400-level / Advanced Courses

Prerequisites: None. Previous university study of English literature is usually expected.

 Description: This course will approach the form of autobiography in the Enlightenment through a brief survey of the European tradition of autobiographical texts from antiquity to the Renaissance. Against this background the readings will include not only "real" autobiographies but also contributions of first-person narrative to philosophy as well as fiction in the "long" eighteenth century (1650-1850). Reference to classic models such as Plato's Apology, Marcus Aurelius's Meditations, and Saint Augustine's Confessions should help us appreciate intellectual developments and problems in the motivation and methods of later writing in autobiographical form. In particular, we will relate these models to the emergence of the novel, which, insofar as it represents and reflects on inner experience, cannot be understood without taking into account the conventions of spiritual autobiography and the presuppositions of the construction of selfhood in other forms of first-person storytelling such as dramatic monologue, letter writing, and the diary. Although much work in this seminar will concentrate on the interpretation of particular autobiographical narratives, we will thus constantly be concerned with general theoretical issues. The historical range of our primary readings should provide a meaningful basis for addressing such issues while the written work for the course will invite careful thinking about critical concepts through focused analysis of the texts that we will study and discuss.

Texts: The required reading for this course will include most or all of the following books, which will be available at The Word Bookstore (469 Milton Street, 845-5640). (The list of texts below is tentative and incomplete, to be confirmed in January 2014.)

• St. Augustine, Confessions (Hackett or Oxford)
• Benvenuto Cellini, My Life (Oxford)
• John Bunyan, Grace Abounding (Oxford or Penguin)
• Daniel Defoe, Roxana (Oxford or Penguin)
• Denis Diderot, The Nun (Oxford or Penguin)
• Johann Wolfgang von Goethe, The Sufferings of Young Werther (Penguin)
• Jean-Jacques Rousseau, Confessions (Oxford or Penguin)
• Edward Gibbon, Memoirs of My Life (Penguin or BiblioBazaar)
• Benjamin Constant, Adolphe (Oxford or Penguin)

Evaluation: Paper (60%) and participation (40%). Regular attendance is required for a passing final grade (a maximum of two absences will be allowed except for documented medical or similar emergencies). A few optional film screenings will be included in this course, and the schedule of these screenings will be made as convenient as possible for the participants.

Format: Seminar discussions

Average Enrolment: 25 students

Expected Student Preparation: Previous familiarity with the novel as a genre. 

Description: The goal of this course is to deepen students’ understanding of the novel as a genre. We will read key theories of the novel to become better acquainted with the genre’s historical development from ancient Greece and early modern Spain to nineteenth-century England and continental Europe. Taking M. M. Bakhtin as our point of departure—alongside studies by Walter Reed, Harry Levin and others—we will use genre theory as a springboard for the analysis and discussion of canonical novels to be chosen by each student in consultation with the instructor. Students are expected to produce ongoing “position papers” that apply the theoretical readings to their selected novels in ways that will lead up to an oral presentation and final essay on generic issues in their selected novels. 

Texts: 

• Michael McKeon, Theory of the Novel
• M. M. Bakhtin, The Dialogic Imagination
• Miguel de Cervantes, Don Quixote
• Walter L. Reed, The Quixotic versus the Picaresque: An Exemplary History of the Novel
• Harry Levin, The Gates of Horn: A Study of Five French Realists
• Selected 19th-C. English novels to be chosen by each student in consultation with the instructor

Evaluation: Participation (15%); position papers (30%); oral presentation (15%); final essay (40%)

Format: Seminar discussions

Average Enrolment: 40 students

Description: This course is an intensive study of the six novels published by the Brontë sisters, 1846-1853. Our reading of the novels will focus upon two interpretative trends that have dominated Brontë criticism since the nineteenth century: the treatment of the authors as Romantic artists, withdrawn and relatively untouched by society, and that of the novels as documents of Victorian social instability. How have these conflicting arguments influenced the reception of the novels? To what extent does the biographical record of the Brontës’ lives illuminate their works, and to what extent does it eclipse the novels themselves? Such questions will structure our interpretation of the novels, as will a course pack that draws upon Brontë criticism and related social and literary texts. 

Texts: 

• ENGL 405 Course Reader
• Charlotte Brontë:  The Professor, Jane Eyre, Shirley, Villette
• Emily Brontë: Wuthering Heights
• Anne Brontë: Agnes Grey, The Tenant of Wildfell Hall

Evaluation: Participation and attendance: 20%; reading quizzes: 10%; short essay: 30%; term paper: 40% 

Format: Lectures; conference sections with Professor

Prerequisites: None 

Expected Student Preparation: Previous university courses in English literature 

Description: Alice Munro deserves her reputation as one of Canada’s great writers. Through ordinary settings and characters and an accessible prose style, she nevertheless conveys insights that arrive with the force of shock. Her chosen genre, the short story, is now connected to her name perhaps as indissolubly as to James Joyce’s and Edgar Allan Poe’s. In this course we will become Munro scholars, reading across the arc of her oeuvre from her first pieces published in Canadian magazines in the 1950s to her most recent collections. The work of the course will consist, first, in interpreting her brilliant stories one at a time; second, in tracing the shape of her career, which took a decisive turn in 1976 when The New Yorker began publishing her work; and third, in positioning her writing in relation to larger patterns, including regionalism, the Gothic, the rise of Canadian literary publishing, and the postmodern mingling of fact, memory, and fiction. In 2009 Alice Munro was awarded the Man Booker International Prize and we will follow the jury in compassing her lifetime achievement.

Texts: 

• Dance of the Happy Shades (Penguin)
• Lives of Girls and Women (Penguin)
• Who Do You Think You Are? (Penguin)
• The Progress of Love (Penguin)
• Friend of My Youth (Penguin)
• Open Secrets (Penguin)
• The View from Castle Rock (Penguin)
• Too Much Happiness (Penguin)

Evaluation: Short essay (30%); long essay (40%); oral presentation (20%); participation (10%)

Format: Lectures and discussions

Average Enrollment: 30 students

Description: A detailed consideration of the works of six major Canadian poets whose work came to prominence after 1975: Michael Ondaatje, Robert Kroetsch, George Elliott Clarke, Patrick Lane, and Karen Solie. This course is designed for students who are interested in contemporary poetry, Canadian literature, and the making of Canadian culture. The poems under study allow us to explore ideas about gender, genre, race, agency, and differing concepts of poetic form. They also allow us to look into the beautifully warped minds of criminals, eccentrics, hangmen, homicide victims, mythological artists, and “those  / who sail to that perfect edge / where there is no social fuel,” to quote Ondaatje. We will examine the career of each poet in detail and read selections from the poet’s entire body of work. Students are encouraged to explore multi-media material related to each poet in question. The writing component of the course (frequent short essays but no term papers or exams) is designed to improve interpretive abilities and to encourage creative forms of critical expression.

Texts: 

• Clarke, George Elliott. Whylah Falls (Polestar)
• Kroetsch, Robert. Completed Field Notes (U of Alberta Press)
• Lane, Patrick. Witness (Harbour)
• Ondaatje, Michael. The Cinnamon Peeler (M & S)
• Ondaatje, Michael. The Collected Works of Billy the Kid (Anansi)
• Solie, Karen. Modern and Normal (Anansi)

Evaluation: A series of short essays on each of the poets studied in the course, 80%; attendance, 10%, participation, 10%

Format: Lectures and discussions

Average Enrolment: 25 students

Prerequisite: None

Expected Student Preparation: Previous university-level courses in drama and theatre, literature, or cultural studies.

Description: This (new) course will engage in a study of both modern and contemporary interventionist Canadian political theatre, including not only the close reading of plays, such as the now ‘canonical’ agitprop drama, Eight Men Speak, but also a detailed analysis of an historicized range of theatrical movements, stylistic modes, companies, directors, actors / actresses, playwrights, community-engaged performances, and different types of para-theatrical activities. The course will place this work in various culturally pluralistic contexts, formed as a consequence of socio-political, class-driven, racial, gendered, and audience determinants, all of them devoted to the principles and practices of dissident or resistant theatre, seeking, idealistically and practically, to change the world one performance at a time. The first half of the course will be devoted to reading theoretical, critical, and historical essays, articles and selected passages from books by Alan Filewod, Julie Salverson, Chris Brookes, Rose Adams, Jan Selman, Bonita Bray, Sheila James, Ruth Howard, Savannah Walling, Ingrid Mündel, David Diamond, Catherine Graham, Bob Wallace, Don Bouzek, Edward Little, Ric Knowles, Richard Bruce Kirkley, Brian Arnott, Honor Ford-Smith, Rachael van Fossen, and Yvette Nolan, among others. The second half of the course will consist of research-based, in-class performances of selected passages from works drawn from the repertoire of Canadian political and community-based theatre, and from new work that the students themselves create from their own community on current contentious issues, themes and subjects that lend themselves to interventionist, ideologically inflected, theatrical aesthetics.  I shall invite guests such as Rahul Varma, playwright and artistic director of Teesri Duniya Theatre; David Fennario, playwright, community-builder, and rebel with a never-ending cause; Ted Little, board member of alt. theatre: cultural diversity and the stage and Associate Artistic Director of Teesri Duniya Theatre; Quincy Armour, artistic director of Black Theatre Workshop; and an artist from the collective, Théâtre Parminou in Victoriaville, among others. If there are productions in the city of work dedicated to an agenda of radical interventionist politics or community-building we shall arrange to see them, and try to meet with some of the artists involved in their creation. 

Texts: 

• Filewod, Alan. Committing Theatre: Theatre Radicalism and Political Intervention in Canada (Between the Lines, 2011)
• Salverson, Julie, ed. Community Engaged Theatre and Performance (Playwrights Canada Press, 2011)
• ---, ed. Popular Political Theatre and Performance (Playwrights Canada Press, 2010)

Evaluation (Tentative): Active ongoing participation in the intellectual and creative life of the seminar 15%; one seminar presentation on a theoretical, critical, or historical text or on a case-study 15%; a distilled critical argument arising from the seminar presentation advanced in a 8-page long essay 15%; fully committed involvement in the conceptualization, rehearsal, and staging of an in-class performance 30%; an essay of personal and / or collective reflections on the intentions, methods, and (potential) consequences for social change of that performance 25%

Format: Brief lectures; led-discussions; individual and collective presentations including interrogative Q & As; and performances

Average Enrolment: 25 students

Expected Preparation: At least 12 prior credits in ENGL courses are expected, as this is an upper-level course. 

Description: A survey of British, Irish, and American literary and mass-market narratives about spies and traitors. Espionage narratives are manifestly about paranoia, conspiracy, treachery. They also communicate ideology and rewrite history. This course pays particular attention to the human roles and political ambiguities of spy plots, with emphasis given to double agents, leaks, moles, recruitment, betrayal, and invasion. In addition, the course will ask questions about the aesthetic uses of fear and the narrative uses of chase scenes, whether in fiction or cinema. Narrative technique—narrators, implied narrators, disposition, coincidence, focalization—will be addressed during discussions. Some attention will be paid to discursive styles of espionage, including melodrama, realism, and adventure. The course is intended to sensitize students to the changing social and ideological functions of the spy. Thematic observations on abduction, disguise, torture, defection, language, accent, and decoding will also be raised in the course of lectures. Distinctions between “high” and “popular” culture will be examined through points where fiction crosses into film, and history crosses into representation. 

Texts: Approximately seven of the following novels and films will form the final syllabus. The choice of texts will be determined in October 2013.

•  John Buchan, The Thirty-Nine Steps (OUP)
• Erskine Childers, The Riddle of the Sands (OUP)
• Joseph Conrad, Under Western Eyes (OUP)
• Graham Greene, The Third Man (Penguin)
• The Third Man (film)
• Ian Fleming, Casino Royale (Penguin)
• Casino Royale (film)
• The Manchurian Candidate (film)
• John LeCarré, Tinker, Tailor, Soldier, Spy (Penguin)
• John Banville, The Untouchable (Vintage)
• Joan Didion, Democracy (Random House)

Evaluation: Short paper (25%); midterm (15%); long paper (30%); attendance and participation (10%); final exam (25%)

Format: Lectures and discussions

Average Enrolment: 40 students

Description: Shakespeare’s time saw an efflorescence of historical writing, including works on classical and modern history, global histories such as Walter Ralegh’s History of the World (1614), translations of the historical writings of Antiquity and modern Italy and France, local histories and “chorographies,” and studies of historical method. History played a central role in the polemical struggles of the English Reformation, with a work such as John Foxe’s Acts and Monuments of the English Church (1563), arguing for the apostolic primacy of the England itself. Perhaps most important were the many histories of England, like those by Raphael Holinshed, Edward Hall, and Samuel Daniel, which inculcated national pride, aroused a sense of civic belonging, and cultivated habits of critical, political analysis of the past and the present.

The theatre played a vital role in telling the story of England to the English. Shakespeare’s history plays and the historical dramas of many of this fellow playwrights shaped the historical consciousness of very many English men and women (many of them commoners and many illiterate), sharpened their political intelligence, and contributed to the formation of the political culture of modernity. In the course we will focus on Shakespeare’s English histories and also read and think about a number of other history plays by writers such as Christopher Marlowe, Thomas Middleton, and Thomas Dekker.  We will consider history writing in other forms including prose, poetry, and visual image. We will work toward an understanding of how dramatic history helped write the nation and also how it helped create a new public culture in early modern England.

Texts: Plays by Shakespeare, Marlowe, Thomas Middleton, Thomas Dekker, John Bale and others; selected historical and critical readings

Evaluation: Reading responses, formal presentations, research paper, participation

Format: Lectures, discussions and workshops

Prerequisite: None

Description: Spenser’s richly imaginative Faerie Queene, written in the late sixteenth century, is one of the single most widely influential texts in English literary history, and constitutes a literary education in itself, since it critically surveys the resources of western culture–including literature, mythology, iconography, philosophy, and theology-- up to its point. While having major socio-political investments, this romantic epic is nonetheless a central exemplar of English literary fantasy, romance, and allegory.  This course would especially complement study of early modern literature and culture, and particular writers of the period such as Shakespeare and Milton, but would also facilitate study of any literary periods in which Spenser particularly influenced writers, readers, and critics, as he did from around 1580 to 1900.

Texts: All available at the Word bookstore, 469 Milton Street

• The Faerie Queene, ed. A. C. Hamilton, 2^nd Longmans edition, paperback
• Course Reader

Evaluation: 4 in-class quizzes of 10% each; term paper 50%; class attendance and participation 10%

Format: Lectures and discussions

Average Enrolment: 30 students

Description: Reading Virginia Woolf’s novels, short stories, essays, memoirs, and diaries, we will gain a deep familiarity with this major twentieth-century British writer. While we will focus on Woolf’s literary development, we will also consider her biography, her psychology, her views on women, sexuality, and war, and her close relationships with family, friends, and fellow writers. Additionally, we will consider the meaning of “modernism” and evaluate what qualifies Woolf as a “modernist” writer.

Required books (all by Woolf except last)

The Voyage Out (1915; Oxford World’s Classics 2009, annotated by Sage)
Jacob’s Room (1922; Harcourt 2008, annotated by Neverow)
To the Lighthouse (1927; Harcourt 2005, annotated by Hussey)
Orlando: A Biography (1928, Harcourt 2006, annotated by DiBattista)
A Room of One’s Own (1929; Harcourt 2005, annotated by Gubar) 
The Waves (1931; Harcourt 2006, annotated by Hite)
Between the Acts (1941; Harcourt 2008, annotated by Cuddy-Keane) 
A Writer’s Diary (1954; Harcourt 2003) 
The Complete Shorter Fiction of Virginia Woolf, Second Edition (Harcourt 1989, ed. Dick)
Moments of Being (Harcourt 1985, ed. Schulkind)
Hermione Lee, Virginia Woolf (1996; Vintage 1999)

Note: These books will all be for sale at The Word (Rue Milton). Please buy these editions so we are all literally on the same page.

Evaluation

• 2 papers: one close reading of a passage in Woolf’s fiction (4-6 pages, 25% of final grade); final research paper (10-15 pages, 40% of final grade).
• Weekly responses on readings, emailed to the class (20% of final grade)
• Participation in class discussion (15% of final grade)

Format: Lectures and Discussions

Expected student preparation: No formal pre-requisite.  Because substantial attention will be paid to developments in Eliot’s poetic form and style, however, this course is directed to English Literature Major Concentration and Honours students  in U2 and U3 who have completed the required Poetics course (ENGL 311).  Students in other departments must have my advance permission to register.  U1 students may not register for this course. All students wishing to take this course must attend the first class; latecomers will not be admitted, whether they have registered on Minerva or not.

Description: A study of the writings of T.S. Eliot, in cul­tural, historical and biographi­cal contexts.  Concerns arising from our close primary engagement with the poems will include the crisis of the individual in modernity, the reconstruction of spiritual conscious­ness between the two World Wars, and Eliot’s critique of dualism.  Class discussions will focus on his poetry and drama, but we will attend intermittent­ly to the major works of prose criticism and to less well-known essays that help to situate the poems in major trends of twentieth-century thought.  Additional contexts of discussion will include the sources of Eliot's poetics and critical ideas and his contemporary reputation. In the course of the semester we will articulate the aesthetic radicalism and anguished spiritual longing that made this paradoxically conservative Anglo-American poet’s writings exemplary for generations of poets. 

This course satisfies Literature program requirements in: Modernism; Major Author; Additional credits from the Literature Option’s offerings

Texts:

• Eliot, T.S.  The Complete Poetry and Plays of T.S. Eliot.  London: Faber and Faber, 1969.
• ---. Selected Prose of T.S. Eliot.  Editor Frank Kermode.  London: Faber and Faber, 1975.
• Southam, B.C.  A Guide to The Selected Poems of T.S. Eliot.  San Diego, NY, London: Harcourt Brace, 1994.

Note: These books will all be for sale at The Word (Rue Milton). Please buy these editions so we are all literally on the same page.

Evaluation: To be determined, but probably: one short writing assignment in first two weeks, 2 pp., 10%; close reading essay, 5 pp., 20%; term paper, 12 pp., 30%; take-home final exam, 30%; active participation in class discussion, 10%.  (Please note before registering for this course: I assess active participation in discussion and not attendance.  Full attendance through the semester without speaking will earn 0/10 in this category and substantially affect your final grade.)  Evaluation may change depending on class size; if necessary, changes will be announced before the end of the course change period.

Format: Lecture with substantial discussion

Average enrolment: 40

Description: This course considers the cultural production of African diasporic writers and intellectuals from the United States and the Caribbean that was an important part of the struggle for hearts and minds of the early Cold War. Focusing primarily on the United States, we will read literary works from this period that mobilize various strategies to negotiate a social and political climate hostile to leftist politics. This hostility was exemplified, for example, in the revoking of Paul Robeson’s passport, which denied him access to the international audience upon which his career depended, and the summoning of Langston Hughes to testify before HUAC. Through the lives and work of such figures as Jacques Stephen Alexis, Ralph Ellison, and Lorraine Hansberry, this course will investigate how the Cold War insinuated itself into contemporary discourses concerned with gender, labor, and race. The works we will study might include:

• Jacques Stephen Alexis, General Sun, My Brother
• Alice Childress, Like One of the Family
• Ralph Ellison, Invisible Man
• Lorraine Hansberry, A Raisin in the Sun
• Chester Himes, Lonely Crusade
• C. L. R. James, Mariners, Renegades, and Castaways
• Ann Petry, The Street

Evaluation: TBA

Format: Lecture and discussion

Enrollment: 40

Description: How have African cities been represented in works written on the continent? How do they distinguish themselves from their Western counterparts? In this course we will look at works of literature, film and even music from various cultures such as South Africa, Kenya, Ghana, Nigeria, Senegal, and Algeria. These texts will enable us to discuss literary forms that evolved in dialogue with or reaction to Western literary genres, as well as the trends and cultural movements that emerged in these dynamic spaces. We will identify the imprint left by colonialism on the shape and architecture of African cities and on the lives of their inhabitants. Urbanization patterns, geographies of poverty and affluence, migration, gender roles, tradition and novelty, body image and fashion are some of the issues to be uncovered and explored in this course.

Texts: 

• Course pack with essays and out-of-print literary texts
• Ngugi wa Thiong’o: Petals of Blood
• Chimamanda Ngozi Adichie: Half a Yellow Sun
• Phaswane Mpe: Welcome to Our Hillbrow
• Ivan Vladislavic: The Restless Supermarket  

Films:

• Faat Kine. Dir. Ousmane Sembene
• Life is Rosy (La Vie Est Belle). Dir. Mweze Ngangura
• Dirty Pretty Things. Dir. Stephen Frears
• Amandla! A Revolution in Four-Part Harmony. Dir. Lee Hirsh 

Evaluation: Short paper 20%; Midterm 30%; Research paper 35%; Participation and MyCourses discussions 15%

Format: Lectures and discussions

Description: The 19^th century was, to borrow the historian Eric Hobsbawm’s phrase, an ‘Age of Empire.’ This course will examine how the British Empire influenced the literature and culture of 19^th century Britain; we will also investigate how the British literature and culture of this period molded popular British opinion about the ‘Empire.’ For this course we will read poems, essays, novels, and travelogues to understand how the question of ‘Empire’ and literary and cultural production interact with each other. We will also try and understand how new technologies – especially visual technologies – such as photography and mapping responded to the issue of imperialism. In addition to investigating how these literary and cultural texts constructed notions of 'Englishness' as well as 'home' and 'nation' in relation to its 'others,' we will also examine how they promoted ideas of manliness in texts for young adults.

Texts (tentative): 

• Arthur Conan Doyle – Sign of Four
• Charlotte Bronte – Jane Eyre
• Wilkie Collins – Moonstone
• Henry Rider Haggard – King Solomon’s Mines
• Joseph Conrad – Heart of Darkness
• Rudyard Kipling – Kim

Evaluation (tentative): Participation 10%; book review 20%; short paper 30%; final paper 40%

Format: Lecture with substantial discussion

Prerequisites: None, but the course assumes a knowledge of the major examples of late nineteenth-century dramatic realism (Chekhov, Hauptmann, Ibsen, Shaw, Strindberg).

Description: This course will examine the energetic, sometimes antagonistic, counter-responses to dramatic realism and naturalism, which emerged in late nineteenth-century Europe and had a profound effect upon theatre of the twentieth century.  Of interest to us here will be the many and varied -isms that arose in response to the naturalist moment, all of which contributed to the rise of expressionism on the European and North American stage and to the innovations of that broad artistic and cultural movement that we call modernism.  We will examine not only this unique historical turn in the theatre, but also the ways in which contemporary directors continue to bring these plays to life and allow them to speak to the present.

Texts (tentative): 

• Strindberg, August. Miss Julie, The Dance of Death Part One, and A Dream Play
• Maeterlinck, Maurice.  The Intruder and The Blind
• Wedekind, Frank.  The First Lulu
• Jarry, Alfred.  The Ubu Plays
• Ibsen, Henrik.  When We Dead Awaken
• Schnitzler, Arthur.  Hands Around
• Yeats, William Butler.  On Baile’s Strand and Purgatory
• Büchner, Georg.  Woyzeck
• Sternheim, Carl: Paul Schippel Esq
• Kaiser, Georg: Alkibiades Saved
• O’Neill, Eugene.  The Hairy Ape and The Emperor Jones
• Glaspell, Susan.  The Verge
• Artaud, Antonin.  The Theatre and its Double.

Evaluation: TBA

Format: Lectures and discussions

This course will allow students to undertake special projects, frequently involving background readings, performances, and essays. This course is normally open to Major or Honours students in the Department. Permission must be obtained from the Department before registration.

The application deadline for Fall 2013 registration is Wednesday September 11, 2013 and for Winter 2014 is Monday, January 13, 2014.

Application forms are available in the Department of English General Office, Arts 155.

Prerequisite: None

Expected Student Preparation: Some university-level course work in literature.

Description: Fairy tales have not always been aimed at children. This is a fairly recent development in the history of fairy tales, one which tends to occlude their importance as a literary genre. The literary fairy tale as a modern genre begins to appear in the sixteenth-century, when such tales were composed for an adult audience (a tradition beginning with tales by Giovan Straparola and Giambattista Basile). In seventeenth-century France, Charles Perrault, whose fairy tales are among the most familiar in western European literature, was only one of several writers who wrote fairy tales for the literary salons of Paris in the ancien regime; his contemporary, Madame Leprince de Beaumont composed the story of Beauty and the Beast. Literary fairy tales aimed at adult audiences were in vogue into the eighteenth century; in the nineteenth century, the genre became increasingly associated with children and with the rise of the idea of children’s literature, yet fairy tales still had adult appeal- and have continued to be written into the twenty-first. The aim of this course is to examine the literary fairy tale as a narrative genre; to look at different manifestations of well-known tales, from Perrault to the present-day; and to explore how their themes are continually re-imagined, reconfigured and reinterpreted. Some of the authors to consider are likely to include Charles Perrault, the Brothers Grimm, Hans Christian Anderson, Oscar Wilde, Italo Calvino, and Angela Carter, and writers of new fairy tales, such as George Macdonald, Elizabeth Bowen, and A.S. Byatt.

Texts: The Bloody Chamber and Other Stories by Angela Carter; The Classic Fairy Tales, ed. Maria Tatar; other, probably in coursepack.

Evaluation: Participation and attendance, presentation, essay, paper proposal, final paper.

Format: Lectures and discussions

Average enrolment: 30

Description: This course offers an introduction to Canadian First Nations, Métis and Inuit literature, video and film. The literatures of Indigenous North America have a long and rich history, and encompass a wide range of genres and media, from books, songs, treaties, memorial petitions, and letters, to autobiographies, histories, poems, stories, novels, comic books, plays, and other textual and performance materials. Each of these “interventions” is witness to the extensive artistic and literary productions taking place in the ever-growing multidisciplinary field of Indigenous Studies, and roots the study of the literary within the social, historical, political and intellectual contexts of their source communities. We will thus examine how literature enables us to better understand the political, historical and social issues that Canadian Aboriginal peoples are faced with, and how these issues, in turn, inform their literary and artistic creations. Additionally, we will explore how more recently, these literary productions have informed film production and popular culture.

Texts: 

• Sundogs. Lee Maracle. Theytus Books (1994)
• Kiss of the Fur Queen. Tomson Highway. Anchor Canada (1999)
• Monkey Beach. Eden Robinson. Vintage Canada (2001)
• 7 Generations: A Plains Cree Saga. David Alexander Robertson (Author) and Scott B. Henderson (Illustrator). HighWater Press (2012)
• Message Sticks – Tshissinuatshitakana. Joséphine Bacon. TSAR Publications (2013)
• An Anthology of Canadian Native Literature in English. Daniel David Moses, Terry Goldie & Armand Garnet Ruffo (eds.) Oxford University Press (2013, Fourth Edition)

* Books will be available for purchase at the McGill Bookstore.
* Additional readings will be required on a weekly basis. It is important that you read these in conjunction with the required novels.
* Excerpts from films and videos will be shown in class and are considered an integral part of the class material for which you are responsible. 

Evaluation: Participation 10%; Short Paper 25%, Long Paper 35%, Final Exam 30% 

Format: Lectures

Average Enrollment: 30

Prerequisites: None

Description: This course explores the phenomenon of metamorphosis, or radical transformation, in a variety of imaginative discourses.  A favorite literary topic in classical antiquity, metamorphosis was moralized by medieval Christian writers and later reconceived in light of modern theories of psychology and evolution.  The historical attraction of shapeshifters, monsters, hybrids, grotesques, and werewolves remains alive and well in contemporary literature and cinema.  In this course, we will approach metamorphosis as a cultural, artistic, and philosophical issue.  What is the relationship between identity and change?  Why has the notion of the self’s fluidity—its inclination to cross the permeable borders of bestiality, sexuality, and spirituality—proven such an enduring fascination and anxiety?  Our approach will be broadly historical, aiming to explore how notions of change themselves change over time and across cultures.  Though our primary interest will be in representations of metamorphosis in literature (English and European), we will also consider the relevance of other cultural forms, including visual art, medical science, documentary records, and biological theory. 

Texts: 

• Ovid, Metamorphoses (specific edition TBA)
• Apuleius, The Golden Ass, trans. P. G. Walsh (Oxford World’s Classics)
• Petrarch, Canzoniere, trans. Anthony Mortimer (Penguin Classics)
• William Shakespeare, A Midsummer Night’s Dream (Signet Classics)
• Franz Kafka, The Metamorphosis, trans. Stanley Corngold (Norton Critical Edition)
• Italo Calvino, Cosmicomics, trans. William Weaver (Harvest/Harcourt Brace)
• Coursepack 

Evaluation: 20% shorter essay (4-6 pages), 40% longer essay (10-12 pages), 30% take-home final exam, 10% class participation

Format: Lectures and discussions

Prerequisite: ENGL 342 or its equivalent.

Description: Hwæt! This course aims to build on students’ knowledge of Old English by engaging in a reading and translation of selected passages from Beowulf. We will examine the poetic structure and rhetoric of the text, its heroic theme, the conventions of Anglo-Saxon poetry, and the numerous variations in the editing and translating of this great poem. We will also explore the cultural world of Anglo-Saxon England as it is represented in the text, and some of the debates surrounding its dating and historical context.

Texts: 

• Beowulf: An Edition. Bruce Mitchell and Fred C. Robinson. Oxford: Blackwell, 1998

Evaluation: Translation 40%; term paper 40%; participation and attendance 20%

Format: Seminar

Avg. enrolment: 10 students

Description: England in the Middle Ages had its own special brand of religiosity. English people in this period also had much to say about religions, cultures, and practices elsewhere in the known world, both in their own time and from Classical Antiquity. The religious experience of English people shared a great deal with that of their contemporaries on the European continent, and so in some very important ways it is misleading to speak of English culture as “insular”. At the same time, there were many developments in England that held little in common with what was happening on the continent, and so it is valid to study English religiosity as involving unique phenomena, or at least developments that took on a particularly English identity. In medieval England we find a variety of representations of Jews and Muslims, though (in the late Middle Ages, at least) few Jews or Muslims could be found living anywhere in England. And so the impressions and representations would seem to stem from textual influences, international communication, or reliance (in the case of the Jews) on older accounts from England. Christianity in England was also a strange beast. In the late Middle Ages we witness the rise of a vibrant lay piety, the first complete translation of the Bible into English, and an academic heresy that spilled over the walls of the university and into the streets. Many of these developments were in turn met by a severe response that was not always consistent with attitudes on the continent. And yet a variety of voices, many of them reformist, could still be heard in the face of strong opposition. Further, England would eventually become one of the decisive centers of the Protestant Reformation in the sixteenth century and after. These later developments cannot be understood completely without an awareness of late-medieval English religious experience.

Students in this course will study English literary representations of Judaism, Islam, Christianity, and paganism in the late Middle English period, from approximately 1300-1500, as well as select texts from the early Protestant period in the sixteenth century. Most texts will be read in the original Middle English. Prior experience with Middle English is encouraged but not mandatory. 

Texts (tentative):

• The Siege of Jerusalem
• The Book of John Mandeville
• Geoffrey Chaucer, The Prioress’ Tale
• William Langland, Piers Plowman
• Select texts pertaining to: English heresy, the Bible translation debate, lay devotion, female mysticism and spirituality
• Selections from English mystery plays
• Saints’ lives and selections from John Foxe’s Book of Martyrs

Evaluation (tentative): Mid-term essay, 25%; final research project, 40%; rare books responses (2), 20% (10% each); in-class translations, 5%; participation and attendance, 10%

Format: Lectures, discussions, workshops

Description: This seminar examines key readings in movement theory as they map the formation of theatrical choreography as a defining art of western modernity. Drawing from the publication of Chorégraphie in 1699––from the Greek khoreia (dancing) and graphein (writing)––as a system of dance notation, the course will follow the transformation of the relation between the score and the event; writing and moving; philosophy and dance from the Baroque period to contemporary experimentations. Considering a range of paradigms and compositional problems brought forth by diverse writers, philosophers, and choreographic artists, we will investigate choreography across issues of technique, technology, mobilization, subjection, discipline, legibility, freedom, and the ephemeral. By exploring the critical and creative intersections between acts of writing and dancing, the students will be encouraged to reflect upon, problematize, and reenergize the space between theory and movement.

Texts: The readings will include key authors in dance theories and philosophies of movement, such as Giorgio Agamben, Henri Bergson, Georges Didi-Huberman, Raoul-Auger Feuillet, Mark Franko, Elizabeth Grosz, Bojana Kunst, Susan Leigh Foster, Erin Manning, Randy Martin, Jean-Luc Nancy, Jean-Baptiste Noverre, and Peter Sloterdijke. 

Evaluation (tentatively): 1 short paper (20%); 1 long paper (40%); 1 in-class presentation (20%), participation (20%)

Format: Lectures, presentations, discussions

Description: In this course we will explore the various psychological, political, generic, rhetorical, and sociological parameters of comic recognition and misrecognition in theorists from classical Athens to the present day. We will read and discuss theoretical accounts of comedy, humour, and laughter by Plato, Aristotle, Evanthius, Thomas Hobbes, Arthur Schopenhauer, Mikhail Bakhtin, Charles Baudelaire, Henri Bergson, Sigmund Freud, Northrop Frye, C.L. Barber, René Girard, Hugh Duncan, Roger Henkle, James Feibleman, and Stanley Cavell, among others. As a way of grounding these various theoretical accounts in specific examples, we will also study two plays, a novel, and a film.

Texts: TBA, will include a course-pack of readings.

Evaluation: Midterm essay (30%); final essay (40%); final exam (30%)

Format: Lectures and discussions

Prerequisites: ENGL 230 and ENGL 269 and/or permission of the instructor.  Sign-up sheets for interviews will be posted on the door of Arts 240 the first week of April.  Please send a letter (of less than one page, double spaced) outlining why you are interested in taking the course and what you would bring to it.  E-mail it to myrna.wyatt.selkirk [at] mcgill.ca with the subject heading Directing Class Application.  It is due two days before your interview.

Description:  The preparation of the dramatic text for production: 1) script analysis, research, planning, 2) auditions and casting, 3) the rehearsal process (with a strong focus on the actor/director relationship), 4)technical elements, 5) performance.

Texts: 

• The Directors Eye by John Ahart (Meriwether Publishing, 2001)
• The Viewpoints Book: A Practical Guide to Viewpoints and Composition by Anne Bogart and Tina Landau (Theatre Communications Group, 2005)
• Actions: The Actors' Thesaurus by Marina Caldarone (Maggie Lloyd-Williams, 2004)

Evaluation: Class Participation and Attendance; Scene rehearsal and performance; Metaphor/Action Board; Research; Production Book (script analysis, and annotated script) and a journal of the entire process (including final reflections); Workshop Production 

Average enrolment: 10 students

Expected Student Preparation: Previous university-level courses in drama and theatre, literature, or cultural studies of the kind that have taught you how to undertake original research and disseminate your interpretations of that research by various means.

Description: This line from the distinguished American stage and screen actress, Ethel Barrymore, sums up in a witty fashion the complex subject who is at the front and centre of this research seminar: "For an actress to be a success, she must have the face of Venus, the brains of Minerva, the grace of Terpsichore, the memory of Macaulay, the figure of Juno, and the hide of a rhinoceros."

There are literally hundreds of biographies of and autobiographies by actresses. There is a large body of scholarly and non-scholarly literature on the history of the actress, on the lives, times, and careers of individual actresses, and on how the actress has been re/ presented in diverse ways, some of which are contradictory, paradoxical, and bogus.

There are plays and films in which actresses are traduced, celebrated, venerated, and demonized.

There are novels in which actresses (or their surrogates) are major and minor characters, frequently involved not only in acting but in acts of theatrical self-fashioning.

In so many of these works, the actress is mimesis-in-action, portrayed as a whore or as an angel or as somebody in-between, a hybrid, liminal, protean, threatening and / or comforting figure, often a Jungian archetype, a bewitching figure haunting, and haunted by, a dream grotto, someone 'made up' rather than 'real.'

There remains, however, so much more to learn about the actress: not only about her ever-shifting complexly gendered "iconic" status—and why, how, and to what ends it is constructed / has been constructed to create sexuality, identity, image, and re/ presentation--but also about the material conditions which she has faced and continues to face as she has sought to create or been forced to assume that iconic status.

These conditions include training (both in formal acting programs and as tyros on the stage), actually getting work and being properly paid, being chosen and not chosen for particular (ideally star) roles, experimenting with innovative interpretations and sometimes subversive, sometimes conventional styles of performance, working within an ensemble, recognizing her perhaps ascendant position within a long genealogy of performance traditions, making or not making the transition from silent film to sound film, developing a repertoire defining the singularity of her persona both on and off the stage, wooing her fans, becoming and not becoming a sex symbol, dealing with both popular and specialist criticism, going into management as a practical act of agency, touring both at home and abroad, contesting social, family, and social stigmas, challenging racism and white-only casting and anti-theatrical hostility, struggling through the difficulties of aging, including the devastating impact of memory loss, and problematically achieving iconic autonomy and emancipation in a theatrical world often dominated by men exercising patriarchal principles and practices. And this is just a short list of some of those material conditions.

This is an advanced research seminar which will allow you the opportunity to engage in research into primary and secondary sources—memoirs and biographies, photographs and drawings, indeed all types of iconographic material, performance reviews, histories of the theatre, plays, films, and novels, the growing catalogue of scholarly work about the figure of the actress, etc.—with the following interrelated objectives, among others:

• To interpret the multiple significances of these different kinds of sources
• To rethink the functions, forms, and limitations of extant scholarship about the actress
• To reconsider the functions, forms, and, in some cases, the ideological and perhaps hidden agendas of the signifying codes in artistic representations of the actress
• To expand our collective understanding of why, how, and to what effects the actress has functioned, continues to function, in society as both a complex, mobile heterogeneous sign system and as a working woman
• To enable all members of the seminar to undertake original research and to develop original scholarly analysis
• To learn about the careers of individual actresses and about movements of actresses
• To learn about performance genealogies; the stage history of a given role and how actresses have situated themselves in relation to that stage history, both in interpreting it and in executing it
• To come to an understanding, in a preliminary way, of the material conditions of actresses' performances
• To develop effective ways by which to analyze the work of actresses within socio-political, historical, aesthetic, geographic, broadly cultural, and gendered contexts

Texts: 

• The Cambridge Companion to the Actress, ed. Maggie B. Gale and John Stokes (Cambridge UP, 2007)

Films: 

• Stage Beauty (2004), written by Jeffrey Hatcher, directed by Richard Eyre
• The Lives of Others / Das Leben der Anderen  (2006),  written and directed by Florian Henckel von Donnersmarck

Evaluation (tentative): Continuing full participation in the intellectual life of the seminar 15%; an annotated and / or written-out 'bibliographic / methodologies' report 15%; a presentation on an actress or group of actresses, analytical and issue-related 30%; a scholarly essay on an individually-negotiated topic in connection with our subject in the order of 15 to 20 pages 40%

Average enrolment: 10 students

Description: From its earliest iterations at the turn of the twentieth century, the development of American cinema has been inextricable from the social construction of race in American society.  Likewise, American perceptions and conceptions of racial difference have been heavily influenced, challenged, and transformed by representations of race in film, television and other mass media.

This course examines the complex representation of race in American cinema from the depictions of blackface, "yellowface," and minstrelsy in the silent films of D.W. Griffith to contemporary depictions of the multi-racial nation in the Obama era.  Along the way, we examine the relation between key film movements and the historical, social, and political circumstances from which they emerged.  The course is deliberately balanced in focus between commercial films made by a predominantly white industry, and critical, auteurist, or experimental narrative films authored by white and non-white directors working within and outside of the dominant film industry.

Topics to be studied include:

• The "race films" made by and for the black community in response to the racist depictions of mainstream cinema
• The representation of the "yellow peril" amidst periods of intense anti-immigration and specifically anti-Asian anxieties (the Progressive Era; Jazz Age, the Korean War, the Vietnam War)
• The gender, sexual and racial politics of the representation of the tragic mulatto figure in melodrama
• The emergence of a liberal, white-authored and ultimately paternalistic "civil rights" cinema in the 1960s
• The emergence and rapid co-optation of blaxploitation film in 1970s
• The counter-development of the "LA Rebellion" school of Black Cinema in the 1970s and 1980s
• The emergence of high profile African-American and Asian-America auteur cinema in 1980s, and 1990s
• And contemporary American cinema and the representation of Arab and/or Islamic culture in the post 9/11 era

We shall supplement our investigation of large historical, political and cinematic trends with in-focus examinations of the impact of several key figures in the cinematic construction of race in American cinema, including: D.W. Griffith, Oscar Micheaux, Shirley Temple, Paul Robeson, Sidney Poitier, and Spike Lee.
In addition to watching films every week at a mandatory screening, we will read influential texts from critical race theory and American film history.

Films to be Screened May Include:

• Uncle Tom's Cabin (Edwin S. Porter, US, 1903)
• The Birth of a Nation (D.W. Griffith, US, 1915)
• The Cheat (Cecil B. DeMille, US, 1915)
• Broken Blossoms (D.W. Griffith, US, 1919)
• Within Our Gates (Oscar Micheaux, US, 1920)
• The Jazz Singer (Alan Crosland, US, 1927)
• The Scar of Shame (Frank Peregini, US, 1927)
• The Bitter Tea of General Yen (Frank Capra, US, 1933)
• The Little Colonel (David Butler, US, 1935)
• Song of Freedom (J. Elder Wills, UK, 1936)
• Salt of the Earth (Herbert Biberman, US, 1954)
• Imitation of Life (Douglas Sirk, US, 1959)
• Nothing But a Man (Michael Roemer & Robert Young, US, 1964)
• In the Heat of the Night (Norman Jewison, US, 1967)
• Night of the Living Dead (George Romero, 1968)
• Sweet Sweetback's Baadasss Song (Melvin Van Peebles, 1971)
• Killer of Sheep (Charles Burnett, US, 1977)
• Bush Mama (Haile Gerima, US, 1975/1979)
• Do the Right Thing (Spike Lee, US, 1989)
• Surname Viet Given Name Nam (Trinh T. Minh-ha, US, 1989)
• Daughters of the Dust (Julie Dash, US, 1991)
• The Wedding Banquet (Ang Lee, US, 1993)
• Bamboozled (Spike Lee, US, 2000)
• Crash (Paul Haggis, US, 2004)

Texts: include writings on cinema and media by:

• Edward Guerrero
• Jane Gaines
• Richard Dyer
• Manthia Diawara
• Linda Williams
• Robert Stam & Ella Shohat
• bell hooks
• Richard Fung
• Rey Chow
• Donald Bogle
• Robert G. Lee
• Michael Rogin
• Gina Marchetti
• Fatimah Tobing Rony
• Hamid Naficy
• Michelle Wallace

As well as critical race theory by authors including:

• Frantz Fanon
• Henry Louis Gates
• Edward Said
• Homi Bhabha
• Cornel West
• Gary Okihiro
• Angela Davis

Evaluation Attendance and participation: 15%; midterm: 25%; final Essay: 60%

Format: Lectures, discussions and mandatory weekly screenings

Prerequisite: None. This is an upper-level seminar intended for an audience of advanced undergraduates with a high degree of interest in cinema studies.

Description: This seminar will focus on a selection of topics central to the philosophical study of cinema.  Those first and foremost among these pertain to the nature of cinema.  Here we encounter deep and, for the most part, intractable puzzles about the definitions of such key concepts as "cinema," "film," and "medium."  We also tangle with perennial questions about what, if anything, makes movies different from works in all other art forms and whether cinema has a distinct nature or essence.  The standard descriptions of cinema's nature--as representation of reality, as the production of illusion, or as signifying system--shall be surveyed and evaluated in light of more recent statements about cinema's ontology.  Another of our focal concerns will be cinematic narration.  We'll examine in detail the arguments over what differentiates cinematic from literary narration, how unreliable cinematic narration is possible, whether cinematic narrators per se exist, and what or who is the executive source of the narration. Against various theories evoking the shadowy being of a grand imagier, I will make a case for believing that only certain movies have something analogous to a literary narrator and that only an actual "cinematic agent" can be the presenter, the proximal source, of the story.  Throughout our seminar, we'll also take heed of some recent and provocative statements about what sorts of contributions cinema might itself make to philosophical thought.

Texts: A selection of recent readings drawn from the area of philosophy of film, including essays from Paisley Livingston and Carl Plantinga, eds., The Routledge Companion to Philosophy and Film (2009); Noël Carroll and Jinhee Choi, eds., Philosophy of Film and Motion Pictures (2006); Richard Allen and Murray Smith, eds., Film Theory and Philosophy (1997).  These articles will be available in a photocopied course pack. 

Evaluation: A term paper; seminar participation

Format: Lectures and discussions

Prerequisites: none

 Expected preparation: substantial coursework at the 300-level or above in film or related disciplines. Because of the structure of the course, interested students are expected to attend from the first day.

 Description: This advanced course in the film and television work of Alfred Hitchcock will unfold in roughly two halves. The first half will be a crash course in Hitchcock studies—a condensed tour through the most recent and influential statements in the field (by critics such as Tania Modleski, D.A. Miller, Lee Edelman, Susan Smith, and Jonathan Goldberg), and a broad look at many of the major films. Be prepared to move fast.

The second half of the course will be a sustained consideration of the problem of hospitality, the dominant, but oddly undiscovered, idiom of Hitchcock’s work. It is a problem that operates in several registers at once, and our approach in the second part of the course will be to isolate one of these registers each week and study it in several films. Examples might include the party scenes of Rebecca, Notorious, Rope, and Marnie, the refuge plots of The 39 Steps, Saboteur, and North by Northwest, or the contracts secured under hospitable pretences in Dial M for Murder, Vertigo, and Strangers on a Train. We will ultimately consider modern culture itself as a scene of troubling hospitality—a scene all the more vexed as we follow Hitchcock’s work from the cinema into the domestic space of television, where he will explicitly play the host.

Text: Coursepack

Evaluation: Film journals 25%, term paper 40%, participation 20%, quizzes 15%

Format: Lectures and discussions

Average Enrollment: 35 students

Prerequisite: None, but students should have completed at least one introductory theatre course such as ENGL 230.

Description: This course will explore scenographic practices and theatrical architecture from the opening of the Patent theatres in 1660 until the turn of the 20thC.  While looking at the evolution of stage design over two centuries students will learn how to read theatrical scenery, how to discuss it, and how to write about it. Some questions will be central to the course. How, for example, does scenery influence perceptions of character? What is the linkage between scenery and narrative?

The majority of the course time will be spent on British and North American theatres but due respect will be paid to European influences and innovations.

Units will include:

• The advent of moveable scenery and the English Baroque stage
• Neo-classicism
• The Gothic and Romantic pictorial stages
• Sensation scenery
• Realism and Expressionism
• Adolph Appia, Edward Gordon Craig and the New Theatre
• The Elizabethan Stage Society and its afterlife 

Texts: Coursepack

Evaluation: Attendance and participation 15%; two short class presentations 10% each; short paper 15%; final paper 50%

Format: Lectures and discussions

Prerequisite: None.

Description: Costumes do not exist in a vacuum; they respond to social and political factors specific to the era in which they were created.  They are inextricably linked to the art and architecture of their day as they are to the current political and moral beliefs.  A micro mini skirt comments on the sexual mores of the 1960’s as succinctly as any treatise on sexual liberation. We, along with Webster's Dictionary, use the term “costume” to mean a style of clothing, ornaments, and hair used especially during a certain period, in a certain region, or by a certain class or group.

The structure of this course will alternate between instructor information and student response.  The instructor will present the costume history of each specific era through slide format, example pieces, and embodied learning.  In the next class, students will present their oral projects which respond to the specific era.  They will answer questions such as:  What is the common aesthetic between furniture and clothing design of the Victorian era (or “How the heck did they sit down in that”?).  How does the music of the 1920’s effect dance, and in turn, clothing styles? How do the political and economic realities of the day impact upon the clothing of the 1930’s?

Historical overview of costumes will be enhanced by embodied learning and an inquisitive look at the link between clothing and the culture that created them. 

Texts: None required. Expect one museum entrance fee during the semester

Evaluation (tentative): Attendance/participation 10%, costume critique 10%, oral presentations 40% (two presentations worth 20% each), mid-term quiz 10%, long paper or major independent project 20%, end of term quiz 10%

Format:  Alternating lectures by the instructor and oral presentations by the students

Average Enrollment: 25 students maximum

Prerequisite: ENGL 491-D1. No credit will be given for this course unless both ENGL 491D1 and ENGL 491D2 are successfully completed in consecutive terms ENGL 491D1 and ENGL 491D2 together are equivalent to ENGL 491

Restrictions: Open to Honours English Students in U3.

Average Enrollment: 40

Prerequisite: None.

Description: This course will introduce students to contemporary graphic novels from a variety of different theoretical perspectives, attending to the form as a popular medium while also considering its unique aesthetic qualities.  Considerable attention will be paid to close reading and to the analysis of formal and stylistic elements that distinguish comics as a unique artistic phenomenon.  Students will be encouraged to develop their own approaches and bring diverse critical and theoretical frames of reference to bear upon the texts studied, taking full advantage of the many research possibilities that exist in respect to this form. The course will be organized into approximately four thematic groupings: revisionist narratives within the mainstream, memoirs and confessionals, new journalism, and auteur comix.  The texts will be chosen based not only on historical impact, verifiable influence or general popularity with readers but also with an eye to comics that experiment and expand the boundaries of the medium.  So, while students will no doubt recognize some familiar names and titles, there will also be some less well-known books represented.  Writers and artists to be chosen from include: Will Eisner, James Sturm, Alan Moore, Dave Gibbons, Eddie Campbell, Art Spiegelman, Julie Doucet, Chester Brown, Frank Miller, Daniel Clowes, Charles Burns, Alison Bechdel, Grant Morrison, Frank Quitely, Chris Weston, Warren Ellis, David Collier, Ben Katchor, Marjane Satrapi, Rutu Modan, Jason Lutes, Kurt Busiek, Alex Ross, Jeff Smith, Guido Crepax, Joe Sacco, David B., Chris Ware, Los Bros. Hernandez, Nick Abadzis, Rick Veitch, Phoebe Gloeckner, Neil Gaiman, Harvey Pekar, R. Crumb, Adrian Tomine, Jack Jackson, Craig Thompson, James Kochalka and  Scott McCloud.

Texts: TBA

Evaluation: TBA

Format:  Group discussions

Average Enrollment: 40 students

Prerequisites: By arrangement with individual instructor. Permission must be obtained from the Department before registration.

Application deadline for Fall 2013 registration: Wednesday, September 11, 2013. Application forms are available in the Department of English General Office, Arts 155.

Description: Intended for advanced and/or specialized work based on an extensive background in departmental studies. This course is normally not available to students who are not Majors or Honours students in the Department

Prerequisites: By arrangement with individual instructor. Permission must be obtained from the Department before registration.

Application deadline for winter 2013 registration: Monday, January 13, 2014. Application forms are available in the Department of English General Office, Arts 155.

Description: Intended for advanced and/or specialized work based on an extensive background in departmental studies. This course is normally not available to students who are not Majors or Honours students in the Department

Internship with an approved host institution or organization.

Restrictions: Open to English Majors in U2 or U3

Open to U-2 and U-3 English majors after they have completed 30 credits of a 90 credit program or 45 credits of a 96-120 credit program, with a minimum CGPA of 3.0, and permission of the Director of Undergraduate Studies in English. This course will not fulfill English program requirements. Students will normally register in the Fall semester for Summer internships.

Students wanting more information on how to apply for ENGL 498 should go to the Internships website. This page contains downloadable application forms as well as links to further information about internship programs supported by the Faculty of Arts.