic: The Role of Writing
Instructor: Armand Ruffo
Units: 3.0!
Description: In her much quoted essay, The
Disempowerment of First North American Native
Peoples and Empowerment Through Writing, Okanagan
writer and scholar Jeannette Armstrong challenges
Indigenous writers to use their writing to decolonize their
people. This seminar will consider the role of writing in
creating a sense of identity and empowerment among
Indigenous peoples as it provides a vehicle to speak back
to the colonizer and increasingly to the colonized. As
such, we will examine a wide range of texts, which may
Revised July 2014

include storytelling, fiction, poetry and playwriting as
well as other forms of creative expression, such as film,
produced by Indigenous people in North America.
Questions will naturally arise in considering recent work
in such areas as diaspora, healing, self-determination,
reconciliation, and language. For example, what can
colonized peoples hope to achieve, if anything, in reimagining their experiences? Can a creative work really
serve as an effective vehicle for attaining sovereignty or,
in the least, redress? In order to gain a broader
understanding of current cultural production, we will
consider socio-political and historical influences; we will
also draw on the critical work of Indigenous
traditionalists and scholars for culturally specific
perspectives.!
ENGL 388/3.0, ENGL 481/3.0, ENGL 482/3.0.!
ENGL 486/3.0 Group III: Special Topics I

Topic: Antarctica and the Imagination
Instructor: Yal Schlick
Offered: Fall Term
Units: 3.0!
Description: This course will explore just the tip of the
literary iceberg about this southernmost continent. Well
begin with an overview of Antarcticas history and
familiarize ourselves with it through one film, one short
introductory work, and one travel narrative. The
remaining weeks of term will be devoted to studying
how Antarctica has been represented in fiction and in
popular culture. Well examine how it was imagined by
authors who never went there (Poe, Verne, Lovecraft),
depicted by those who did (Bainbridge, Robinson), and
portrayed by writers intent to revise Antarcticas
contentious historyor even fiction about Antarctica
through their writing (Le Guin, Johnson). Our discussions
will explore the artistic and ideological positions of these
texts, their strategies of representation and use of the
imagination when depicting unknown places, their
fictionalization of historic expeditions to Antarctica, and
their consideration of ecological threat to pristine places
on our globe. Readings will include Klaus Dodds The
Antarctic: A Very Short Introduction, Apsley-Cherry
Garrards The Worst Journey in the World, Poes Narrative of
Arthur Gordon Pym of Nantucket, Jules Vernes The Sphinx
of the Ice, H. P. Lovecrafts At the Mountains of Madness,
Ursula Le Guins Sur, Beryl Bainbridges The Birthday
Boys, Mat Johnsons Pym, and Kim Stanely Robinsons
Antarctica. Well wrap up with Monty Pythons Scott of
the Antarctic and a discussion of other recent reQueens English Department: http://www.queensu.ca/english/!
"18
enactments of Antarctican feats. Bill Manhires literary

anthology The Wide White Page, and Elizabeth Leanes
study Antarctica in Fiction, will serve as touchstones for
our exploration.!
Requirements: Course work will include a seminar
presentation, a term paper, class discussion, short weekly
writing assignments, and a final exam.!
ENGL 486 001/3.0 Group III: Special Topics I

Topic: T.S. Eliot and Virginia Woolf
Instructor: Gabrielle McIntire
Units: 3.0!
Description: T.S. Eliot and Virginia Woolf were almost
exact contemporaries (born in 1888 and 1882,
respectively), readers and critics of each others work,
and close friends for over twenty years. Although they
are rarely considered together as a pair, Eliot and Woolf
exemplify some of the most fascinating contestations at
the heart of literary modernisms: aesthetic and formal
innovation, cultural critique, gender troubling, and
explorations of the sacred and the secular after the death
of God. Together we will consider some of the striking
correspondences and affinities that exist in Eliot and
Woolfs poetic, aesthetic, and thematic preoccupations as
we read Eliots major poetry from The Love Song of J.
Alfred Prufrock through Gerontion, The Waste Land,
Ash-Wednesday, and Four Quartets, and engage with
several of Woolfs most important novels, including To the
Lighthouse, Mrs. Dalloway, and The Waves.!
Requirements: 35% 2500-word term paper; 15% seminar
presentation; 10% group presentation; 10% active and
engaged participation and attendance; 30% final exam.!
ENGL 486 002/3.0 Group III: Special Topics I

Topic: The Graphic Novel: Visualizing History and Bearing
Witness to Trauma
Units: 3.0!
Description: It is rare for a new genre to appear in any
art form, remarks Stephen E. Tabachnick in an essay on
pedagogy, yet [with] the emergence of the graphic or
comic book novel, precisely that phenomenon has been
happening before the excited gaze of [readers] of both
literature and the visual arts. This course will provide
students with an opportunity to explore and to apply to
this relatively new literary form the close reading and
Revised July 2014

critical analytical skills they have become accustomed to
applying to more familiar genres. Framed loosely by a
consideration of the history of the genre, we will
interrogate the relationships between the graphic novel
and other forms of sequential art. Given that the
development of the graphic novel by writers such as Will
Eisner, Art Spiegelman, Joe Sacco, Marjane Satrapi, and
Alan Moore has coincided with growing representation in
literature of troubling social phenomena, our course will
especially focus on ways that the genre gives voice to
personal trauma such as mental illness, sexual abuse, and
loss, and bears witness to such cultural trauma as racism,
revolution, war, and genocide.!
Requirements: One seminar presentation, one term
paper, active participation and a final exam.!
ENGL 496/3.0 Topics in Literary Criticism and Theory I

Topic: Reading Subjectivity
Instructor: Maggie Berg
Offered: Fall Term
Units: 3.0!
Description: Most of us believe we have an essential, or
core, self, but poststructuralist theory has challenged this
idea. We will examine a selection of theorists who argue
that the individual is a function of language, and consider
the implications of this construction of the self. We will
ask how we know who we are and to what degree we
possess agency.!
!
We will examine selections from the work of Louis
Althusser, Michel Foucault, Jacques Lacan, Judith Butler,
and others. We will also read Tom Chatfield, How to
Thrive in a Digital Age.!
Requirements: A learning journal, a term paper, an
examination, and participation.!
590/3.0 Senior Essay Option

Offered: Winter Term!
Instructor: Various!
Description (from the Arts & Science Calendar): A
critical essay of at least 7500 words on a topic of the
students choice, written under the supervision of a
faculty member. For additional information, students
should consult the Department, preferably in the spring
of their third year. Open only to students in the final year
of a Major or Medial Plan in English.!
!
A prospectus for the essay signed by two supervisors must
be submitted to the chair of undergraduate studies by the
beginning of winter term; the essay should be submitted by
"19
March 10. For more information, see ENGL 590/3.0: Rules

Governing the Writing of the Honours Essay (PDF).!
Prerequisite: To be eligible to write the Senior Essay, a
student must have permission of the Department, and a
minimum GPA of 3.5 in at least 24.0 previous English
units. The 3.50 GPA requirement may be waived in
exceptional cases by request of the essays faculty
supervisor.!
Creative Writing
Courses
These are limited-enrolment courses for which students
may not preregister. Admission is by permission of the
instructors, based on their assessment of writing samples.
For information on applying for Creative Writing courses,
including submission deadlines for writing samples,
consult the Departments creative writing page: http://
www.queensu.ca/english/undergrad/creativewriting.html.!
CWRI 293/3.0 Creative Writing in Prose

Instructor: Carolyn Smart
Offered: Fall Term
Units: 3.0!
Description: An intensive workshop course focusing on
the writing and editing of short fiction. Students attempt
several approaches to the writing of short fiction and
complete the course with a formal submission for
publication in a magazine. There are in-class discussions
on editing and publishing. By the end of the term the
student will be able to bring more sharply refined skills to
the reading of their work, and edit themselves with a
more clearly intuitive, finely practiced eye. They will
have an intimate look at contemporary Canadian writers
and writing, learned first hand through interaction with
their instructor, an award-winning professional writer, as
well as through public readings and personal interaction
with authors visiting the class.!
Prerequisite: Permission of the instructor, based on
writing samples.!
CWRI 294/3.0 Creative Writing in Poetry

Instructor: Armand Ruffo
Units: 3.0!
Revised July 2014

Description: This seminar focuses on the writing and
editing of poetry and includes a detailed discussion and
analysis of the students work. It is therefore intended for
the self-motivated student and seeks to develop a
professional competence in the writing of poetry. The
majority of class time will be spent primarily on the
workshop process; however, a portion of each class will
be devoted to discussing poetics and analyzing the work
of established poets. During the course of the term
students will be expected to write a new poem each
week, participate in the workshop in a respectful manner,
accept detailed analysis of their work, and keep up with
the readings and assignments. In addition, each student
will present a mini-seminar on a contemporary poem by
an established poet, which will demonstrate the writing
technique being studied for that class. Students will be
expected to photocopy and distribute their poems to their
peers each week, which will likewise exhibit an
understanding of poetic technique. Each week the
instructor will select work from various students for
discussion. Selections from the text and/or other reading
material will be assigned for discussion.!
writing samples.!
"20
shared electronically via web site and e-mail. The course

is designed to help students write regularly and to enjoy
writing. By sharing work in progress, students learn from
and support one another and develop critical judgement.
They also practice computer and internet skills and
become comfortable working online.!
writing samples of either a short story or a non-rhyming
poem.!
CWRI 296/3.0 Creative Writing II

Units: 3.0!
Description: This course is structured entirely around the
creative writing workshop. The concentration is on short
fiction and poetry, though memoir and creative nonfiction are options. There is intensive focus on publication
and editing in a class-produced anthology, launched at
the end of term with a public reading.!
Prerequisite: One or more of CWRI 293, 294 and 295, plus
permission of the instructor.!
CWRI 295/3.0 Creative Writing I

Offered: Fall Term!
Units: 3.0!
Description: A practical creative writing workshop,
concentrating on short fiction and poetry. Students may
concentrate on short fiction or poetry all term, or they
may choose to alternate between the two genres in the
writing workshops and assignments. Part of the final
assignment will be a submission to a literary magazine.!
writing samples of either a short story or a non-rhyming
poem.!
CWRI 295/3.0 Creative Writing I (online course)

Units: 3.0!
Description: An online introduction to the art of
composing fiction and poetry. Students submit
independent creative work to the instructor and to their
classmates for feedback and read and respond to their
classmates writing. All writings and course materials are
Revised July 2014
Courses in Other Subjects

A student may count towards a Minor or Medial English
Plan up to 6.0 units, and towards a Major English Plan up
to 12.0 units, from the following list. These courses count
toward Option Course 2B for the Major and Minor, and
Option Course 2C for the Medial. Courses in italics have
either been renumbered, or are no longer offered.!
CLST 203/3.0, 311/3.0, 312/3.0!
CWRI 293/3.0, 294/3.0, 295/3.0, 296/3.0!
DRAM 303/3.0, 305/3.0, 306/3.0, 381/3.0!
GNDS 335/3.0, 370/3.0, 428/6.0, 432/6.0!
GRMN 251/3.0, 252/3.0!
IDIS 200/6.0, 303/3.0, 304/3.0, 305/3.0!
INTS 301/3.0, 321/3.0, 322/3.0!
ITLN 210/3.0, 215/3.0, 232/3.0, 233/3.0, 234/3.0, 257/3.0!
LING 100/6.0, 202/3.0, 205/3.0, 310/3.0, 320/3.0,
330/3.0, 340/3.0!
LLCU 226/3.0, 340/3.0!
PHIL 271/3.0!
RELS 238/3.0!
"21
Online, Spring-Summer,
and BISC Courses
Queens offers some English courses online through
Continuing and Distance Education (CDS) (F-100 MacCorry, 533-3222). For a current listing, see <http://
www.queensu.ca/artsci_online/courses>.!
Some English courses are offered online during the
Spring and Spring-Summer terms; these ordinarily
include at least one course at each of the 100 and 200
levels, but the specific offerings are not determined until
February or March of the relevant year. These too are
offered through CDS, which publishes a current listing
<http:// www.queensu.ca/artsci_online/courses>.!
English courses are also offered at the Bader
International Studies Centre (BISC) at Herstmonceux
Castle, East Sussex. They ordinarily include courses at the
100, 200, and 400 levels, and the upper-year courses may
be in accelerated format (full-year credits in half-year
deliveries) to make it possible for students travelling
abroad to fulfil the English curriculum requirements on
schedule. For a current listing of these course offerings,
see <http://www.queensu.ca/bisc/academics/programs/
upper-year>.
SPAN 316/3.0!
WMNS 217/3.0, 370/3.0, 428/3.0, 432/3.0!
Revised July 2014

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Queens English Department Undergraduate Courses 20132014!

Department of English, Queens University, Kingston, ON K7L 3N6, Canada, 613-533-2158

The Arts and Science Calendar offers generic descriptions

cussion. Grading is shared between instructors and

Creative Writing Courses!..........................................19!

To enrol in 300-level courses, students normally must be

Courses in Other Subjects!........................................21!

Online, Spring-Summer, and BISC Courses!........21

Seminars focused on specific topics; intensive discussion

Queens English Department: http://www.queensu.ca/english/!

Revised July 2014

Queens English Department Undergraduate Courses 20142015!

Term: Full year!

100/6.0 Introduction to Literary Study

100/6.0 Introduction to Literary Study (online

Queens English Department: http://www.queensu.ca/english/!

The prerequisite for ENGL 200299 is a minimum grade

200 001/6.0 History of Literature in English

Revised July 2014

Queens English Department Undergraduate Courses 20142015!

literature on our understanding of diverse and shared

200 002/6.0 History of Literature in English

215/6.0 History of Literature in English

Queens English Department: http://www.queensu.ca/english/!

217/6.0 Postcolonial Literature

Queens English Department Undergraduate Courses 20142015!

ENGL 223/3.0 Selected Women Writers II (online

ENGL 234/3.0 The Short Story in English

Queens English Department: http://www.queensu.ca/english/!

Description: This course traces the formal and thematic

ENGL 237 001/3.0 Childrens Literature

Revised July 2014

Queens English Department Undergraduate Courses 20142015!

ENGL 237 002/3.0 Childrens Literature

Queens English Department: http://www.queensu.ca/english/!

Note: Also offered as an online course.!

ENGL 237/3.0 Childrens Literature (online course)

ENGL 257/3.0 Elizabethan Shakespeare

Revised July 2014

Queens English Department Undergraduate Courses 20142015!

ENGL 259/3.0 Global Shakespeare (online course)

disciplined unsexiness. Despite these lasting associations,

ENGL 278/3.0 Literature and Place

Instructor: Mikaela Withers

Instructor: Steve Asselin

Queens English Department: http://www.queensu.ca/english/!

Revised July 2014

ENGL 277/3.0 Literature and Gender

Queens English Department Undergraduate Courses 20142015!

290/3.0 Seminar in Literary Interpretation

ENGL 290 001/3.0 Seminar in Literary Interpretation

ENGL 290 002/3.0 Seminar in Literary Interpretation

Queens English Department: http://www.queensu.ca/english/!

of our time to a close reading of them, we will also use

ENGL 290 003/3.0 Seminar in Literary Interpretation

Revised July 2014

Queens English Department Undergraduate Courses 20142015!

ENGL 290 001/3.0 Seminar in Literary Interpretation

ENGL 290 002/3.0 Seminar in Literary Interpretation

Queens English Department: http://www.queensu.ca/english/!

ENGL 290 003/3.0 Seminar in Literary Interpretation

ENGL 292/6.0 Introduction to Literary Criticism and