2025 Summer Undergraduate Courses

2025 Summer Undergraduate Courses

A. Medieval and Renaissance literatures: ENGL 343 to ENGL 350

B. 18th- and 19th-century literatures: ENGL 351 to ENGL 364

C. Modern, contemporary, transnational, and Indigenous literatures: ENGL 365 to ENGL 379

D. Media, theory, genre, and special topic:  ENGL 332 to ENGL 339; ENGL 380 to ENGL 397

A. Structure of English: ENGL 330, 331, 321

B. History of English: ENGL 318, 319, 342, 343, 344, 346

C. Approaches to contemporary English: ENGL 323, 324, 328

D. Discourse and meaning: ENGL 312, 322, 327

E. Rhetoric: ENGL 307-311

Note: topics covered in any of the above groups may also focus on ENGL 326 (which has no permanent title) and ENGL 489 (majors seminar-language, where the instructor decides on the topic offered in any given year).

Each course will be classed into one of the groups A-E in any given year, depending on the topic covered. Please see an advisor if you want ENGL 326 or ENGL 489 to count as satisfying group A-E requirements.

As of February 15, 2025

TERM 1
MW, 12:00PM - 3:00PM

Irony and Serious Humour in Multicultural Writing and Film

As cultural and literary devices, irony and humour are similar in that they often involve language or forms of expression that appear to mean something other than what they say. This surprising lack of commitment to meaning is part of what makes irony and humour funny—and thus unserious by definition. It’s only a joke, after all. Yet ironic double meaning and comic incongruity are also highly effective when it comes to raising difficult issues or potentially distressing and embarrassing subject matter. Ironically, it is the unseriousness of humour that seems most to recommend it as a literary and cultural technique for addressing serious issues.

This course proposes to take a serious look at how different forms of irony and humour operate in the creative work of a number of (mostly) contemporary Indigenous, Black, and multicultural authors. It inquires into how these authors use ironic and comic modes of address and representation to elude and transgress dominant social norms around class, gender, race, sexuality, and identity. Who or what is the “butt” or object of humour in the work of these short story writers, poets, and film makers? Are their jokes and ironic characterizations primarily instances of “laughing at,” or do they also invite readers to consolidate group identity and fellow feeling by means of “laughing with?” Do the texts use comic ambiguity and irony to “bribe” readers with feelings of comic enjoyment, or is the goal rather to generate ridicule, scorn, and displeasure. Most importantly, are there instances in which these authors use humour to perform more overtly serious work, such as political resistance, opposition, and critique?

The course syllabus is to comprise work by some or all of the following authors, poets, and directors: Sherman Alexie (Spokane), Marie Annharte Baker (Anishinaabe), Wanda Coleman, Linh Dinh, Chester Himes, Thomas King (Cherokee), Ha Jin, Spike Lee, Adrian Louis (Lovelock Paiute), K. Silem Mohammad, Trevor Noah, and John Yau. Many of the texts are quite short, and we are watching at least one film (in lieu of reading a novel).

 

TERM 1
TTh, 12:00PM - 3:00PM

We will post the course description as it becomes available.

TERM 2
MW, 12:00PM - 3:00PM

Narrating Realities

What does it mean to “represent” a real-world fact, experience, or belief in fiction? What happens to that “real” thing once it becomes part of a story? Why do we use stories — instead of more clearly factual modes of communication — to process and communicate our perceptions and experiences of reality? What are the signals we use to differentiate fact from fiction in the first place? If we accept that the lines between story and reality are blurry, how can fiction be used to propose alternative realities, or challenge the “truths” and perceptions of this one?

This course will analyze themes of fictional reality in texts from authors including Jorge Luis Borges, Lana and Lilly Wachowski, and Tim O’Brien. We will particularly focus on texts by racially marginalized authors in North America, including Eden Robinson, Audre Lorde, and Octavia Butler, who have used fiction as a space in which to challenge the realities asserted by colonizer knowledge and stories. We will encounter texts in various formal genres — a novel, short fiction, poetry, a film — and ask how approaches to narrating reality mark the differences between these genres.

Texts will include Robinson's Monkey Beach (Vintage, 2000), O’Brien’s The Things They Carried (1990), the Wachowskis’ first Matrix film (1999), and various poems and short stories.

TERM 2
TTh, 12:00PM - 3:00PM

Literary Monsters and Monstrous Literature

Rey: “You are a monster.”
Kylo Ren: “Yes, I am.”
– Star Wars: The Last Jedi

“Deformed, unfinished, sent before my time into this breathing world” – Richard III 1.i

What is a monster? We know monsters from myths and legends, folktales, horror fiction and film. We know their variety: the grotesque, the beautiful, the terrifying, the pitiable, the sports of nature and the forces of evil. Dragons, werewolves, vampires, zombies, Frankenstein’s Creature, Dorian Gray, the Joker, Hannibal Lecter, Marisa Coulter, many of the characters in The Walking Dead or Game of Thrones: they’re everywhere, from under the bed to the house next door to the battlefield, and right into a great deal of literature. Which leaves us here: in this section of 110 we’ll focus on how literary texts \use representations of monstrosity in ways that inspire both terror and horror, as well as (let’s be honest) fascination and even enjoyment.

We’ll start with William Shakespeare’s Richard III (a play that meditates on villainy and ambition in demonizing its subject for Tudor audiences, yet still fascinates contemporary ones) and at Ian McKellen’s 1995 film adaptation, which shifts the setting to an alternate-reality 1930s England where fascism takes hold. We will also consider various stage and screen adaptations as approaches to the play, including recent ones using race and gender-diverse casting, and sometimes featuring as Richard actors who are themselves physically disabled or disfigured. Other core texts include Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde and Shirley Jackson’s We Have Always Lived in the Castle. There may be a couple of additional texts.

Your writing assignments in this course (two essays and a final exam) will develop skills in both critical thinking and university-level literary textual analysis, and both are much more generally useful and applicable than you might think. I hope there will also be a lot of lively discussion, both in class and on our Canvas site.

TERM 1
MW 10:00AM - 1:00PM

Robots, Artificial Intelligence, and Us.

AI is one of the most pressing technological and social questions of the current moment. Governments and corporations around the world are rushing to pour billions of dollars into AI research, all seeking to be the first to develop AGI (Artificial General Intelligence) and to leverage other modes of AI (LLMs and the like). The social questions surrounding AI are numerous and pressing, yet they are not new. Writers have been exploring the potential impacts of AI on human society, and on human psychology, for many decades.

In this course we will explore the complex intimate relationships between humans and artificial intelligences through a range of literary texts from the 20th and 21st centuries. We will delve (a common LLM word) into a selection of seminal works that span various genres and perspectives, providing insights into the implications of our technological advancements on society, ethics, and identity.

The course texts will include the following: I, RobotNeuromancerThe Lifecycle of Software ObjectsThe Murderbot Diaries, vol 1 (the two novellas All Systems Red and Artificial Condition); and Klara and the Sun; and a selection of films on AI.

ONLINE

This online course explores and examines contemporary English phonology, morphology, parts of speech, and lexical (word) meaning. We begin with the study of distinct speech sounds and possible sound combinations in English. Students will study the International Phonetic Alphabet as it applies to current varieties of English. Next, we study the processes of word formation and word classification in English. We then study word meaning (lexical semantics) using a variety of approaches. The course is offered from a descriptive perspective and is not focused exclusively on any specific linguistic theory. There are three collaborative assignments, five quizzes, graded discussions for each module and a final exam.

Students will be working fully online on all the course work. There are Zoom meetings and recorded lectures at regular intervals. The final exam is online. Zoom office hours are by appointment.

Required reading:

Brinton, Laurel J. and Donna M. Brinton. The Linguistic Structure of Modern English. John Benjamins, 2010. ISBN 978 90 272 1172 9.

More details are available on the course website on canvas.ubc.ca.

ONLINE ASYNCHRONOUS

"Author's pen" and "actor's voice": Shakespeare in Text and Performance

This course will explore the extent to which we as readers of Shakespeare’s tragedies, histories, and comedies can remain engaged with his plays’ potential for realization onstage, in performance.  Part of our focus will be historicist: we will consider the institutional and social conditions attendant upon the original productions of the plays, as well as the ways in which the plays themselves dramatize matters of affect and spectatorship. Our work will also explore the formal dramaturgy of the plays in order to think about how the texts register the nuance of performance in obvious ways (in stage directions and dialogue) and by appealing to the senses and to the emotions of a live audience. We will also look at the editing, printing, and publishing of the plays in order to think about how the page simultaneously encodes and distorts performance for modern readers. Whenever possible, we will consider the performance history of the plays, with a particular emphasis on how modern adaptations for the stage make use of (cut, modify, rearrange, reimagine) the playtext.

TERM 1
TTh, 2:00PM - 5:00PM

Ghosts are Real (So are Vampires): Victorian Gothic Terror, Horror, and the Supernatural

“Ghosts are real, this much I know” – Edith Cushing, Crimson Peak

“There are such beings as vampires; some of us have evidence that they exist” – Abraham Van Helsing, Dracula

Whether we take Edith Cushing or Abraham Van Helsing at their word, the 19th-century Gothic revival certainly emphasized possibilities for terror and horror in tales of the supernatural. However, these interventions of spectral and un-dead beings often take place in the recognizable present; they speak to its anxieties. Perhaps they speak to ours as well, given our recent fascination with Neo-Victorian representations of the 19th century, such as Crimson Peak, as well as Penny Dreadful, From Hell, Sarah Waters’s Victorian trilogy, the numerous adaptations of Dracula (such as the recent third Nosferatu), plus many others.

We will examine fiction addressing issues of gender and sexuality; class, race, and culture; realism and the supernatural; urban and rural settings, all in a century known for developments in science and technology (especially photography), social upheaval, and a veneer of respectability, yet with monsters lurking in closets and under beds. Our focus will also permit consideration of the boom in publication of popular literature in a variety of formats, as well as the rise of the professional writer during the 19th century.

Core texts include Margaret Oliphant’s The Library Window, Sheridan LeFanu’s Carmilla, Henry James’s The Turn of the Screw, and selected short fiction possibly including M.R. James, “Oh, Whistle, and I’ll Come to You, My Lad”; Elizabeth Gaskell, “The Old Nurse’s Story”; Sheridan LeFanu, “An Account of Some Strange Disturbances in Aungier Street”; Mary Braddon’s “Good Lady Ducayne,” R.L. Stevenson, “The Body Snatcher”; E. Nesbit, “John Charrington’s Wedding” and maybe a couple of Victorian werewolf stories (since werewolf stories feature prominently in the research done for both Carmilla and Bram Stoker’s infamous Dracula). Evaluation will be based on a midterm essay, a term paper, a final reflection essay, and participation in discussion both in class and on the course’s Canvas site.

 

ONLINE ASYNCHRONOUS

“Down the Rabbit Hole”: Child, Nation and British Fantasy Literature 

Children’s books—encountered in the earliest stages of children’s development—can have a lasting influence on children’s views of their world and themselves. English 392 investigates how narratives of national identity in the folklore and myth-narratives are deployed in fantasy texts written for children in England. Some of our texts will come from Canadian Indigenous traditions to provide a comparison with classic texts from England. Texts will include fairy tales, The Hobbit, Harry Potter and the Prisoner of Azkaban, “Coyote Columbus”, and The Graveyard Book. These will be examined through a broad range of critical perspectives which are literary, socio-political and historical. The pictures of nation constructed in children’s books represent particular national myths and culturally-informed identities. We will look at the ways both “classic” and less traditionally canonical children’s texts create intertextual narratives that expand, resist, subvert and adapt each other’s work. This fully asynchronous 13-week course runs from May to August, with writing assignments and weekly discussion posts. The final examination, set in August, is the only synchronous component, and will be invigilated through Zoom. This course is part of the English Minor program in the Department of English Language and Literatures, but is open to English majors and to students in other programs.

We will post the course description as it becomes available.

TERM 2
TTh, 12:00PM - 3:00PM

“And the winner is . . .!”: Canada’s Literary Prize Culture

“In short, prizes matter. . .With only an appearance on . . . [a] shortlist, a book moves from total obscurity in the classroom and pages of literary criticism to respectable showings in both—and it gets a healthy popularity boost along the way.” --Alexander Manshel, Laura B. McGrath and  J.D. Porter

In this class, we will discuss five fictional works which won Canadian literary prizes in 2024: Anne Michael’s Held (Giller Prize), Jordan Abel’s Empty Spaces (Governor General’s Award for Fiction), Sheung-King’s Batshit Seven (Atwood-Gibson Writers’ Trust Fiction Prize), Catherine Leroux’s The Future (Canada Reads) and Darrel J. McLeod’s A Season in Chezgh’un (Ethel Wilson Fiction Prize). We will consider the institutional components of these prizes (evaluation criteria, selection of judges, procedures for submission and selection, history, past recipients) as well as what Manshel, McGrath & Porter refer to as the “consecrating forces and actors” which influence literary awards. In addition to writing a critical essay on one of the texts, students will participate as a jury member in an in-house “Fiction 2024” award committee to choose our own winner.

If you’re interested in truly contemporary fiction, the exigencies of literary prizes, evaluating fiction, and current directions in Canadian literature, then this is the course for you!

CROSS-LISTED WITH ENGL 491A-921
TERM 1
MW, 12:00PM - 3:00PM

We will post the course description as it becomes available.

CROSS-LISTED WITH ENGL 490-921
TERM 1
MW, 12:00PM - 3:00PM

We will post the course description as it becomes available.

 

2025 Winter + Summer

2025 Summer

Term 1
MON WED, 11:00 AM - 2:00 PM

Decadence and the Origins of Camp: A Queer Genealogy

“[Camp] is terribly hard to define but you’ll find yourself wanting to use the word whenever you discuss aesthetics or philosophy or almost anything.” – Christopher Isherwood

This seminar examines the origins (and trajectories) of the much-debated aesthetic sensibility known as camp. Widely understood as a celebration of artifice and stylized exaggeration, camp still struggles to be taken seriously because of its orientation toward humor and the un-serious. Although one of its earliest theorists, Susan Sontag, famously argued that camp was at its core “apolitical,” one of the questions students in this seminar will ponder is the potential political value (to queer and non-queer people alike) of camp style, performance, and gender critique. We will attempt to situate camp historically by locating its origins in the aesthetic strategies of 1890s Decadence before exploring its manifestations, transformations, and characteristic patterns across the twentieth century and beyond. In pursuit of this objective we will read literary and theoretical texts in addition to viewing several films. Our aim will not be to construct a camp canon, but instead to observe how camp and Decadence speak to queer experience at distinct historical moments while at the same time retaining recognizably transhistorical characteristics.

Readings will include (theory/criticism): Walter Pater, Susan Sontag, Fabio Cleto, Esther Newton, Eve Sedgwick, Judith Butler, David Halperin, Paul Baker, and others; (literature) Oscar Wilde, Aubrey Beardsley, Ronald Firbank, Noël Coward, Christopher Isherwood, Frank O’Hara, Joe Orton, and others. We will also view films by directors Robert Aldritch, John Waters, and Pedro Almodóvar.

Term 2
TUE THU, 11:00 AM - 2:00 PM

Storying Land: Canadian Literary Ecologies

Since emerging as a multidisciplinary field in the early twenty-first century, environmental humanities research has variously interrogated the narratives and cultural concepts figuring humanity’s relations to the land and non-human nature. Imperative to literary criticism within this paradigm has been not only a reappraisal of “nature” as an object of study but a reorientation of anthropocentric understandings of humanistic “culture” (including the Humanities) toward its material and ecological embeddedness—pressingly, the inseparability of environmental crises from their historical and cultural foundations shaping how we imagine (and might reimagine) what it means to live in relation to the land. In the context of lands claimed by the state formation of Canada—the land beneath our feet at UBC—such crises and relations are marked by the history of colonization and encompass radical differences between settler and Indigenous epistemologies. Literature in Canada is implicated in the historical stabilization of foundational binaries between “human” and “nature” that have naturalized the eliminatory and extractive logics of settler-colonial territoriality, a violent structure of both land-based domination and environmental injustice. A grounding place for struggles towards decolonial and/as environmental justice in the work of many writers, artists, scholars, thinkers, and activists in Canada today is thus the meaning of the land. How do we know the land in literature? Can literature write the land (without exploiting it)? How might the land itself speak through literature? How is it heard?

In this seminar we will take up these (and other) questions by examining literature’s relationship with land in the context of Canada. Our concern will be to first establish a historical perspective, and then to ask what role stories, literary arts, and humanities research are playing in denaturalizing settler-capitalism by envisioning reciprocal land relations and more environmentally just futures. We will examine the Eurodescendant epistemologies transposed by writers who mapped onto ostensibly “new” territory ideas about the sublime beauty or terror of a vast, unpopulated landscape—ideas like “wilderness” and “the North” that supported Canadian national identity, Indigenous erasure, and the work of “developing” lands and resources. We will consider how such land-claiming narratives delegitimated other ways of living and making meaning in relation to the land, displacing not only the storied knowledge of Indigenous peoples who have lived with the land for millennia, but other diasporic relations to place and ecology. We will look to decolonial epistemologies of land and kinship in contemporary Indigenous literary arts and activism to consider resurgence in relation to environmental justice (and in conflict with certain currents of “environmentalism”), and to cultural ecologies of non-Indigenous solidarity and anti-anthropocentric resistance. Our readings will broach both rural and urban lands in Canada, range from the Pacific coast to the Prairies to the high Arctic to the Maritimes, and address particular crises and sites of resource extraction (e.g., pipelines, tarsands, water, climate change), adopting an expansive sense of the “literary” in diverse genres and representational forms.

Readings

We’ll be localizing our approach to environmental humanism within Canadian contexts, drawing on Indigenous studies and settler-colonial studies as they interface with thinking in ecocriticism, Anthropocene studies, petrocultures/energy humanities, critical race studies, and environmental and climate justice.

Students can expect a mixture of creative and critical texts; while not a “theory” seminar exclusively, it encompasses theory and encourages students to consider stories and creative arts as theoretical. Generally, our seminars will combine secondary readings with a primary text(s) in the form of novels, books of poetry, short stories, short and feature-length films, digital media, and visual art. A provisional list of authors/artists includes Jeannette Armstrong, Margaret Atwood, Di Brandt, Edward Burtynsky, Warren Cariou, Stephen Collis and Jordan Scott, Glen Coulthard, Cherie Dimaline, Margery Fee, Northrop Frye, Dina Gilio-Whitaker, the Group of Seven, Donna Haraway, Tasha Hubbard, Naomi Klein, Bruno Latour, Lee Maracle, Cecily Nicholson, Rob Nixon, Howard O’Hagan, Al Purdy, Eden Robinson, Zoe Todd, Leanne Betasamosake Simpson, Imre Szeman, Tanya Tagaq, Elle-Máijá Tailfeathers, Kyle Powys Whyte, Patrick Wolfe, rita wong, Kathryn Yusoff, Zacharias Kunuk.

Assignments

The course will likely involve 2 short reading response/reflection papers, one individual seminar presentation, one creative/critical project, and a final conference-style paper

2025 Winter

NOTE: Schedule subject to change
As of March 24, 2025

Term 1
THU, 11:30 PM - 1:30 PM

This course will introduce new MA students to graduate-level research skills and professional practices. Meetings will include workshops, guest presentations, and library visits. Sessions will focus on topics such as research areas, thesis supervision, archival research, digital tools, applying for grants, and attending conferences. There are no formal assignments and the course is marked Pass/Fail

Term 2
THU, 11:30 PM - 1:30 PM

Seminar details will be posted  shortly.

Black Studies Now

Term 2
MON, 1:00 PM - 4:00 PM

What is Black studies? Although Black studies became institutionalized as an academic discipline in U.S. universities in the 1960s, it has existed since the 18th century as a set of intellectual traditions and liberation struggles. These traditions and struggles have borne witness to the production and maintenance of anti-Blackness, a mode of hierarchical distinction between humans. Black studies, therefore, is simultaneously a critique of Western modernity and as well as sizeable archive of social, political, and cultural alternatives.

This course surveys recent monographs in Black Studies to think about what is possible and to consider the work that still needs to be done in this field of inquiry. Students will be introduced to the history, theory and philosophy of Black studies, as well as the methodological formations and critical debates occurring within the field in the contemporary moment. Key principal concepts and methods in Black studies will be addressed over the course of the semester. While this is primarily a theory course, students can also expect to engage with myriad other forms of media, including film, poetry, music, and novels.

Term 2
TUE, 2:30PM - 5:30 PM

Studies in Poetry

In the last 75 years or so, much discourse in poetics has been concerned with the idea of the paraphrase—that is, with the prose version of the poem that is used to make the poem clearer. While paraphrases of this sort can be useful in teaching, there has been an unfortunate tendency among critics to discuss the paraphrase rather than the poem, to see a poem as merely a text like any other. The dominance of historicist approaches to literature in the last few decades has exacerbated this tendency. The result has been a tendency to discuss poetry as if it were not importantly different from prose. In this course, we’ll resist this tendency. After discussing a number of theoretical texts, we’ll consider lyric poems that insist on their status as poetry. We’ll look at a selection of poems from about 1600 to about 2020. These poems will fall into one of three groups: poems that deal with the relation between speech and writing, poems that focus on description, and poems that focus on form. Students will write a series of short analyses and one long essay.

 

Term 1
TUE, 12:30 PM - 3:30 PM

Beyond the Canon: Late-Medieval Popular Romance

Medieval popular romance is comprised of a fantastical body of texts that were popular in many senses of the word; widely read and copied, transmitted over many miles and languages across Europe, deeply influential in both literary and material medieval culture, and popular as the reading matter of the burgeoning urban mercantile classes of late-medieval England. Narratives of adventuring knights, scheming villains, ineffable faerie, and malevolent devils, these texts produce  an enchanted and wonder-filled world for their audiences. As a genre it contains narratives of the once-chivalric romances of the aristocratic classes, now repurposed as reading entertainments for the gentry and rising mercantile classes, simultaneously acting as aspirational literature and class critique.

This course is a graduate-level introduction to the scholarly field of medieval romance studies. It will introduce students to this lively and surprising genre, the range of historical and contemporary theoretical approaches to the material, and to the wider romance academic ecosystem.

Term 1
FRI, 1:30 PM - 4:30 PM

Crip of Color Critique: A Seminar on Disability, Race, and Empire

A seminar on the emerging field of crip-of-color critique, which brings together concepts and methodologies from critical disability studies, critical race theory, and post-colonial theory.

Term 2
TUE, 10:00 AM - 1:00 PM

Contemporary Technology Rhetorics

This course aims for students to learn about rhetorical theory and criticism through the lens of technology studies. Readings will be drawn primarily from the field of rhetorical criticism, but will also delve into Science and Technology Studies [STS] and the philosophy of technology. Although we will examine a few older, landmark writings in the rhetoric of technology – the ways that people argue, debate, advocate and dissent against technologies, as well as how technologies are themselves persuasive – the course will focus on current trends and topics in the discipline, such as algorithmic rhetoric, procedural rhetoric, AI, memetic social media, weapons technologies, surveillance, drones, & etc. Course readings likely will include the recent “Rhetoric of/with AI” special issue of Rhetoric Society Quarterly (54.3), and writings by rhetoricians such as Sarah Hallenbeck, Zhaozhe Wang, Robin Jensen, Ian Bogost, Heather Ashley Hayes, and Chris Ingraham. STS scholarship might include writings by Natasha Dow Schüll, Bruno Latour, and Deborah Cowen, while from the philosophy of technology and media, authors might include Byung-Chul Han and Armond Towns.

Term 1
FRI, 10:00 AM - 12:30 AM

Nineteenth-Century Literature and the Senses

The forming of the five senses is a labor of the entire history of the world down to the present.

--Karl Marx, Economic and Philosophic Manuscripts of 1844

 

The senses are not immutable; they have social, political, and cultural histories. In the nineteenth-century, new understandings of the senses emerged. The senses were hierarchized and employed in arguments about gender, race, class, and empire. Developments in science and physiological psychology gave rise to laboratory studies of the senses. New technologies permitted the “extension” of the senses in telephones, x-rays machines, and powerful telescopes and microscopes. Sensorial disabilities were reconceived. Literary texts shared the culture’s fascination with the senses: “Sensation” fiction sought to produce sense experiences in readers; realism relied on vivid sensory description; early science fiction imagined alternative perceptual organizations.

This seminar asks how the senses were categorized, conceptualized, and represented in nineteenth-century literature. Topics discussed will include depictions of deafness and blindness in fiction; imperialism and the senses; odor, race, and class; gender and dominant senses; the aesthetic movement and sensory experience; the sensory onslaught of the industrial city; the extrasensory world of the Victorian séance, and new sensory technologies.

Texts will include:

  • Wilkie Collins, Poor Miss Finch
  • Charles Dickens, “Dr. Marigold”; and from American Notes
  • Rudyard Kipling, “They”
  • Sheridan Le Fanu, “Green Tea”
  • Thomas Hardy, The Return of the Native
  • Florence McLandburgh, “The Automaton Ear”
  • Edith Nesbit, “The Five Senses”
  • Georg Simmel, “The Metropolis and Mental Life”
  • Rabindranath Tagore, “Vision”
  • H.G. Wells, “The Country of the Blind”; “Davidson’s Eyes”; “Intelligence on Mars”

 

from

Constance Classen, “Synaesthesia Unraveled: The Union of the Senses from a Cultural Perspective”

Jennifer Esmail, Reading Victorian Deafness

Hsuan L. Hsu, The Smell of Risk: Environmental Disparities and Olfactory Aesthetics

Maurice Merleau-Ponty, Phenomenology of Perception

Andrew Rotter, “Empires of the Senses: How Seeing, Hearing, Smelling, Tasting, and Touching Shaped Imperial Encounters”

  1. M. Smith, How Race is Made: Slavery, Segregation, and the Senses

Term 2
MON, 1:30 PM - 4:30 PM

Modernist Fiction, Imperial Decline, and Decolonization

The literary historical period we call “modernism” (c. 1880-1945) sees the height of the British empire in its territorial span while also bearing witness to its decline in the face of anti-colonial and national independence movements. How was empire and its loss represented by modernist authors? How did their aesthetic strategies mediate racial and colonial difference? And how did authors from the colonies simultaneously take up and challenge modernist forms in their efforts at anti-colonial resistance and decolonization? What kinds of modernist literary and sociological institutions facilitated the emergence of postcolonial authors in the postwar period? This course will introduce students to key modernist novels; trace the evolution of modernism through its subperiods of high modernism, late modernism, and postcolonial modernity; and think through the political affordances of modernist aesthetic practices. We will focus primarily on the history of Britain and its colonies, though we may also turn to the Harlem Renaissance to consider modernism in a transatlantic frame. Given the focus on fiction, the course will be reading-intensive and students should be prepared to cover a novel (some longer, some shorter) each week. Texts we are likely to study include: E.M. Forster’s A Passage to India; James Joyce’s Portrait of the Artist as a Young Man; Elizabeth Bowen’s The Last September; George Orwell’s Burmese Days; Aldous Huxley’s Brave New World; Mulk Raj Anand’s Untouchable; Nella Larsen’s Passing, Jean Rhys’s Wide Sargasso Sea; Sam Selvon’s The Lonely Londoners; George Lamming’s In the Castle of My Skin; and Doris Lessing’s The Grass is Singing.

Term 2
FRI, 1:30 PM - 4:30 PM

Folk Horror

In the early nineteenth-century, intellectuals in the United States, Britain, and Europe became fascinated with the culture of what was called the “folk.” Indicating population pockets that allegedly had not yet entered modernity (and in some cases, it was believed, never would enter modernity), the “folk” were a vital source of myth and fictional narrative for Western romanticism, providing modern nations and peoples with deep time histories and legendary authorizations for current power. In this course we will read and watch works from within a subset of folk narrative called folk horror. Unlike conventional gothic horror stories, which often focus on the malevolence of bygone aristocratic, monarchical, and religious formations, folk horror posits the haunting of modernity by a primitive past, whether an unfamiliar group of people/creatures or set of ancient stories that modernity has forgotten or failed to overcome.  Folk horror has also, importantly, been utilized to relay the experiences and histories of marginalized groups. In this course, we will study several folk horror tales and films with a view to understanding their relationship to the development of modern nationalisms and to racialized and evolutionary historiography. In addition to studying works of fiction, we will also read theoretical works linked to the gothic and to critical race, decolonial, and feminist theory. We will read Washington Irving, Nathaniel Hawthorne, Edgar Allan Poe, Angela Carter, Toni Morrison, and Cherie Dimaline. We will also watch the following films: The Wicker Man, The Witch, Us, and Midsomer. We will read Sigmund Freud, Julia Kristeva, Étienne Balibar, Slavoj Žižek, Susan Stewart, Tzvetan Todorov, Hortense Spillers, Alexander G. Weheliye, and Christina Sharpe.

Term 2
WED, 1:30 PM - 4:30 PM

"In Search of Our Better Selves:" Settler Colonialism and Narratives of Settler Replacement

Course Description
This graduate-level course will engage with critical questions surrounding the dynamics of settler colonialism, particularly the ways in which settler narratives of replacement and erasure intersect with Indigenous identities, histories, and struggles for self-determination. We will explore the frameworks of settler colonialism in the current contexts of Canada and the U.S., examining how these political systems have consistently sought to dispossess Indigenous peoples, not only geographically but also culturally and temporally. Through the lens of Indigenous cultural and political knowledge production, we will investigate how settler colonialism’s narratives of replacement shape the understandings of belonging, time, and community in settler states, and how these processes have been resisted, disrupted, and reimagined by Indigenous peoples and communities.

Term 1
WED, 10:00 AM - 1:00 PM

Seminar details will be posted shortly.

Term 1
WED, 1:30 PM - 4:30 PM

Seminar details will be posted shortly.

Term 2
TUE, 1:00 PM - 4:00 PM

Postcolonial Auto/Mobility

This seminar explores the interplay between postcolonial automobility and African literatures and cultures. We will take as our starting point of investigation the emergence of the motor vehicle in Africa, around the beginning of the twentieth century, and the cogent questions that arise from (post)colonial Africa’s encounter with vehicular technology. Through novels, plays, poetry, and films, we will consider Africa’s automobile network of road, spatiality, coloniality, infrastructure, motor vehicle, and oil and the corollary effects of all this on the artistic imaginations of African cultural producers in the twentieth and twenty-first centuries. In short, this course considers the keyword “automobility” as an entry point to unpacking the range of ideas that have shaped African literary production since the twentieth century. Primary readings will include works from authors and artists such as Peter Abrahams, Wole Soyinka, Nawal El-Saadawi, Ousmane Sembene, Ama Ata Aidoo, Karen King-Aribisala, Ben Okri, and Imbolo Mbue. We will ground our examinations in criticism from scholars such as Marti Kheel, Harry Garuba, AbdouMaliq Simone, Kenda Mutongi, Cajetan Iheka, and others.

Term 1
TUE, 10:00 AM - 1:00 PM

Seminar details will be posted shortly.

Term 2
WED, 10:00 AM - 1:00 PM

This seminar explores the variety of meanings associated with the terms performative and performativity. These terms and concepts initially belong to two very different discourses, speech act theory and theater studies, but have found their way into general use in the theoretical humanities. Our concerns are, in part, genealogical: we will track the emergence of these concepts in ordinary language philosophy (J.L. Austin. How to Do Things with Words), their uptakes in Continental philosophy, and their inflections and uses in feminist and queer theory. We will also be concerned with auxiliary terms and concepts that have followed from the performative (such as the distinction between illocutionary, locutionary, and perlocutionary aspects of speech acts and the idea of the para-performative). The course goal is to unpack the meanings these terms have come to have in the last two or three decades, their particular coherence and incoherence, their uses and intended consequences (for example, in the contrast between performativity and representation), and the values associated with these terms. Alongside explicitly theoretical readings we will encounter a handful of twentieth-century plays or scripts that themselves offer accounts of performativity in either a linguistic or theatrical sense, and the possible relations between these senses.

Readings to include work by J.L. Austin, Samuel Beckett, Judith Butler, Stanley Cavell, Jacques Derrida, Shoshana Felman, Nathalie Sarraute, Eve Kosofsky Sedgwick, Gertrude Stein, and others.

Term 2
FRI, 10:00 AM - 1:00 PM

Modernism and the Psychoanalysis of Fascism, 1894-1945

            The people who have shown the best understanding of Fascism are either those who have
suffered under it or those who have a Fascist streak in themselves
. --- George Orwell, "Wells, Hitler and the World State" (1941)

            It seems to me a monstrosity; by that I mean something that is altogether beyond the
bounds of common sense, truth and justice, a blind and stupid thing that would drag us
back centuries in time, ultimately a thing that would lead to religious persecution, which
            is the worst of abominations and would bathe every country in blood. --- Émile Zola, "A Plea for the Jews" (1896)

            There were other swastikas. They were the chalk ones now; I followed them down
Bergasse as if they had been chalked on the pavement especially for my benefit. They led
to the Professor's door
--- H. D., Tribute to Freud [1933]

This seminar explores the critical and analytical writings of those whose experience of European fascism was visceral and immediate. We will proceed for the most part chronologically to perceive the unfolding of history as these key witnesses experienced it. We will assess this living history of the period both for its penetrating insights into the reality of things and for its dialectically potent forms of misrecognition. Invariably "alive to reverberations of the future" (André Breton qtd. by Walter Benjamin in "The Work of Art in the Age of Mechanical Reproduction"), these authors could not always know how the story would end.

Activities and assignments will include a seminar presentation and a close reading of a selected passage. Students will also write one three-page essay, to be distributed and read aloud, and one final research paper.

We will seek the definition of the key words of the seminar--modernism, psychoanalysis, fascism--as it flows up from our reading. Since we can read only a practical selection of the following reading list in our allotted twelve weeks (the final reading schedule will be available this summer), students will be invited in their independent research projects to explore some of the readings not covered in our weekly meetings.

Reading List (in progress):

  • Émile Zola, "A Plea for the Jews" (1896)
  • Émile Zola, "J'accuse!" (1898)
  • F.T. Marinetti, "The Founding and Manifesto of Futurism" (1909)
  • F.T. Marinetti, "Let's Murder the Moonshine" (1909)
  • Franz Kafka, "The Aeroplanes at Brescia" (1909)
  • W.E. B. Du Bois, "World War and the Color Line" (1914)
  • Richard Harding Davis, With the Allies (1914)
  • Sigmund Freud, "Thoughts for the Times on War and Death" (1915)
  • Edith Wharton, Fighting France: From Dunkerque to Belfort (1915)
  • Ellen La Motte, The Backwash of War (1916)
  • Mary Borden, The Forbidden Zone (1929) [1914-18]
  • Franz Kafka, The Trial (1925) [1914-15]
  • Henri Barbusse, Under Fire (1916)
  • Rebecca West, The Return of the Soldier (1918)
  • Ernst Jünger, Storm of Steel (1920)
  • Sigmund Freud, Group Psychology and the Analysis of the Ego (1921)
  • Ernest Hemingway, "Mussolini: Biggest Bluff in Europe" (1923)
  • Ernest Hemingway, "Che Ti Dice La Patria?" (1927)
  • Henri Barbusse, Thus and Thus (1927)
  • Sigmund Freud, Beyond the Pleasure Principle (1920)
  • Joseph Roth, The Wandering Jews (1926-7)
  • Sigmund Freud, Civilization and Its Discontents (1930) [1929]
  • Walter Benjamin, "Surrealism: The Last Snapshot of the European Intellectual" (1929)
  • Walter Benjamin, "Theories of German Fascism" (1930)
  • William Faulkner, "Dry September" (1932)
  • H.D. [Hilda Doolittle], Tribute to Freud (1956) [1933-44]
  • Victor Klemperer, Victor, I Will Bear Witness: A Diary of the Nazi Years, 1933-1941 (Volume 1, 1998)
  • Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction" (1935)
  • William Faulkner, Pylon (1935)
  • Ernest Hemingway, "Notes on the Next War: A Serious Topical Letter" (1935)
  • Ernest Hemingway, "Wings Always Over Africa: An Ornithological Letter" (1936)
  • Friedrich Reck-Malleczewen, Diary of a Man in Despair (1947) [1930s and 40s]
  • Kenneth Burke, "The Rhetoric of Hitler's 'Battle'" (1939)
  • George Orwell, "Wells, Hitler and the World State" (1941)
  • Richard Hillary, The Last Enemy (1942)
  • George Orwell, "Politics and the English Language" (1946)
  • Theodor Adorno, Minima Moralia (1951) [1944]
  • Susan Sontag, "Fascinating Fascism" (1975)
  • Christopher R. Browning, Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland (1992)
  • Timothy Snyder, "Hitler vs. Stalin: Who Killed More?" (2011)
  • Christopher R. Browning, "Hitler's Enablers." New York Review of Books LXXI, November 7, 2024, pp. 52-54.

Suggested General and Preliminary Reading:

  •  Sigmund Freud, The Interpretation of Dreams (1900)
  • Stanley G. Payne, A History of Fascism, 1914-1945 (1995)
  • Barbara Will, Unlikely Collaboration: Gertrude Stein, Bernard Faÿ, and the Vichy Dilemma (2011)
  • Timothy Snyder, Bloodlands: Europe Between Hitler and Stalin (Basic Books, 2010).
  • Ian Kershaw, To Hell and Back: Europe 1914-1949 (2015)
  • Maurice Samuels, Alfred Dreyfus: The Man at the Centre of the Affair (2024)

 

Teeth

Dallas Hunt

Pender Harbour: Harbour Publishing

2024

This is a book about grief, death and longing. It’s about the gristle that lodges itself deep into one’s gums, between incisors and canines.

Teeth details not only the symptoms of colonization, but also the foundational and constitutive asymmetries that allow for it to proliferate and reproduce itself. Dallas Hunt grapples with the material realities and imaginaries Indigenous communities face, as well as the pockets of livability that they inhabit just to survive. Still this collection seeks joy in the everyday, in the flourishing of Indigenous Peoples in the elsewhere, in worlds to come.

Nestling into the place between love and ruin, Teeth traces the collisions of love undone and being undone by love, where “the hope is to find an ocean nested in shoulders—to reside there when the tidal waves come. and then love names the ruin.”

Purchase this Book

About the Author

Dallas Hunt

Dallas Hunt (Photo: Connor McNally)

Photo: Connor McNally

Dallas Hunt is Cree and a member of Wapsewsipi (Swan River First Nation) in Treaty 8 territory in Northern Alberta, Canada. He has had creative and critical work published in the Malahat Review, Arc Poetry, Canadian Literature, and the American Indian Culture and Research Journal. His first children’s book, Awâsis and the World-Famous Bannock, was published through Highwater Press in 2018, and was nominated for the Elizabeth Mrazik-Cleaver Canadian Picture Book Award. His teaching and research interests include Indigenous literatures, Indigenous theory & politics, Canadian Literature, speculative fiction, settler colonial studies, and environmental justice.

Learn more about this Author

The Explorations of Edmund Snow Carpenter: Anthropology Upside Down

Richard Cavell

Montreal: McGill-Queens University Press

2024

Edmund Snow Carpenter (1922-2011), shaped by an early encounter with Marshall McLuhan, was a renegade anthropologist who would plumb the connection between anthropology and media studies over a thoroughly unconventional career.

As co-conspirators in the founding of the legendary journal Explorations (1953-59), Carpenter and McLuhan established the groundwork for media studies. After ten years teaching anthropology at the University of Toronto, hosting radio and television shows on the CBC, and doing major research in the Arctic, Carpenter left Toronto and became an itinerant anthropologist. He took up a position in Papua New Guinea, where he countered anthropological practice by handing his camera to the Papuans. Carpenter’s marriage to the artist and heiress Adelaide de Menil made him a truly independent scholar. With the support of the Rock Foundation, founded by de Menil, he collected ethnographical art, curated exhibitions, and edited the materials for a twelve-volume study of social symbolism based on the massive archives created by Carl Schuster. Richard Cavell shows Carpenter – austere, generous, and unpredictable – to also be unwavering in working throughout his career within the framework established by Explorations.

The anthropological impetus for media studies has largely been forgotten. This study restores that memory, tracing Carpenter’s work in media and in anthropology over a lifetime of cultural achievements and intellectual convolutions.

Purchase this Book

About the Author

Richard Cavell

Professor Richard Cavell’s research and supervisions are in media theory, with a special focus on Marshall McLuhan. He has published three books on McLuhan and maintains the website spectresofmcluhan.arts.ubc.ca.

Learn more about this Author

2024 Winter – Graduate

Winter 2024

Term 1
THURSDAY, 12:30 PM - 2:30 PM

Required of all graduate students in the M.A. program. Pass/Fail.

This course will introduce new MA students in the Department of English Language and Literatures to graduate-level research skills and professional practices. Meetings will include a variety of guest presentations, workshops, and library visits. Sessions will focus on such topics as archival research, digital tools, applying for grants, writing seminar papers and conference proposals, and submitting articles for publications.

Term 1
THURSDAY, 12:30 PM - 2:30 PM

Required of all graduate students in the PhD program. Pass/Fail.

Book History through the Collector’s Eye

Term 2
TUESDAY, 1:00 PM - 4:00 PM

Recently, UBC Library’s department of Rare Books and Special Collections received a magnificent donation from a retired member of the English department, Professor Patricia Merivale, whose family had collected books for several generations. The collection, which begins in the first era of print and extends into the 20th century, is eclectic, but there are some themes that emerge, such as interest in fine bindings; in relatively obscure religious texts; in canonical literature; and in books that are just, well, valuable. This course will use the Merivale collection as the focus for a survey of the history of the book in the west. We will meet every week in RBSC for hands-on experience with selections from the Merivale collection, alongside relevant items from other parts of our collections. We will also think about what it means for a book to become part of a collection, considering how books move through the world; what motivates collectors; and how institutions reframe collections. Participants will have the opportunity to conduct original research on objects from the Merivale collection, which has never been the subject of sustained research before, and will produce public-facing work to present items from the collection to a general audience.

 

Digital Methods for Literary Study: Recovering Early Chinese Canadian Literature and History

Term 2
WEDNESDAY, 1:00 PM - 4:00 PM

This course is a course in Digital Humanities intended to develop students’ archival and digital research methods, which uses Early Chinese Canadian literature and history as a case study. We will pay particular attention to the lives and works of three early Chinese North American authors:

1) Edith Eaton (1865-1914), who, writing as “Sui Sin Far,” penned sympathetic fictional and journalistic portraits of diasporic Chinese in Montreal and cities in the eastern and western US during the Yellow Peril era. The author of Mrs. Spring Fragrance (1912), Eaton is credited with founding Asian North American literature. We will read scores of uncollected unsigned 1890s journalism by her about Montreal’s Chinatown, as well as autobiographical works about herself and her family;
2) Winnifred Eaton Babcock Reeve (1875-1954), Edith’s younger sister, who published bestselling novels set in Japan while assuming an offensive masquerade as Yokohama-born Japanese noblewoman “Onoto Watanna,” before abandoning this persona to lead Universal Studio’s screenwriting department, champion Canadian literature as President of Calgary’s branch of the Canadian Authors’ Association, found Alberta’s Little Theatre movement, and write moving realist fiction and journalism about life on the Canadian prairie. We will read her bestseller The Japanese Nightingale (1901), her realist novel Cattle (1923), some autobiographical works, her journalism about Hollywood, and the screenplay for one of her films; and
3) the Eaton sister’s Chinese-born mother Achuen “Grace” Amoy Eaton, acrobat, translator, missionary, and author of a newly recovered autobiographical serialized 1906 novella, Jade.

Readings will include:
• selections from Becoming Sui Sin Far: Early Fiction, Journalism, and Travel Writing by Edith Maude Eaton and other uncollected journalism by Edith Eaton
• Winnifred Eaton/Onoto Watanna’s A Japanese Nightingale
• Winnifred Eaton’s Cattle
• Screenplay by Winnifred Eaton
• Grace Eaton’s Jade
• Jessica Marie Johnson, "Markup Bodies: Black [Life] Studies and Slavery [Death] Studies,” Social Text 137 vol. 36, no. 4 (December 2018): 57-80.
• Saidiya Hartman, “Venus in Two Acts”
• Amy Earhart, “What’s In and What’s Out? Digital Canon Cautions”. In Traces of the Old, Uses of the New.
• Selections from Lily Cho, Mass Capture: Chinese Head Tax and the Making of Non-Citizens.
• Selections from Nancy Rao, Chinatown Opera Theater in North America
Most classes will be a mix of discussion and hands-on digital research and writing, with support from cross-faculty digital initiatives and faculty in other disciplines who are leading adjacent DH projects.

Drawing on digitized newspapers, Head Tax records, and other digital and non-digital sources, students will build three projects using digital tools to share research about People, Places, and Texts:
1) A collectively researched but individually authored WordPress blog post with illustrations about a member of Montreal’s nascent Chinese community mentioned in Edith Eaton/Sui Sin Far’s 1890s journalism + a CollectionBuilder digital archive of sources used in blog
2) a collectively built spreadsheet of venues and dates for the European tour of a 19th -century Chinese acrobatic troupe that included Eaton’s mother + a collectively built Storymap of that itinerary
3) a TEI-encoded digital edition of a 1920s screenplay by Winnifred Eaton Babcock Reeve + a 1000-word context essay + a 100-word peer-reviewed headnote, all of which may be featured on winnifredeatonarchive.org

Jewish Guilt

Term 2
FRIDAY, 12:00 PM - 3:00 PM

The well-worn phrase “Jewish guilt” has at least two meanings. It refers, on the one hand, to a style of self-abnegation and anxiety stereotypical of North American (Ashkenazi) Jewish culture. On the other, it denotes an array of historical anti-Jewish beliefs, including the destructive myths that Jews killed Christ, use Christian blood in their rituals, and/or were responsible for the Great Depression and other societal calamities. This wide-ranging course on literary Jews and Jewishness takes inspiration from this disturbing polysemy to investigate how Jewishness intersects with concepts of responsibility and transgression in a variety of literary forms. The course has three units, all linked by this strange thematic thread: a) the ancient destruction of Jerusalem in the medieval imagination; b) thebelle juive (Jewish beauty) and European colonialism; c) eroticism and survivorship in AIDS literature. (Note that the course engages broadly with diasporic Jewish cultures and literatures and avoids a reductive association of Judaism with the Holocaust and Zionism.) Possible primary readings include Josephus’s The Jewish Wars in medieval Latin, Ge’ez, and Hebrew reimaginings; David Reubeni, Diary of a Black Jewish Messiah; Ladino, Arabic, and Yiddish poetry; documents from the Baghdadi Jewish diaspora; short fiction by Jamaica Kincaid, Blume Lempel, Vitalis Danon, and Clarice Lispector; and novels by Sarah Schulman and Mattilda Bernstein Sycamore. All readings will be in English. The final assignment is a conference paper, which students will be able to submit to a graduate or other academic conference.

 

Indigenous Land Privatization and Literary Response

Term 1
WEDNESDAY, 11:00 AM - 2:00 PM

Settler colonial violence against Indigenous peoples takes place on many levels, most notoriously through overt slaughter and physical dispossession and relocation. One of the most common but least familiar to the general public, however, is through more bureaucratic and more ostensibly peaceful means, especially privatization mechanisms by which collective land holdings are broken into individual, fee simple landholdings that are more readily lost to coercive sale, tax seizure, eminent domain initiatives, and adverse possession (squatters’ rights) claims. This course will consider Indigenous land privatization not simply as policy but as focus of Indigenous literary response and theoretical concern. Primary readings may include writers such as William Apess, Lee Maracle, Maria Campbell, Louise Erdrich, Linda Hogan, Charles Red Corn, Andrea L. Rogers, and LeAnne Howe, with secondary works ranging across literary, historical, economic, and geographic concerns. The course will culminate in a public mini-conference organized by seminar participants.

Term 1
MONDAY, 1:00 PM - 4:00 PM

Transfeminist Rhetorics

In an era replete with rising transantagonism among feminists, raging wildfires sparked by gender reveal parties, and increasing support for state/provincial/federal legislation that upholds a dymorphic model of sex/gender, it hardly seems like we have reached the “transgender tipping point” as proclaimed by the New York Times in 2014. Certainly, there is more trans representation in media than ever before: more trans characters, plot lines, actors, directors, producers, musicians, politicians, and social media influencers. Yet trans violence is also at an all time high: more TERFs, more fire, and more legislation, not to mention more homicides, more domestic violence, and more suicide. So if we really have reached a “tipping point,” is it really a point we want to have tipped?

This course introduces students to the field of Transfeminist Theory from a rhetorical angle, focusing on issues of legibility and security in light of the seemingly paradoxical situation within which many trans people now find themselves—one of heightened visibility but also heightened vulnerability. We will prioritize engaging works by and about disabled, Black, Indigenous, and other racialized trans and gender nonconforming people. We will also emphasize connections between our weekly readings and current events as they unfold in real (or recent) time. Assignments will include weekly reflections on the assigned readings, a short presentation, and a formal seminar paper. Readings will include canonical, controversial, and contemporary scholarship in transgender studies, offering students an overview of the field’s development from the 1960s to the present.

Theories of Rhetoric & Violence: A Worldly Survey

Term 2
TUESDAY, 9:30 AM - 12:30 PM

This course surveys rhetorical theories from across time and space that address and conceptualize the role of violence and coercion aimed at persuasion, influence, motivation, and faith. With a focus on the promotion and advocacy of violence, nonetheless some of the readings seek the avoidance of violence through both overt suppression and exploiting the paradoxes and antitheses that arise from thinking about war and peace (e.g. aggression and self-defense, order and chaos, etc). Course readings might include some combination of Guiguzi, Mozi, selections from “the seven Chinese military classics,” the Wen Tzu, The Gateless Gate, Daikaku’s Samurai Zen, the late shogunate samurai Yamaga Soko, Sutra of Golden Light, the 20th century propaganda theories of Huey P. Newton, Bobby Seale, Mohamed Siad Barre, Kwame Nkrumah, Mao Tse Tung, and – in order to consider the complete suppression of violence, dissent, and activism - Kim Jong Il’s On Juche Literature.

Othello and its Afterlives

Term 1
TUESDAY, 9:30 AM - 12:30 PM

In “Letting Go of Othello,” Fred Moten writes, “Othello is an experiment in black personhood for which black persons are not responsible.” Moten’s analysis of what is arguably Shakespeare’s most famous “race play” speaks to contemporary concerns about the representation of Black people by non-Black artists, draws attention to the fact that Othello stages a white playwright’s fantasy of a Black hero, and suggests that Othello has created a certain burden for Black people. Drawing heavily from the work of Moten and other Black Studies scholars (such as bell hooks, Sylvia Wynter, Cedric Robinson, Christina Sharpe, and Sharon Patricia Holland), this seminar will delve deeply into Shakespeare’s Othello and its afterlives. We will consider early modern English constructions of race (both blackness and whiteness), especially as it intersects with religion, gender, sexuality, and social rank. We will then examine afterlives of the play, how later engagements with Othello (performances, visual culture, literary criticism, and adaptations) respond to, revise, reject, and/or redeploy the play’s configurations of race and power: Romantic responses to the play (Samuel Coleridge’s is infamous!), artistic representations of scenes from the play, the history of blackface performance, landmark performances by Black actors (Ira Aldridge and Paul Robeson), Ishamel Reed’s Japanese by Spring, Carlyle Phillips’s The Nature of Blood, Toni Morrison’s Desdemona, Rita Dove’s Sonata Mullatica, Djanet Sears’s Harlem Duet, Stew’s Passing Strange, Keith Hamilton Cobb’s American Moor, and Jordan Peele’s Get Out. Course assignments: 4 short response papers, a presentation, and a 6000-word seminar paper.

Exploring Jane Austen: Reading race, empire, settlement, and migration

Term 1
WEDNESDAY, 2:00 PM - 5:00 PM

In January 2023, Kerry Sinanan and Marian Wassif issued a call for papers to be included in a volume they are editing on Jane Austen and whiteness for SUNY Press’s Long Nineteenth Century Series. Here is the volume’s mandate as the editors describe it: “The volume will show that it is specifically the making of Regency white people that has granted Austen her global, iconic status today.” Sinanan and Wassif are responding to several features of Austen criticism and Austen’s career: not only the recent online fandom of overt white supremacists who hold Austen’s protagonists up as examples of pure white “trad wife” womanhood but also recent contrasting work by Patricia Matthew and Devoney Looser arguing, respectively, that Austen’s novels reflect the vexed complexities of a Europe dependent on Atlantic chattel slavery and on goods and wealth produced by enslaved people and that Austen belonged to an overtly abolitionist family, whose politics must have inflected her novels; the classic statement by Edward Said, in Culture and Imperialism (1992) that Austen’s work everywhere reveals Britain’s dependency on empire but failed to recognize or critique what it reveals; and Said’s major influence Raymond Williams, who remarked in The Country and the City (1973) that Austen did not merely turn her face away from enslavement and empire but “chose to ignore [all] the decisive historical events of her time.” This seminar will follow Matthew’s call for an approach to Austen that recognizes that “there are no literary moments or figures whose work is not responding to questions of liberation” while making room for consideration of the many ways such work might have responded and might have been understood as responding. The purpose of this seminar is therefore to allow its participants ample space, in a detailed investigation of the six finished novels plus the unfinished Sanditon, to consider such questions of liberation and the early nineteenth-century histories of race, empire, settlement, and migration from which they arise and to which they respond. In addition to Austen’s novels, readings will include criticism and theory by writers including Williams, Said, Fredric Jameson, Clifford Siskin, William Galperin, Edward Gikandi, Lisa Lowe, Emily Rohrbach, Mary Favret, Christina Sharpe, Orrin Wang, and Patricia Matthew, material drawn from Austen’s popular reception and canonization as discussed, in particular, by Janine Barchas and as represented in current online cultures, and contemporary writings on the histories of power and mobility in the Atlantic world of the early nineteenth century.

Nineteenth-Century Minds and Machines

Term 1
TUESDAY, 12:30 PM - 3:30 PM

The modern discipline of psychology developed during the nineteenth-century alongside new materialist understandings of the mind. In this seminar, we will consider how ideas on “the physical basis” of mind entered into the fiction of the period (and also how that fiction helped shape theories in the broader culture). Much like current worries about AI and chatbots generating writing and art, the specter of machines capable of thinking and even of producing creative works gave rise to anxieties and speculation in the Victorian period. The distinction between minds and machines was increasingly questioned. Was the mind a machine? Could machines become minds? New technologies of communication and recording also influenced conceptions of mind and literary representations of consciousness.

We will read fictions of virtual reality, of the technological transmission of thought, of mind swapping, and of machines that develop consciousness. But we will also look at less overt treatments of the relations between minds, bodies, and mechanisms in some realist fiction of the period. Topics discussed will include nineteenth-century depictions of intelligent machines; early attempts at artificial intelligence; emerging technologies and consciousness; theories of the unconscious, “aberrant” minds, gendered minds, scientific racism, and automata—both mechanical and human.

Readings will include:

  • Ambrose Bierce “Moxon’s Master”
  • Samuel Butler, “Book of the Machines”
  • Charles Dickens, “The Signal Man”
  • George Eliot, “Shadows of the Coming Race”
  • Thomas Hardy, The Woodlanders
  • Rudyard Kipling, “Wireless”
  • Ada Lovelace, “Notes on the Analytical Engine”
  • Israel Zangwill, “The Memory Clearing House”
  • short fiction by Grant Allen, Edward Bellamy, Arthur Conan Doyle, Florence McLandburgh, H. G. Wells, and others

        From:

  • Long Bui, Model Machines: A History of the Asian as Automaton
  • Louis Onuorah Chude-Sokei, The Sound of Culture: Diaspora and Black Technopoetics
  • Karl Marx, Capital: A Critical Analysis of Capitalist Production
  • Sally Shuttleworth and Jenny Bourne Taylor, Embodied Selves
  • Francis Spufford and Jenny Uglow, ed., Cultural Babbage: Technology, Time, and Intelligence

Assignments and Other Requirements:

  • Seminar paper (roughly 20 pages)
  • Presentation (roughly 25 minutes)
  • Three sets of informal questions/comments on the readings

Forms of Coexistence

Term 1
FRIDAY, 10:00 AM - 1:00 PM

What is a people? What is a nation? How does a people connect to "a" land? What comprises self-determination? In the first half of the twentieth century, nationalist conflict was rife, political borders were hardening and closing, refugees were everywhere, and human coexistence once again received global attention as an urgent concern. Some speculated that the world could or should become cosmopolitan, whether morally (taking on a commitment to mutual aid) or politically (to adopt some form of cooperation between nations, rather than devoting one’s powers to competition), while others took up the banner of the modern nation state as protection against the many problems of human coexistence.

This course proposes a nuanced and sensitive review of concepts, issues, and topics of human coexistence (with itself, and with the planet) formally at the level of theory (Fanon, Baldwin, Said, Levinas, Colebrook, Braidotti, Derrida, Laclau and Mouffe, et al.), as well as to explore its literary appearance as a problem in texts of modern life such as Joyce’s Ulysses, Rhys’ Wide Sargasso Sea, Woolf’s Between the Acts, E.M. Forster’s A Passage to India, and Barnes’s Nightwood. Topics include alternative structures and methods for creatively articulating political interests, justice and rights discourse, thin and thick conceptions of international or world government, layered sovereignties, conflict resolution and reconciliation strategies, and the planet-wide imbrication of justicial, political, cultural, and economic formations and practices.

The Cold War in Asia: Asian American and Asian Canadian Responses

Term 2
FRIDAY, 9:00 AM - 12:00 PM

The period post-WWII until the 1980s is conventionally understood in the West as the Cold War. Marked by events such as the Cuban missile crisis, the war in Vietnam, and the fall of the Berlin Wall, these years are remembered as a tense time when it seemed that the conflict between communist and capalist democratic ideologies might result in the outbreak of nuclear war. At the same time, it is important to remember that these same tensions played out very differently in Asia and took the form of multiple bloody and violent wars.  This course will return to this historical period in order to rethink what is conventionally remembered in the West as a conflict between the US and the USSR as a struggle that also involved—and, indeed, was staged in—Asia.

We will explore the legacies of Cold War logics and the afterlife of the wars in Asia for Canadians and Americans by engaging with works of literature and theory. How do these contradictory memories and competing historical narratives shape how Asian diasporas in North America imagine themselves and are understood by non-Asians? How does what critic Jodi Kim calls the “protracted afterlife” of the Cold War continue to influence current conversations about migration, citizenship, and global events and politics? We will contextualize our discussions of these literary texts with critical and theoretical material and documentary films in order to think critically about these competing cultural representations and the narratives they produce.

Contemporary U.S. Novel: DeLillo, Morrison, Lee

Term 1
THURSDAY, 3:00 PM - 6:00 PM

This seminar will examine in depth works from the 1970s to the 2010s by three of the great U.S. novelists: Don DeLillo, Toni Morrison, and Chang-rae Lee. Readings will include most or all of the following texts: DeLillo’s Americana (1971), The Names (1982), and Libra (1988); Morrison’s Song of Solomon (1977), Jazz (1993), and Paradise (1997); and Lee’s Native Speaker (1995), A Gesture Life (1999), and On Such a Full Sea (2014).

Our goal will in part be to understand 40 to 50 years of literary and cultural history through figures who, in their monumental power and reach, tend to embody certain periodizing and otherwise explanatory categories but also trouble their boundaries and distinctions, whether those categories be (to name only a few) modernism, postmodernism, paranoia, twentieth-century African American novels, contemporary U.S. literature, historical fiction, transnational U.S. fiction, or immigrant writing. We will also be on the lookout for hidden symmetries and unexpected lines of influence.

The focus will be on close examination of the novels and on two major writing assignments by each student: a seminar paper of about five pages that will form the basis of discussion in most weeks; and a final research paper at the end of term. Students will also lead discussion in selected weeks and write discussion posts. Essays from each novelist will be part of our reading, and criticism on the syllabus, invoking a wide range of theoretical paradigms, will come from Colleen Lye, David Cowart, John McClure, Mark McGurl, Chris Lee, Lavinia Delois Jennings, Kenneth Warren, John K. Young, Amy Hungerford, and others.

Canadian Literature and the 2024 Scotiabank Giller Prize

Term 2
MONDAY, 10:00 AM - 1:00 PM

When the Scotiabank Giller Prize was created in 1994, the award’s founder decided that “cultural, political, and regional factors would be wilfully shunned.” The “only criterion was to pick the best book.”  What, however, is the “best”? This is a question that has long plagued literary studies, alongside the problematic concept of ‘great books.’  The fraught answer relies on aesthetic evaluation, critical taste and expectation, and subjective notions of literary value. It also changes over time and across space. And, why “shun” cultural, political and regional factors? What is lost? What is gained?

In this seminar, the 2024 Scotiabank Giller Prize will serve as a case study for the critical examination of both literary prize culture and contemporary literary history in Canada. Together, we will study the works of fiction shortlisted for the 2024 Prize and situate the work in the larger context of the heated cultural debates of the past decade. Both writers and critics in the Canadian literary community have been occupied with discussions of the asymmetrical distribution of power in the literary establishment, asked whose voices are heard, questioned what kinds of books are lauded, queried who has access to publication and subsequent reviews, and considered those who have refused to accept the status quo.  The ongoing discussions about inclusion and exclusion have been situated within significant critical conversations about settler colonialism, critical race studies, and generic expectation in the study of Canadian literature. In this class, we will examine the relationship between these critical conversations and the most lucrative prize in Canadian letters. We will ask: what influence do literary prizes have in developing audience taste? What are the benefits of prizes for authors and the literary community? Sales of shortlisted books increase by approximately 500%  (“The Giller Effect”). What does such material support and exposure mean for writers? What about the issues raised by increased corporate sponsorship in a time of waning government support of the arts?  So many questions! We will consider the ongoing debates as we critically assess the culture and politics of awards systems in Canada. In this class, in addition to studying the shortlisted books for 2024, we will read critical and theoretical works by Lorraine York, Gillian Roberts, James English, Erin Wunker, Julie Rak, Leanne Betasamosake Simpson, Joshua Whitehead, Kai Cheng Thom, Sarah Brouillette, Pierre Bourdieu, and Walter Benjamin, among others.

We will also have the opportunity to look behind-the-scenes at the Scotiabank Giller Prize for 2024 and meet with some of the shortlisted authors, jury members, and publishers. While much of the reading list for this class won’t be available until the 2024 shortlist is announced, books by MG. Vassanji, Esi Edugyan, Alice Munro, Vincent Lam, Omar El Akkad, Souvankham Thammavongsa, Madeleine Thien, Michael Ondaatje, André Alexis, Margaret Atwood, Rohinton Mistry, Suzette Mayr, Ian Williams, and Sarah Bernstein have all won the Scotiabank Giller Prize in the past and students will be asked to research a prize-winning book from this list in addition to the 2024 list in the context of class discussions.

Fictions of London

Term 1
MONDAY, 10:00 AM - 1:00 PM

“Neither of us are English, we’re Londoners you see”
--Sammy, in Hanif Kureishi’s Sammy and Rosie Get Laid

This course will attempt to chart the urban and fictional landscape of the former imperial metropolis and conceptualize a London uneasily situated at the intersection of the material and the imaginary. We will read, watch, and listen to a selection of novels, poetry, films, photographs and recordings from the mid-1950s to the present, and attempt to address such issues as the representation of space in former imperial, now global, centers, and the processes of change (cultural, social, political, aesthetic) that such representations both respond to and produce. We will debate the extent to which these fictions of London are intimately bound up not only with migrant and diasporic, colonial and postcolonial identities, but also with increasing, and in some instances highly troubled, political and cultural ties to Europe and America. Our aim will be to consider London as a complex and conflicted space of intercultural exchange where social and material inequalities are constantly challenged and resisted in imaginative representations within both literary and popular cultural forms.

Our primary texts might include works by Sam Selvon, Colin MacInnes, Linton Kwesi Johnson, Derek Jarman, Hanif Kureishi, Patrick Keiller, Gilbert & George, Monica Ali, and Zadie Smith. Secondary readings might include writings by Iain Sinclair, Doreen Massey, David Harvey, Stuart Hall, John McLeod, Edward Soja, and others.

Bodies: Person, Flesh, Thing

Term 1
FRIDAY, 1:30 PM - 4:30 PM

The basic premise of the course is that bodies are natural and social, biological and cultural. We have our bodies and we are our bodies. Bodies are both voluntary and involuntary. Our current understanding that the boundaries of one’s self are coextensive with the boundaries of one’s body had its origins in the eighteenth century. Using a broadly historical approach, we will begin with Richardson’s epistolary narrative Pamela and John Cleland’s 1747 pornographic novel Memoirs of a Woman of Pleasure to consider bodily privacy and its invasions. From there, we will move on to slavery, judicial torture, and incarceration as systems that reduce persons to things and flesh. Readings: Mary Prince’s slave narrative The History of Mary Prince; Jean Amery’s memoir At the Mind’s Limits; James Baldwin’s If Beale Street Could Talk; Susan Brison’s Aftermath; Andrea Long Chu’s Females; and Michelle Alexander’s The New Jim Crow. Finally, to develop the idea that bodies are subject not only to intentional harm, but also to involuntary forces such as sickness or impairment, the class will end with A Body, Undone, Cristina Crosby’s memoir of her disability. Critical and theoretical excerpts will be drawn from the work of Michael Foucault, Hortense Spillers, Didier Fassin, Elizabeth Hinton, and Jay Bernstein. Requirements: regular attendance and participation; Canvas posts; a 5-page book review; and a 15-page research essay.

Term 2
THURSDAY, 10:00 AM - 1:00 PM

The course description for this section of ENGL 553-002 is not yet available. Please check again shortly.

Term 2
THURSDAY, 9:30 AM - 12:30 PM

The course description for this section of ENGL 553-003 is not yet available. Please check again shortly.

Photo-textualities: Writing in the Age of the Camera

Term 2
THURSDAY, 1:30 PM - 4:30 pM

“The most obvious thing about words and pictures is that they routinely appear together, and even the simplest joint appearances—words supplying credit lines or captions, pictures supplying illustrations—suggest how each art works, how the shown is never exactly the same as the spoken.” (Jefferson Hunter, from Image and the Word: The Interaction of Twentieth-Century Photographs and Texts)

This course will examine the influence of photography and cinema on literary form. Photography has become such a common aspect of contemporary life that camera technology is now regularly built into smart phones, tablets, desktop and laptop computers, and automobiles. The photographic recording of everyday life provides an unprecedented archive of visual memories. Photographic ways of seeing exert complex and contradictory effects on life: the camera both records and distorts, and it is a tool for both those who expose social injustice and those who seek to invade the privacy of the citizen and to place others under the power of surveillance. Susan Sontag, in On Photography, alerts us to the “peremptory rights [of the photographer] to interfere with, to invade, or ignore whatever is going on. Our very sense of situation is now articulated by the camera's interventions” (11). The judgments of the invasive camera eye have, as Sontag states, shaped subjective assessment: "We learn to see ourselves photographically: to regard oneself as attractive is, precisely to judge that one would look good in a photograph” (85).

We will explore some of the following central questions: Given the increasing power of photographs and cinematography in the formation of private and public judgments, how have novelists, poets, dramatists, and film makers responded to these visual influences? What happens to the articulation of the written self when it confronts the power of photography? What kinds of critical strategies have writers adopted to resist the invasive influences of photography and visual culture? How have writers incorporated some of the techniques of photographic and cinematic ways of seeing into their forms of writing?

We will think carefully about the dynamic relationships between literary texts and the modes of visualization peculiar to photography and cinema. We will review the pre-history of literary representations of photography through the rhetorical concept of ekphrasis, or the representation of painting or sculpture in literary forms, and the historic impact of such developments as the daguerreotype, portable personal cameras, motion picture photography, and videography. We will also consider uses of photography as an instrument of colonial control, through passports and immigration documents such as the Chinese Canadian Head Tax, and the effects of what Lily Cho has deemed “Mass Capture,” and through the mass scales of visual surveillance theorized by John Tagg.

Readings will include Roland Barthes' Camera Lucida, essays by Walter Benjamin, and selections from Susan Sontag's On Photography, Kyo Maclear's Beclouded Visions: Hiroshima-Nagasaki, and the Art of Witness, John Tagg’s The Disciplinary Frame, and Lily Cho’s Mass Capture: Chinese Canadian Head Tax and the Making of Non-Citizens. We will also consider works of fiction, drama, poetry, and cinema that respond to our increasingly visual culture such as Michael Ondaatje's Coming Through Slaughter, Le Thi Diem Thuy's The Gangster We are All Looking For, Marie Clement's The Edward Curtis Project, Roy Miki's Mannequin Rising, and films by Alfred Hitchcock (Rear Window), Michaelangelo Antonioni, (Blow-up), and Christopher Nolan (Memento).

Each seminar meeting will usually include both the discussion of an assigned literary work and a theoretical or critical essay.

Course requirements:

1) Weekly participation in the discussion of readings, topics, and questions: 15%

2) One oral presentation (15 minutes) on a primary text and critical context: 10%

3) One short critical meditation on a core concept situated in theories of photography and literature: 15%

4) One final essay (3500-4000 words, or 14-16 pages, excluding bibliography), that could emerge from a revised version of your seminar presentation, or which pursues your particular research interests on a relevant question: 60%

Decolonizing Technoscience

Term 1
TUESDAY, 3:30 PM - 6:30 PM

Structural relations between colonial power and scientific knowledge production have shaped political and cultural life since the nineteenth century. Objectivity, facts, experiment, and the scientific method gained global authority and political power at a time when European powers dominated much of the non-western world. Even as decolonization, anti-imperial movements, and neoliberalism variously shifted global political relations over the next two centuries, scientific objectivity was often believed to be neutral, and held up as aspirational for developing nations. Today, activist and scholarly calls to decolonize knowledge force us to critique and rethink the relationship between technoscientific practice and political power. Histories of empire, decolonization, and development have come into conversation with the history, philosophy, and anthropology of science and technology. This course offers a graduate-level introduction to these conversations, via writing in colonial history, development studies, informatics, feminist science studies, and science fiction. Through widely interdisciplinary reading, we will seek to understand the significance of the “decolonizing turn” in technical practice and scientific knowledge production. Students from all disciplinary backgrounds are welcome to bring a critical, open, engaged perspective. Readings include Marx, Foucault, Kuhn, Haraway, Virginia Eubanks, Safiya Noble, Lorraine Daston, and more.

Early Modern Energies

Term 2
THURSDAY, 2:30 PM - 5:30 PM

This seminar will be coordinated with a research project called “Energy Transitions in Long Modernity” (https://gtr.ukri.org/projects?ref=AH%2FY007166%2F1). In our seminar, we shall survey the broad field of the Energy Humanities before narrowing focus on histories and representations of energy sources in the long seventeenth century. Research nodes will include the early modern history of renewables (sun, wind, water) and technologies associated with capturing them; the uneven transition from wood to coal, as well as the use of peat; and, the extraction of labor from a range of bodies, including animals, servants, and enslaved persons. We’ll read scholarly texts from across the disciplines (History, Comparative Literary Studies, Art History) and host a series of guest speakers representing them. Our literary texts will include mainstays in the utopian tradition (Thomas More, William Shakespeare, Francia Bacon, and Francis Godwin) and fictional and literary accounts of global empire (Theodore de Bry, Richard Hakluyt, Aphra Behn, Daniel Defoe, and Jonathan Swift). Each student will lead an hour of seminar, submit weekly responses, and complete a final writing assignment.

2024 Winter

As of  November 25, 2024
(Please note that courses offered by the Vancouver campus are denoted with ‘_V‘ in Workday, e.g. ENGL_V 100.)

Learn more about the Ways of Knowingdegree requirement for students entering the BA degree program in 2024/25 or later. The Department of English Language and Literatures offers ENGL 228 as a course that will meet the Place and Power breadth requirement.

What are the new Bachelor of Arts Degree Requirements?
Course Planning? See the Arts Ways of Knowing Breadth Requirement Explorer

A. Medieval and Renaissance literatures: ENGL 343 to ENGL 350

B. 18th- and 19th-century literatures: ENGL 351 to ENGL 364

C. Modern, contemporary, transnational, and Indigenous literatures: ENGL 365 to ENGL 379

D. Media, theory, genre, and special topic:  ENGL 332 to ENGL 339; ENGL 380 to ENGL 397

A. Structure of English: ENGL 330, 331, 321

B. History of English: ENGL 318, 319, 342, 343, 344, 346

C. Approaches to contemporary English: ENGL 323, 324, 328

D. Discourse and meaning: ENGL 312, 322, 327

E. Rhetoric: ENGL 307-311

Note: topics covered in any of the above groups may also focus on ENGL 326 (which has no permanent title) and ENGL 489 (majors seminar-language, where the instructor decides on the topic offered in any given year).

Each course will be classed into one of the groups A-E in any given year, depending on the topic covered. Please see an advisor if you want ENGL 326 or ENGL 489 to count as satisfying group A-E requirements.



100-level Courses

Term 1
MWF, 9:00 AM - 10:00 AM

The Madwoman in the Attic: Literary Explorations of Madness

How do we define madness, and how can it be conveyed in literary texts? Who decides when someone is mad, and how is it linked to gender, class and ethnicity? When and how has madness been historically weaponized, especially against women?

In this course, we will study a range of novels and poetry from the nineteenth through to the twenty-first century, developing skills of close critical analysis as well as exploring the historical and cultural contexts in which these works were produced. We will also consider a range of theoretical and critical approaches to interpreting these texts.

The course will begin with Edgar Allen Poe’s classic short story, “The Tell-Tale Heart” (our token male writer!) and then shift to Charlotte Perkins Gilman’s novella, The Yellow Wallpaper, skip forward to the mid-twentieth century to discuss Sylvia Plath’s novel, The Bell Jar, as well as a selection of her poetry, take another jump forward to Margaret Atwood’s 1996 novel, Alias Grace, and wind up in the twenty-first century with Freshwater, a ground-breaking novel by Akwaeke Emezi, an American writer of Nigerian/Tamil descent.

Term 1
MWF, 10:00 AM - 11:00 AM

The description for this course is not yet available.

Term 1
MWF, 11:00 AM - 12:00 PM

Dancing in Chains: Writing and Reading Translation

If creation is a dance, translation is a dance in chains. –Bijan Elahi (trans. from Persian by Rebecca Ruth Gould and Kayvan Tahmasebian)

Obviously, all translators need not be nonbinary…--Suneela Mubayi

What is the mysterious work of literary translation, and how does this unsung practice shape how we read and hear texts ancient and modern? How should we read translated texts? Who are translators—and should a translator’s gender, race, or politics affect our readings? Is translation queer, trans, nonbinary? Can the act of translation be imperialist or otherwise unethical? Could you, yourself, translate literature into or out of English, or from one medium to another? This first-year writing course prepares students for the English and other humanities majors through intensive reading and writing, lots of conversation, and (optional) creative work with language and media.

Term 1
MWF, 12:00 PM - 1:00 PM

The description for this course is not yet available.

Term 1

MWF, 1:00 PM - 2:00 PM

Genres of Indigeneity 

This course is a writing-intensive introduction to the discipline of Indigenous literary studies, specifically through an engagement with a text's (a book, a poem, a play, et cetera) critical and theoretical contexts. This course is recommended for students considering English as a major in particular. The focus of this course will be contemporary Indigenous literatures from the context of what is currently called Canada, with a emphasis placed on the notion of "genre" and its possibilities, limits, and/or constraints. What does the form of the novel enable? What can it prohibit, delimit, or foreclose? What political work is a poem doing (if any), especially in and for Indigenous communities? This course takes these questions seriously and asks what worlds Indigenous literatures can create?

Term 1

MWF, 2:00 PM - 3:00 PM

Storying Conflict: Narrative in Canadian Literary Contexts

According to narratologist H. Porter Abbott, “the representation of conflict in narrative provides a way for a culture to talk to itself about, and possibly resolve, conflicts that threaten to fracture it (or at least make living difficult).” In an increasingly polarized, fractured, and wounded world beset by crises both global and local, Canada remains (as it has always been) a space of multiple conflicts. This section of ENGL100 will focus on contemporary Canadian and Indigenous literatures, exploring works in different genres (short stories, short film, poetry, a novel, and life writing) that share an interest in turning to narrative and storytelling as creative spaces to ask the hard questions and explore conflicts. Some of our texts will take on conflicts that are public and political: climate change, pandemic, medical ethics, (neo)colonialism, racism, and inequity, among other concerns and injustices. Others explore the intimacies of private crises over relationships, identity, responsibilities, family, illness, grief, mourning, belonging, and community. Most, in fact, do both. Approaching literature as an art where private life and public history merge, we will turn to a variety of Canadian texts to investigate how conflict—whether personal, communal, national, and/or global in scale— structures narrative. How and why do writers narrate conflict? What does literature offer to the difficult conversations prompted by conflict and crisis? How do different forms and genres of writing function to engage readers in these conversations? We’ll take up these and other questions prompted by narratives that invite us to consider the ways literature engages dilemmas, embraces uncertainty, opens debate, entertains ambiguity, asks “what if?”, and locates hope.

N.B.: The texts we will read emerge from Canadian contexts and narrate lived and imagined experiences that ask us to critically consider, among other things, the politics of history, identity, gender, sexuality, colonialism, race, diaspora, multiculturalism, belonging, nationhood, land, Indigeneity, and ecology. Please be aware that some readings openly address material from these contexts that can be challenging, including racial, colonial, and gendered violence.

About ENGL100 and Course Objectives

ENGL 100 is a writing-intensive introduction to English literature and language studies through the exploration of texts in their critical and theoretical contexts, and is recommended for students intending to become English majors. In lectures, workshops, and group activities with peers, we will work on developing the skills needed to think critically, read inquisitively, and write persuasively about literary texts. You will learn and practice methods of textual analysis, research, and essay composition. Special focus will be placed on learning the foundations of narrative theory and cultivating the skills of close reading, with particular attention to the relationship between form and content in literary texts. By the end of the course, you will (a) be familiar with a range of narrative forms and literary genres used by contemporary authors in Canada; (b) understand some of the cultural, political, historical, and theoretical contexts that inform these literatures and their interpretation; (c) appreciate the ways form and style shape content to produce meaning in literary texts; (d) understand how to find, evaluate, and use research in literary criticism; and (e) have facility with academic essay-writing in the English discipline.

Term 1

TR, 9:30 AM - 11:00 AM

Why Fairy Tales Still Matter

When Greta Thunberg spoke of fairy tales at the UN Climate Action Summit, she used the term in a way that dates to at least the 1740s—to refer to a deceptive, idealized fantasy that ignores the harsher realities of life. But is that characterization entirely fair? And what, exactly, is a fairy tale? Why do some remain popular even two or three hundred years after they were first published? And why do modern writers so often return to the form, sometimes to rewrite old tales and sometimes to compose brand-new ones? In this course, we will address these questions by reading and discussing a variety of classic tales by the Brothers Grimm, Charles Perrault, and Jeanne-Marie Leprince de Beaumont as well as modern versions of those tales by Emma Donoghue, Francesca Lia Block, and Donna Jo Napoli. We’ll end the term by examining a graphic novel by Bill Willingham in which fairy tale characters figure prominently. In lectures and discussions, we’ll consider how fairy tales have been adapted to meet the needs of different historical periods, and how different critical approaches to the same text can yield entirely different—even competing—interpretations.

Term 1

TR, 11:00 AM - 12:30 PM

The description for this course is not yet available.

Term 1

TR, 12:30 PM - 2:00 PM

The description for this course is not yet available.

Term 1

TR, 2:00 PM - 3:30 PM

In this section of English 100, we will examine a taster of different genres of English literature, including Afrofuturism and speculative fiction, Indigenous life writing, fantasy and children’s literature, as well as classic works of Victorian sensational fiction, and comedy. The path to selfhood takes unexpected turns as protagonists encounter lessons from ghosts and monsters, confront or try to escape alternate or entirely imaginary versions of themselves, and generally avoid the familiar and the conventional. In addition to our core texts, we will read some short works and excerpts, as well as scholarly essays that provide contexts and theoretical frameworks to guide our own analysis of the texts. Students will be trained in introductory critical literary analysis, research and academic writing through writing short essays. This course encourages active learning through presentations, team work and flipped classroom exercises. Our core texts will include the following:

  • Richard Wagamese. One Native Life. Excerpts. Available through UBC Library.
  • Rivers Solomon. The Deep. Saga Press.
  • Neil Gaiman. The Graveyard Book. HarperCollins Press.
  • R.L. Stevenson. The Strange Case of Dr. Jekyll and Mr. Hyde. Broadview Press.
  • Oscar Wilde. The Importance of Being Earnest. Broadview Press.

Term 1

TR, 3:30 PM - 5:00 PM

In this section of English 100, we will examine a taster of different genres of English literature, including Afrofuturism and speculative fiction, Indigenous life writing, fantasy and children’s literature, as well as classic works of Victorian sensational fiction, and comedy. The path to selfhood takes unexpected turns as protagonists encounter lessons from ghosts and monsters, confront or try to escape alternate or entirely imaginary versions of themselves, and generally avoid the familiar and the conventional. In addition to our core texts, we will read some short works and excerpts, as well as scholarly essays that provide contexts and theoretical frameworks to guide our own analysis of the texts. Students will be trained in introductory critical literary analysis, research and academic writing through writing short essays. This course encourages active learning through presentations, team work and flipped classroom exercises. Our core texts will include the following:

  • Richard Wagamese. One Native Life. Excerpts. Available through UBC Library.
  • Rivers Solomon. The Deep. Saga Press.
  • Neil Gaiman. The Graveyard Book. HarperCollins Press.
  • R.L. Stevenson. The Strange Case of Dr. Jekyll and Mr. Hyde. Broadview Press.
  • Oscar Wilde. The Importance of Being Earnest. Broadview Press.

Term 2

MWF, 9:00 AM - 10:00 AM

Books and Friendship

Aristotle says, “Without friends no one would choose to live, though they had all other goods.” Friendship claims to exist upon a principle of perfect equality. It promises a private intimacy free from masquerade and convention; only a friend knows and loves your “true portrait,” proposes Montaigne. But what would a cultural history of friendship show? Is modern friendship a different kind of thing than friendships in the past? Could you have a friend at first sight, or briefly, or must a friendship be built with labour over time? Is group friendship possible? Can friendship be erotic or romantic? This course thinks about “two [or more] going together,” exemplary and distinctive friendships in fiction, in drama, in poetry, in life.  We consider topics including friends as companions, friends and self-growth, friendships with animals, philosophy of friendship, heroic friendships, queer and romantic friendships, friendship and the nation, doomed and difficult friendships. Writers include Ursula Le Guin, Nella Larsen, Samuel Beckett, John Steinbeck, Virginia Woolf, James Joyce, Kazuo Ishiguro.

Term 2

MWF, 10:00 AM - 11:00 AM

The Madwoman in the Attic: Literary Explorations of Madness

How do we define madness, and how can it be conveyed in literary texts? Who decides when someone is mad, and how is it linked to gender, class and ethnicity? When and how has madness been historically weaponized, especially against women?

In this course, we will study a range of novels and poetry from the nineteenth through to the twenty-first century, developing skills of close critical analysis as well as exploring the historical and cultural contexts in which these works were produced. We will also consider a range of theoretical and critical approaches to interpreting these texts.

The course will begin with Edgar Allen Poe’s classic short story, “The Tell-Tale Heart” (our token male writer!) and then shift to Charlotte Perkins Gilman’s novella, The Yellow Wallpaper, skip forward to the mid-twentieth century to discuss Sylvia Plath’s novel, The Bell Jar, as well as a selection of her poetry, take another jump forward to Margaret Atwood’s 1996 novel, Alias Grace, and wind up in the twenty-first century with Freshwater, a ground-breaking novel by Akwaeke Emezi, an American writer of Nigerian/Tamil descent.

Term 2

MWF, 11:00 AM - 12:00 PM

Imagining Earth: Planets, Places, and Pasts

In this course, we will explore and engage with contemporary environmental concerns by asking critical questions about the relationship between humans and the planet we live on. These questions include: Besides the contemporary economic view of land as property, commodity, or natural resource, how have humans imagined our relationship to our environment? What are the boundaries between humans and earth/Earth? Why do some texts use environmental imagery as foreboding and apocalyptic, while others use it to figure utopian, post-apocalyptic resurgence? How does our language about environment — “the natural world,” for example — shape how we perceive it?

Taking literary texts in their critical and theoretical contexts, and working with periods from the Middle Ages to the present day, we will study representations of the relationship between humans and our environments. We will analyze, engage with, and respond to a variety of texts, including poetry, comics, videogames, and novels. As we engage with these texts, and with other scholars’ responses to them, you will develop strategies for writing critical, specific, and significant literary analysis.

Term 2

MWF, 12:00 PM - 1:00 PM

Literature and (Re)creation

Literature is a powerful tool for recreation. Reading literature can be a pleasurable pastime that provides respite from the stresses of living in this world, even as authors use literature to help recreate this world, help us see this world differently, and help us imagine other worlds. This course will examine how a variety of stories, plays, and poems engage in and with (re)creation: how they depict recreation, people (re)creating themselves, and people (re)creating the world. Our texts will likely include William Shakespeare’s Twelfth Night, selections from Olaudah Equiano’s The Interesting Narrative of the Life of Olaudah Equiano, Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde, Quiara Alegria Hudes’s Water by the Spoonful, Octavia E Butler’s Blood Child and Other Stories, and others.

Term 2

MWF, 1:00 PM - 2:00 PM

Growing Up New : Reading the Contemporary African Bildungsroman

Why has the bildungsroman, the coming-of-age narrative, been such a dominant part of post-independence African writing? Do children witness large-scale social changes in radically new ways?  What does the genre tell us about the pressures shaping young African subjects? And what possibilities might the genre allow for?

In this course we’ll turn to a range of texts from the African continent that explore the complexities of growing up in rapidly changing societies. From the darkly comic Zambian film I Am Not a Witch, to J.M. Coetzee’s sly, pseudo-autobiographical Boyhood, we’ll encounter a wide range of stories that challenge the idea of what “growing up” means on the world’s “youngest” continent.

Other texts include (subject to change):

  • Tsitsi Dangarembga – Nervous Conditions
  • J.M. Coetzee – Boyhood: Scenes from a Provincial Life
  • Short Stories by Diriye Osman and Pravasan Pillay, among others.

 

Term 2

MWF, 2:00 PM - 3:00 PM

The description for this course is not yet available.

Term 2

TR, 9:30 AM - 11:00 AM

Making Trouble

We live in troubled and troubling times; our life-worlds are often characterized by disenfranchisement, social unease, and anxiety. Media and the literary arts represent that trouble, but also engage with it, whether to provoke or to ameliorate, to confront or to repair. In this section of English 100, we will read work that challenges our senses of self-understanding and of belonging in the contemporary world. How and what do we learn from texts that resist easy interpretation, or that articulate a staunch refusal to accept the terms and conditions of their given place? How do we make art in the wake of catastrophe and disaster? What are the risks and benefits of what the cultural and media theorist Donna Haraway has called "staying with the trouble"? In this section of English 100, we will examine the challenging work of five writers (Adrienne Rich, Kathleen Jamie, Kate Beaton, Alice Munro, and Claudia Rankine) to begin to think through the imperatives offered by unsettling, resistant, resilient, troubling art.

Students should be cautioned that the works on this course syllabus confront sexual violence, misogyny, racism, settler colonialism, national and class prejudice, suicidal ideation, and other troubling—and very real—issues; you should be prepared to be challenged and disturbed by what you read and witness.

Term 2

TR, 11:00 AM - 12:30 PM

The Stories We Tell

“We’re all storytellers, really. That’s what we do. That is our power as human beings.”-- Richard Wagamese, Embers: One Ojibway’s Meditations

Why do we tell stories? In this course we will explore the nature and significance of the stories that we tell—and retell—as authors, readers, and critics. Why are some stories more frequently retold than others? Why—and how—do some stories, such as Alice’s Adventures in Wonderland, become culture-texts, texts that occupy such prominent places in the popular imagination that they are collectively known and “remembered” even when the original works have never been read? What difference does it make when stories are based on actual historical events? What makes stories true? Some of the texts that we will be studying self-consciously question concepts of “story,” “history,” and “truth”; all raise questions about the nature of story-telling, interpretation, identity, and society.

Our texts: Lewis Carroll, Alice’s Adventures in Wonderland (Broadview); a selection of twentieth- and twenty-first-century illustrated editions of Alice’s Adventures in Wonderland (Rare Books and Special Collections, UBC Library); Elizabeth LaPensée and K.C. Oster, Rabbit Chase (Annick Press, UBC Library ebook); Michael Ondaatje, Anil’s Ghost (Vintage); selections from Tekahionwake (E. Pauline Johnson), Lixwelut (Mary Agnes Capilano), and Sahp-luk (Chief Joe Capilano), Legends of the Capilano (University of Manitoba Press, UBC Library ebook ); selections from Richard Wagamese, Embers: One Ojibway’s Meditations (Douglas & McIntyre, UBC Library ebook (the ebook does not include the splendid photographs)); a selection of poems (all available online) by Susan Alexander, Sarah Howe, Roy Miki, Kei Miller, Theresa Muñoz, Arundhathi Subramaniam, and Alice Te Punga Somerville.

Term 2

TR, 12:30 PM - 2:00 PM

Haunted Houses

“What is a ghost? A tragedy condemned to repeat itself time and again? An instant of pain, perhaps. Something dead which still seems to be alive. An emotion suspended in time. Like a blurred photograph. Like an insect trapped in amber.” – The Devil’s Backbone (dir. Guillermo Del Toro)

Where is the fascination, even when the deepest mysteries of the universe are being scientifically unlocked, in stories of haunted houses? What accounts for the lure, and even the enjoyment, of tales of terror and horror, even in the 21st century? This course examines the Gothic influence in texts where collisions of past and present, and implications of the uncanny, allow fascinating investigations of social codes and their transgression.

Core texts tentatively include a small selection of public-domain short stories (to be announced); Shirley Jackson, The Haunting of Hill House; Sarah Waters, The Little Stranger; Helen Oyeyemi, White is for Witching; and The Others (dir. Alejandro Amenábar); possibly another film; as well as Gardner and Diaz, Reading and Writing About Literature (5th edition). Through readings in current criticism and theory, we will develop strategies for textual analysis in literary and cultural studies. We will also consider the difficulty, if not impossibility, of reaching a “fixed” or consensus reading of any text.

Evaluation will tentatively be based on a short primary-text analysis, a midterm essay, a term paper requiring secondary academic research, a final reflection essay, and participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 2

TR, 2:00 PM - 3:30 PM

The description for this course is not yet available.

Term 1

MWF, 3:00 PM - 4:00 PM

The description for this course is not yet available. Please check with us again soon.

Term 2

MWF, 3:00 PM - 4:00 PM

Thuggery across Literary Space and Time

The Oxford Advanced Learner’s Dictionary defines a thug as “a violent person, especially a criminal.” Merriam-Webster offers synonyms such as “gangster,” “ruffian,” “bully,” “goon.” Interestingly, Merriam-Webster includes “villain” in its list. What do the thug and the villain have in common? What do we really mean when we use the term? How does the term travel through space, time, and genre to generate ideas for contemplating place, race, gender, and personhood from the nineteenth century to the present?

In answering these questions, this course will challenge the received notions of similarity between both terms, on the one hand, and relocate the thug in its mytho-political origin in British-dominated India. Commencing in media res with a brief examination of the thug in popular imagination, the class will zoom out from this popular portrayal of thuggery to track the figure of the thug from nineteenth-century British literature to Indian historical and journalistic accounts of thuggery. We will examine the colonial power structure that determined the meaning of the term and identify the contestations inherent in its use in its origin spaces. Bringing insight from this historical account to our reading of the manifestations of the thug in contemporary African, African American, and Caribbean literature and popular culture (comprising sonic and visual texts), we will generate a more capacious working definition of thuggery that retains its originary implication of the British colonial enterprise and recasts it as a socio-spatial strategy.

Evaluation will include two analytical essays and a final project that requires secondary academic research.

Term 2

TR, 3:30 PM - 5:00 PM

Bad Manners

What are bad manners? The idea of manners, broadly construed, captures not only what we expect from others in society, but also what we expect from ourselves. This section of ENGL 100 takes up literary representations of civility and decorum – and their (often comic) violations. Why, for instance, do we behave the way we do in social situations? What are the rewards of being polite – and of avoiding being perceived as rude? Does politeness come ‘naturally’? We will pursue these and further questions in a term-long inquiry into the unarticulated assumptions and expectations that underlie everyday social rituals and performances. Our texts include eighteenth-century insult poems, Jane Austen’s Pride and Prejudice, Oscar Wilde’s The Importance of Being Earnest, Noël Coward’s Hay Fever, Kazuo Ishiguro’s The Remains of the Day, and short stories by Zadie Smith

Term 1

MW, 9:00 AM - 10:00 AM

400 Years of Humanity’s Big Questions

There will be shipwrecks, magic, mad scientists, beast-people, a garden party, and his first ball. As we read stories of wrecks and disasters—structural, personal, and social— we will consider the significance of the ways these stories ask some of the big questions human beings have struggled with for centuries: What makes us human and not animal? What is human nature, and is it really natural? What about gender, race, and other kinds of difference? Who has power and why? Along with substantial work on poetry, this section of English 110 will focus on one play, one short novel, and a group of short stories that engage the different ways that people respond to circumstances that challenge what they thought was “natural” or “universal.” This course introduces students to the analytical skills and critical thinking essential to university-level literary reading, thinking and writing. In large lectures and 30-student Friday discussion groups, students pursue hands-on practice of methods of literary analysis. Please note that this is not a course on writing (that’s ENGL 100 or WRDS 150): we’ll spend our time on fabulous literature rather than essay-writing instructions.

And remember: UBC Law, Medicine, Dentistry, Pharmacy, and Education all require 6 credits of first year English, so 110 will prepare you for lots of future paths!

Want a head start this summer? Choose HG Wells’ short and creepy mad scientist novel, The Island of Dr. Moreau or Shakespeare’s classic shipwreck+magic play, The Tempest. You can see videos of different productions of Tempest for free through the UBC library or stream the great 2010 film, starring Helen Mirren and Djimon Hounsou.

Term 1

MW, 10:00 AM - 11:00 AM

After Frankenstein

Mary Shelley’s Frankenstein is by far the most influential work of literature in the English language. It has inspired plays, films, video games, comics, cartoons, stand-up comedy, dolls, cereals, and all manner of science-fiction, horror, and fantasy stories and novels. Many of these adaptations, including the most recent, have brought the concerns of their own time to bear on Shelley’s tale of scientific overreach, monstrosity, guilt, and rejection: these concerns include colonialism, racism, sexuality, artificial intelligence, the nature of life, birth, death, and society. But adaptations also enable us to see in critical and cultural perspectives, how such thorny issues, and our approaches to them, have evolved over time and alongside developments in artistic and other technologies. This course is thus about literary adaptation, but it is also about the histories and assumptions from which these adaptations, and our responses to them, emerge. After reading Shelley’s original novel, we will explore a selection of adaptations of Frankenstein, including the first dramatic adaptation of the novel, Richard Brinsley Peake’s Presumption, or the Fate of Frankenstein (1823), James Whale’s early cinematic masterpieces Frankenstein (1931) and The Bride of Frankenstein (1935), two novels, Alasdair Gray’s Poor Things (1992) as well as Yorgos Lanthimos and Tony McNamara’s recent award-winning film adaptation of it (2023), and Ahmed Saadawi’s Frankenstein in Baghdad (2013), and ending with Victor Lavalle’s disturbing but profound graphic novel, Destroyer (2022). Assignments will include short responses, quizzes, essays, and a final exam.

Please note: Frankenstein is a work of horror and, while it is not particularly graphic itself, many of its more recent adaptations have used it to probe challenging issues of violence, sexuality, racism, and war. These and other related issues will be discussed sensitively but openly in lectures and tutorials. Please be prepared.

Term 1

MW, 12:00 PM - 1:00 PM

We’ll read plays, short stories, and poems from a range of periods in order to consider how texts work and how we can speak and write about them. The plays are William Shakespeare’s Macbeth, Samuel Beckett’s Waiting for Godot, and Suzan-Lori Parks’s Topdog/Underdog. We’ll read short stories from the last (almost) 200 years and poems from the last (almost) 500) years.

Term 1

MW, 1:00 PM - 2:00 PM

Literature and the Media

This course provides students with an understanding of relationships between literature and media. It further provides them with an understanding of literary genre, and of the ways in which different media function. There are modules on electronic media and the book, on information culture, networks, surveillance capitalism, media metafiction, and on Indigenous cosmography. In addition, the course encourages students in reading and writing strategies that will enhance their ability to communicate ideas effectively.

Term 1

MW, 2:00 PM - 3:00 PM

What can Literature do?: 21st Century Narratives and Counternarratives

Scientists use data—gathered through experimentation, for example, or measurement—to discover and interpret the world around them. What do literary scholars use? What kind of “data” is a graphic narrative, a novel, or a poem? And what can the study of literature tell us about how we interpret the world we live in? In particular, what might we learn from literature that we can’t learn by other means?

The texts on this course include local and global stories written in our current century. They will show us contemporary lives lived in different corners of the world—for example, a Pakistani university student in New York, an Ojibwe hockey player in Ontario. These are personal stories about public events, and they are the stories that have generally been less discovered, measured, or recorded. They reveal the sometimes invisible, even erased, narratives and lives that lurk behind the headlines or history books. They invite us to ask, who gets to speak and who may be silenced? What kind of knowledge does literature give us access to—and what should we do with that knowledge?

Possible texts include The Best We Could Do by Thi Bui, The Reluctant Fundamentalist by Mohsin Hamid, Indian Horse by Richard Wagamese, Injun by Jordan Abel.

Term 2

MW, 9:00 AM - 10:00 AM

This course is intended to introduce first-year students to the aims and techniques of university-level literary studies by exposing them to literature written in a range of genres—poetry, drama, narrative—in a range of social and historical contexts. The course balances professor’s lecture-format presentations (Mondays and Wednesdays) with more interactive discussions with TAs (Fridays).

This particular section of ENGL 110 will be organized around the relationship between works of literature, i.e. parody, allusion, quotation, homage. We will explore how allusions to both Broadway musicals and rap contribute to the meaning of Lin-Manuel Miranda’s 2016 musical Hamilton. We will explore Harlem Renaissance poetry’s engagement with poetic traditions through parody and allusion. We will then discuss poems by Gwendolyn Brooks, Langston Hughes, Claude McKay, and Countee Cullen. The course will wrap up with Winnifred Eaton Reeve’s novel Cattle, which cites conventions of the Western genre.

Readings will include:

  • Hamilton: The Musical by Lin-Manuel Miranda
  • Winnifred Eaton Reeve’s 1923 novel Cattle
  • Selected poems by Shakespeare, Harryette Mullen, Countee Cullen, Claude McKay, Langston Hughes and Gwendolyn Brooks

Term 2

MW, 11:00 AM - 12:00 PM

Visions of the End: Reading the Apocalypse

Western culture has long been obsessed with the end. From Noah’s Flood to the Christian Apocalypse, the medieval millennial terrors of the year 1000 to the tech-panic of Y2K, narratives of ‘how it all ends’ are varied in scope and cause, but always present with us. In this course we will read a series of  texts that engage with a number of potential 20th and 21st century apocalyptic existential threats, from nuclear war to pandemics, from zombies to climate change. As much interested in the social implications of disaster as they are in its physical impacts, these novels offer not only warnings, but also hope in the human capacity for survival and reimagination.

Term 2

MW, 12:00 PM - 1:00 PM

The Body at the Border

This course introduces students to methods for studying literature, media, and critical theory by focusing on the body’s relationship to borders.
In particular, we will examine how borders in their various forms are represented, interrogated, or reimagined in contemporary North American and diasporic literature and media. We will focus on the relationships between race, gender, sexuality and narratives of migration that illuminate ongoing histories of imperialism and settler colonialism. The course uses the frameworks of literary theory, cultural studies, postcolonial theory, and diaspora studies in order to attend to formal and thematic components of cultural productions, and to put them in conversation with questions about borders and migration. Students will develop skills essential to university-level reading, writing, and critical analysis.

Term 2

MW, 1:00 PM - 2:00 PM

Literature for a Warming World

  “People are suffering. People are dying. Entire ecosystems are collapsing. We are at the beginning of a mass extinction and all you can talk about is money and fairy tales of eternal economic growth.” -- Greta Thunberg, address to the United Nations General Assembly, 2019

When we think about climate change, we may feel torn between concern for the fate of our planet and our desire for an unending supply of consumer goods. Depending on our politics, respect for scientific expertise, and ecological sensibility, we are likely to admire figures like Greta Thunberg or throw our lot in with her critics and plead the necessity of continued economic growth. Wherever our allegiances lie, we may wonder what potential worlds await us. In this course we will read a variety of literary representations of worlds altered by climate change. Readings will include a selection of poems and short stories, Catherynne M. Valente’s 2021 novel The Past is Red, and Bong Joon-ho’s 2013 film Snowpiercer.

Term 2
MW, 2:00 PM - 3:00 PM

Strange Science, Monsters, Robots, and Literary Theory

In this section of English 110, we will read literary texts depicting strange science and artificial life. The course will teach you to think and write critically about literature at the university level. It will also introduce you to contemporary literary theories. We will examine a range of approaches to the interpretation of literature, including Marxist, feminist, and postcolonial, and use the theories to analyze the literature we study. Texts read will include Mary Shelley’s Frankenstein, George Eliot’s “The Lifted Veil,” and Karel Čapek’s R.U.R. (Rossum’s Universal Robots).

Term 2

TR, 2:00 PM - 3:30 PM

Narratives of Creativity

In this course, we will examine the relationship between storytelling, artistic innovation, and the notion of creativity itself. Spanning a range of literary genres and cultural contexts, this course delves into how creativity has been understood, celebrated, and contested throughout history, from traditional notions of literary and artistic creation to contemporary forms of expression.

Through close readings —from the poems of Emily Dickinson to the visual works of Youtube “content” creators – we will consider how narratives of creativity reflect broader cultural, philosophical, and technological shifts. Key themes include the role of the “creator” in society, the tension between originality and imitation, and the social and political contexts in which culture gets made.

What is creativity and why is it so important in human life?  How does society encourage or discourage human creativity?  What are the relationships between creators, their creativity, and their creations?  And how is creativity related to inspiration, feelings, imagination, innovation, novelty, skill, and even productivity?  What are the best conditions for fostering creativity?

This course also poses critical questions about the future of creativity in an increasingly interconnected and technologized world. How will AI, digital platforms, and global connectivity redefine the creative process? Can creativity be algorithmically generated, or is it inherently human? What is the role of storytelling in an age dominated by data and virtual realities? In exploring these questions, we will interrogate the boundaries of human imagination and the ways in which narratives of creativity are likely to appear in the coming years.

A full reading list and syllabus will be available on the first day of classes in January, but students might begin by reading the following poems: “To Make a Prairie” by Emily Dickinson, “Any Lit” by Harryette Mullen, “The Young Poets of Winnipeg” by Naomi Shihab Nye, “Trying too Hard to Write a Poem Sitting on the Beach” by Philip Whalen – which can be found on  poets.org and The Poetry Foundation’s website.

 

Term 1

MW, 11:00 AM - 12:00 PM

Producing Consumable Texts: Exploring Representations of Food and Eating

With the popularity of The Food Network and social media, the pleasures of food have extended to consuming representations of eating and food production (e.g., foraging, harvesting, cooking). This course will explore diverse ways of communicating about food, including through personal essays, restaurant reviews, blog posts, recipes/cookbooks, food documentaries, and Instagram reels. This course will consider each of these genres/media, considering how their forms help convey particular meanings in relation to food. For example, how do recipes instruct readers about a particular lifestyle or ethos tied up with certain kinds of food and preparation? How does a restaurant review provide both critique as well as vicarious enjoyment for the reader? How do visual elements, such as photographs and video, facilitate the consumption experience? The course will also consider how issues related to race, colonialism, gender, and class can be subsumed in the eating process or brought to light through more disruptive eating and communicational practices.

Term 1
TR, 9:30 AM - 11:00 AM

Rhetoric, Controversy, and Propaganda

How does everyday language work to influence our thoughts and actions? This course delves into the realm of rhetoric – the motivation of belief and action, which encompasses not only overt techniques of persuasion and propaganda, but also the quotidian aspects of language and symbol usage that facilitate (or hinder) our daily lives and organize society. In order to work on their own communication skills, students will study and implement argumentative, critical, and stylistic techniques by analyzing the rhetoric of contemporary and historical public controversies, such as the politics of climate change, the public function of science, and whatever current controversies fill the headlines this semester.

Term 2

MW, 10:00 AM - 11:00 AM

Body Language: Life Writing of Survival and Resilience

Imagine a devastating car crash has left you trapped inside your own body, and you are only able to communicate with the outside world through a series of eye blinks. How would you tell your story? How would you make sense of your suffering? This section of English 111 will investigate how we can understand the language and communication that make life narratives so moving, persuasive, and inspiring. We will apply a combination of literary, rhetorical, and cultural perspectives to a wide array of life writing from ordinary people who describe their extraordinary lived experiences, ranging from narratives about sickness, to racial oppression, to survival after a plane crash. In an age when Artificial intelligence threatens to replace us, this course reminds us that the human capacity to tell our stories can never be replicated.

Term 1

TR, 11:00 AM - 12:30 PM
CO-TAUGHT WITH LING 140

What can we believe of what we hear and read about language?
Is language change bad?
Do some people have “good grammar”?
Does language shape thought and/or culture?
Are young people destroying the language?
Is texting destroying the language?
Is learning a language easier for kids?
Does your ability to learn a language reflect your intelligence?
Is all thought linguistic?
Where in your brain is language located?
Do bilinguals have an advantage or are they disadvantaged?

In this course, we critically examine a broad range of commonly held beliefs about language and the relation of language to the brain and cognition, learning, society, change and evolution. Students come to understand language myths, the purpose for their existence, and their validity (or not). We use science and common sense as tools in our process of “myth-busting”. The course textbook is Abby Kaplan, Women talk more than men … and other myths about language explained. (Cambridge: Cambridge University Press, 2016), which is available for purchase from the Bookstore or online through the UBC Library.

This course is an excellent introduction for students contemplating the English Language Major as well as an appropriate elective for students already in the English Language or Language & Literature Major or Language Minor.

Course evaluation is based on two examinations, a written project (pairs or groups), participation and attendance, and low-stakes short weekly writing. For the project, students select a language myth discussed in popular media (online, newspaper, etc.). Based on scholarly readings concerning the myth as well as material covered in class, they “bust” or confirm the myth.

This course is cross-listed as Linguistics 140 and is co-taught by instructors from the English and Linguistics Departments.

Note:This course does not fulfill the university writing requirements or the literature requirement in the Faculty of Arts.


200-Level Courses

Term 1

MWF, 10:00 AM - 11:00 AM

Moving Histories, Travelling Texts

How can Yaa Gyasi’s Homegoing, the story of two Ghanaian sisters in the 18th century, speak to Lee Maracle’s “Goodbye Snauq,” a retelling of the formation of what we now call “Kitsilano?” What might the opening howl of Beowulf have to say to the teenage djinns of Mati Diop’s Atlantics? Where might the speaker of William Wordsworth’s “I Wondered Lonely as a Cloud” encounter the wandering, lonely narrator of Open City?

This team-taught course brings a diverse range of novels, poems and films together to think about historical and contemporary experiences of migration and movement. Together we’ll investigate literature’s ability to trace a counter-history of migration: what solidarities and connections emerge from histories of loss and displacement?

Term 1

MWF, 1:00 PM - 2:00 PM

Narrating Place

What does it mean to write a place? What does it mean to write in a place? How does literature simultaneously impact and be impacted by the very geographies that it narrates? How do literary writers engage with the environment and even the current climate crisis?

This section of ENGL 200 will engage with these questions of the literary production of place, and the impact that these places have on the literature that comes from them. Places are constructed via multiple stories, often contradictory and interacting complexly with each other, layering stories to produce deep narrative maps.

Students will read a range of texts - poems, short stories, and novels - that engage with the complex histories of place across a range of different temporal and geographical contexts, from the misty isles of post-Roman England to 20th century South Africa, from the shores of the Caribbean to our own contemporary moment on the Pacific coast of Western Canada.

Term 2

MWF, 11:00 AM - 12:00 PM

Creation, Destruction, Reflection, Rebuilding

This team-taught course examines how literature intersects with pivotal moments in the lives of individuals, collectives, and our planet. We will explore a diverse range of literary texts across time that engage with ideas of making and unmaking. Our explorations might include works about how the world was created, or texts that reflect on the destructive wars of the twentieth century. Sometimes we will encounter art forms that build themselves on the bones of other forms, that take old traditions apart in order to create new ones for their own time and place. Some of our texts will be celebratory, some apocalyptic; all of them show the power of literature to reflect the human experience in profound and unforgettable ways.

Term  1 - 2

TR, 9:30 PM - 11:00 PM

Networks and Exchange in English Literature

English 210 is a six-credit course for Honours students, intended as a foundation for advanced study. Over the course of the year, we will read a wide range of literatures written in English, and we will think about the ways that creators and critics have responded to these texts, both in the past and in the present. The arrangement of the course is broadly chronological, from the Middle Ages to the present, though throughout we will pair texts that are in some way in conversation with each other. For example, early in first term we will read some of Geoffrey Chaucer’s Canterbury Tales alongside modern responses from Jean Binta Breeze, Patience Agbabi, and Zadie Smith; early in second term, we will pair John Milton’s Paradise Lost with work by Neil Gaiman, Ursula LeGuin, and N.K. Jemisin. As we read our way through canons and counter-canons, we will think about the making, breaking, and rebuilding of networks of influence and engagement. We will think about what we read; how we read; how we talk and write about what we read; and why we often turn to the literary as a way of thinking through big questions.

Term 1
TR, 11:00 AM - 12:30 PM
A survey of prose, poetry and drama to the 18th Century. For ENGL courses at the 200- or 300- level, prior completion of at least one 100- level ENGL course is recommended.

Term 1

TR, 11:00 AM - 12:30 PM

The Stories We Tell—and Retell

Why do we tell stories? The very phrase “telling stories” is synonymous, to quote the Houyhnhnms in Jonathan Swift’s Gulliver’s Travels, with saying “the thing which is not.” Yet most story-tellers are trying to articulate “the thing which is,” however they might define that in socio-political and/or aesthetic terms. In this course we will explore the nature and significance of the stories that we tell—and retell—as writers, readers, and critics. Why are some stories more frequently retold than others? Why—and how—do some stories, such as Alice’s Adventures in Wonderland, become culture-texts, texts that occupy such prominent places in the popular imagination that they are collectively known and “remembered” even when the original works have never been read?

As we attempt to answer these and other literary and cultural questions, we will explore the ideological assumptions—with respect to gender, race, class, sexuality, mental and physical ability, the environment, ethics, religion, education, aesthetics, etc.—implicit in our texts and some of their reimaginings, and in our and the original readers’ interpretations.

Our readings will be organized into four clusters: 1-3) Jeanne-Marie Le Prince de Beaumont’s “Beauty and the Beast: A Tale” (1757), Charlotte Brontë’s Jane Eyre (1847), and Lewis Carroll’s Alice’s Adventures in Wonderland (1865) and some of their twentieth- and twenty-first-century reimaginings; 4) twenty-first-century voices.

Texts:

Our texts and films will include: Jeanne-Marie Le Prince de Beaumont, “Beauty and the Beast: A Tale” (D. L. Ashliman, Folklore and Mythology Electronic Texts); Angela Carter, "The Courtship of Mr Lyon" and "The Tiger's Bride"; Charlotte Brontë, Jane Eyre (Oxford World's Classics); selections from Jean Rhys, Wide Sargasso Sea (Canvas); Bertha, choreographed by Cathy Marston, music by Errollyn Wallen (Joffrey Ballet); Lewis Carroll, Alice’s Adventures in Wonderland (Broadview); Alice in Wonderland, directed by Jonathan Miller (Library Online Course Reserves, Canvas (only available during term)); a selection of twentieth- and twenty-first-century illustrated editions of Alice’s Adventures in Wonderland (Rare Books and Special Collections, UBC Library); Small Island stage play, based on the novel by Andrea Levy, adapted by Helen Edmundson (National Theatre performance and script); a selection of poems by Moniza Alvi, Sarah Howe, Kei Miller, and Theresa Muñoz.

Term 2

MWF, 10:00 AM - 11:00 AM

What if… ? Speculative Literatures in Canada (where ‘Eh’ is for Apocalypse)

“The apocalyptic images are not just alarmist rhetoric: by pretty clear scientific consensus, there is ample reason to be afraid...”
Catriona Sandilands, Storying Climate Change

“We can’t possibly live otherwise until we first imagine otherwise”
—Daniel Heath Justice (Cherokee Nation), Why Indigenous Literatures Matter

 

What if global warming causes a pandemic of dreamlessness and a future where Indigenous peoples are hunted for a cure reportedly found in their bone marrow? What if scientists genetically re-engineered humanity to better survive climate apocalypse? What if geronticide emerged as a popular solution to intergenerational conflicts over economic inequality? What if cyborgs wrote poetry? What if a child’s emotional distress resulted in transmogrification into a giant red panda? What if... what if... what if…

Speculative literature—an umbrella category or “supergenre” associated with genres like science fiction, dystopia, fantasy, and horror—is storytelling of the what if. It alters or extends (often into uncomfortable places) the conditions of the world as we know it in order to consider what might be, and in doing so invariably returns us to what has been and is, to the present that prompts such creative acts of speculation. This course will introduce students to Canadian literatures in the genres of speculative fiction, examining some of the big “what ifs” being asked by Canadian and Indigenous storytellers today. We’ll read stories about climate apocalypse and consider the usefulness of imagining the end of the world. We’ll explore how the horrors of colonial history  have been reimagined into dystopian neocolonial futures. And we’ll take up narratives about monstrous bodies and posthuman figures that question what it means to be human. How do such fantastic fictions function to comment on our realities? Indeed, while apocalypse and dystopia have long been spaces for writers to play out the potentially perilous futures of society’s present conditions—a tradition contemporary “cli-fi” continues in response to the very real horror of climate catastrophe—for many marginalized by those conditions, apocalypse and dystopia are not simply imaginative spaces. By exploring a diverse selection of texts and authors, we will thus attend to some of the different ways writers and artists in Canada are employing the fantastic to develop a cultural politics from speculative engagement with both troubling pasts and challenges of the present. Our guiding questions will include: what are the powers, possibilities, and limits of speculative genres? How does genre function differently for different writers/audiences in different contexts? What are the hopes, fears, and political imaginaries of the worlds Canadian speculative storytelling brings into being? And how does the “what if?” help us to “imagine otherwise”?

The readings and viewings will comprise novels, films, short stories, and poems in several (sometimes overlapping) SF genres—climate fiction (“cli-fi”), (post-)apocalyptic, dystopia/utopia, horror, alternate history, sci-fi, Afro- and Indigenous futurism, and urban fantasy. Primary texts will likely be selected from works by Margaret Atwood, Lindsay B-e, Jeff Barnaby, Wayde Compton, Cherie Dimaline, Hiromi Goto, Lisa Jackson, Daniel Heath Justice, Doretta Lau, and Domee Shi.

Term 2

MWF, 11:00 AM - 12:00 PM

Notions of Home in Contemporary American Literature

The idea of home has long been a fraught concept in American literature. In this class, we will examine stories about American homes from contemporary authors to consider what questions of belonging and space arise in such narratives. The authors we will be reading employ experimental styles in order to convey the complexity and provisional nature of such settings, and they call attention to the difficulties faced by various American subjects in situating themselves within both the spatial and temporal planes of the nation. Students will learn how to refine their writing at an academic level and to weave historical and theoretical research into their writing.

 Texts are likely to include Shirley Jackson’s We Have Always Lived in the Castle, Joan Didion’s A Book of Common Prayer, David Foster Wallace’s The Broom of the System, Toni Morrison’s Paradise, and excerpts from John Ashberry’s Parallel Movement of the Hands.

Term 1

MWF, 12:00 PM - 1:00 PM
2024 marks 30 years since the formal end of South African apartheid, a system of white minority rule enforced with unchecked state violence. This course explores the ways in which writers turned culture into a “weapon of struggle” against apartheid and what happened to South African literature when that struggle was eventually won.
Beginning with prison poetry from the 1970s and 1980s, we’ll look at texts that exposed the cruelties of the apartheid state and imagined a radical future for the nation. The advent of democracy in the 1990s, and with it the Truth and Reconciliation Commission, provided a range of new possibilities for writers, but also a series of challenges that we’ll explore through a range of forms and genres. Texts include (subject to change):

  • JM Coetzee - Life and Times of Michael K
  • Zoë Wicomb - Playing in the Light
  • Phaswane Mpe - Welcome to Our Hillbrow
  • Short stories by Nadine Gordimer, Njabulo Ndebele and Ivan Vladislavić,
  • Poetry by Chris van Wyk, Jeremy Cronin, Dennis Brutus and Gabeba Baderoon

Term 2

TR, 9:30 AM - 11:00 PM

The description for this course is not yet available.

Term 2

MWF, 11:00 AM - 12:00 PM

Literature in 4D

Our experience of time is a telling of stories. We use narrative to reduce life’s jumble of memories, experiences, hopes, and anxieties to a simple line that runs from beginning, through middle, to end. Fiction mirrors these stories we tell ourselves, selecting and organizing events to create the illusion of a stable, comprehensible timeline.

In this course we’ll encounter novels and short stories from a range of authors and contexts, working together to interpret them from various angles and perspectives. We’ll particularly focus, however, on the relationship between story and time. We’ll situate fiction in its own time and think about how to read it out of time. We’ll consider time travel, alternative timelines, backwards time (memory, history) and forwards time (prophecy, intuition, prediction). We will ask how time governs the lifespan and motivations of characters, the dread and anticipation of mood, the expansion or degeneration of worlds, and the existential considerations of theme. Most of all, we will examine the use of plot to experiment with time: jumping back and forth, speeding through a lifetime in a few sentences, or spending pages on a single moment.

Texts:

Texts will include Virginia Woolf’s Mrs Dalloway (Wordsworth Classics, 1998), Kurt Vonnegut’s Slaughterhouse-Five (Dial, 1999), stories from The Broadview Introduction to Literature: Short Fiction (2nd edn), and a graphic adaptation of Octavia Butler’s Kindred (Abrams, 2018).


Term 2

MWF, 12:00 PM - 1:00 PM

*This course fulfills the new BA Ways of Knowing: Place and Power breadth requirement

This course introduces students to literary and cultural representations of/intersections with practices of power in the context of the West Coast of what is currently called Canada. It emphasizes works by local authors from, about, or associated with Vancouver and British Columbia. Theories of place inform an approach to works by these writers that will allow us to examine literary Vancouver from a range of Indigenous, diaspora, and settler contexts. Our guiding question will be: How does reading “place”—including displacement—make visible the intimate and deeply felt ways dynamics of power are enated, embodied, resisted, and imagined by writers and/in communities? Students will read a range of writers from and/or engaging Vancouver in a variety of literary forms and genres. Assignments will position you in place and community, enabling you to examine place-based texts, mix critical and creative modes of inquiry, and bring student class participants collaboratively together.

Term 1

TR, 3:30 PM - 5:00 PM

How Language Creates Meaning

Expressing meaning is why we use language in the first place, but understanding how we choose the form of expression is not straightforward. In the course, we will learn how linguistic meaning emerges at the intersection of our embodied experience, our conceptual abilities, and our social and cultural context. To flesh out the meaning emergence mechanisms we will consider examples from grammar, structure of words, and multiple word meanings, but also visual communication and multimodal (text and image) artifacts. Through developing theoretical concepts and close analysis of examples, we will learn what it means to view language as a tool supporting conceptualization, in various communicative situations (advertising, internet discourse, commercial contexts, cityscape, and many more).

Term 1
TR, 11:00 AM - 12:30 PM

Indigenous Literatures, Through Time and Space

ENGL 231 explores the ways that Indigenous peoples have sought to overcome the legacy of colonialism and achieve self-determination through literary and other forms of cultural production and critique. This course will examine contemporary articulations of Indigenous identity, politics and cultural traditions in the field of literature, through the genres of the novel, poetry, plays/drama, film, and other modes of resurgent cultural expression. We will be examining both critiques of mainstream representations of Indigenous peoples in scholarly articles and readings, as well as Indigenous perspectives on popular culture, urban Indigeneity, history, politics, and contemporary struggles for decolonization.

Term 1
MWF, 1:00 PM - 2:00 PM

This course will critically engage the works of contemporary Indigenous authors from North America with a comparative perspective situated in the broad field of Indigenous studies.  We will read a variety of genres including poetry, fiction, non-fiction, short stories, novels, as well as criticism in Indigenous studies. Additionally, we will engage with non-textual forms of Indigenous literature, including oral storytelling, performance, and land-based story. The organizing questions for this particular semester are: What is the relationship between contemporary Indigenous literature and Indigenous politics and activism? How do Indigenous scholars and writers contextualize contemporary narratives culturally, politically and historically in ethical and creative ways? How do they address sovereignty, self-determination, decolonization and resurgence in their work?

Term 2

MWF, 1:00 PM - 2:00 PM

Medianthropologies

While media studies has its roots in anthropology, this origin story has been relatively neglected until recently, gaining increasing attention that has culminatedg in the publication of studies such as Anthropology of Images (2011), Anthropology of News and Journalism (2010), Anthropology of Globalization (2008), Media Anthropology (2005), Anthropology of Digital Practices (2024), Music and Digital Media: A Planetary Anthropology (2023),  Sonic Persona: An Anthropology of Sound (2018), and the 600 page Routledge Companion to Media Anthropology (2023), to name only a few. This course draws on the instructor’s Explorations of Edmund Snow Carpenter: Anthropology Upside Down (2024) to assess the anthropological beginnings of media studies before turning to an examination of various approaches to media anthropology. The course concludes with student panel presentations of media anthropological research into topics such as the UBC home page (ubc.ca), Indigenous media on campus, and campus surveillance.

Term 2

MWF, 2:00 PM - 3:00 PM

Cancel Shakespeare

Should Shakespeare be canceled? While Shakespeare’s works have long been understood as “necessary” reading, many question Shakespeare’s dominance within the study of literature written in English and his enduring cultural influence. On one side, some argue that there is still much to be gained from reading, watching, and studying Shakespeare; on the other side, some argue that Shakespeare’s works are carriers of racism, misogyny, and other forms of violence that we need to leave behind. We will read a number of Shakespeare’s plays—The Comedy of Errors, Taming of the Shrew, The Merchant of Venice, Othello, Measure for Measure, and The Tempest—closely and use our close reading to examine debates on social media and in the news about canceling Shakespeare.

Term 1

TR, 11:00 AM - 12:30 PM

Parents Just Don’t Understand: An Introduction to Children’s and Young Adult Literature

“I imagine everyone will judge it reasonable, that... children, when little, should look upon their parents as their lords, their absolute governors, and as such stand in awe of them; and that when they come to riper years, they should look on them as their best, as their only sure friends, and as such love and reverence them....” -- John Locke, Some Thoughts Concerning Education, 1693

In an enormously popular and influential work that became something of a handbook for parents and educators, the philosopher John Locke presents an idealized view of the path from childhood to maturity. Some Thoughts Concerning Education was published just as a distinct body of writing for the young was beginning to emerge in England, and Locke argued that the books children read play an important role in their development. But Locke was also a bachelor who had little first-hand experience of children, and he didn’t anticipate the many ways that writing for the young would reflect the complicated and often fraught relations between children and their elders. This course offers an introduction to children’s and Young Adult literature, with an emphasis on parent-child relations. In readings, discussions, and lectures on children’s literature published in English, we will examine how changing understandings of childhood—and particularly of the relationship between children and their parents—are reflected in writing for young readers.

We’ll begin with a selection of classic fairy tales before turning our attention to recent work, including novels by David Almond and Neil Gaiman, and a graphic novel by Mariko and Jillian Tamaki.

 

Term 2

MWF, 10:00 AM - 11:00 AM

“From Instruction to Delight”: An Introduction to Children’s Literature

Literature written for children has evolved along with evolving concepts of childhood and the nature of the child. While didacticism continues to be a strong force underlying what is written for children, it has been modified by a recognition that children's need for play and “delight” must be acknowledged. Revolutions of the 18th century were not only political:  when publisher John Newbery chose to publish books that delighted children and did not simply instruct them about manners and morals, he began a movement towards building a genre of literature that is familiar to us today in its use of imagination and play. In this course we will explore some early literature written for children, such as Newbery’s A Pretty Pocket Book (1844) and The History of Little Goody Two Shoes (1865), before moving to fairy tales, and the legacy of both in the young adult fantasy written over the last century. Our authors will include Rick Riordan, J.K. Rowling, Philip Pullman, C.S. Lewis and Neil Gaiman. Core questions we will ask in this course will focus on mythologies created through genres of children’s literature, and their effect on children’s ideas of the world and their place in it.

Term 1

TR, 11:00 AM - 12:30 PM

Racial Futures

This course engages contemporary literature, media, and theory that illuminate how concepts of the future are expressly racial visions. Speculative narratives are at once imperialist visions of control and prediction, and pertinent to radical imaginaries of a different world. We will examine cultural and scholarly works that bring speculative fiction, histories of empire and colonialism, and theories of race, gender, and sexuality into conversation. Course texts might include novels like Larissa Lai's Salt Fish Girl and Octavia Butler's Kindred; stories by Ling Ma, Ted Chiang, Ken Liu, and Nalo Hopkinson; poetry like Joshua Whitehead's full-metal indigiqueer; and films such as Boots Riley's Sorry To Bother You and Ridley Scott's Blade Runner. (Please note that these are only tentative titles and authors, and that the course syllabus will be posted in Term 1).

Term 2

TR, 2:00 PM - 3:30 PM

Synthetic Humans; Posthuman Dystopias

“We make Angels. In the service of Civilization. There were bad angels once … I make good angels now.” -- Niander Wallace, Blade Runner 2049

“Whole generations of disposable people.” – Guinan, “The Measure of a Man”, Star Trek: The Next Generation (season 2)

The near-future and alternate-reality landscapes of science fiction are often terrifying places and have been since Gothic and dystopian impulses intersected in Mary Shelley’s Frankenstein. Shelley’s landmark tale evokes dread in the implications of Victor’s generation of a humanoid Creature; this dread echoes in more recent products or accidents of science: clones, robots and replicants, artificial intelligences, cyborgs. Such texts raise issues of gendered exploitation, consciousness and rights, research ethics, and fear, in the realization that these creatures are, ultimately, not human but posthuman, yet often more sympathetic than their makers. However, despite their apparent superiority, such humanoids tend to be defined as commodities. In this course, we will consider the posthuman element of dystopian speculations reflecting on the present and recent past, especially concerning threats of mass surveillance, profit-motivated technology, environmental crisis, and redefinitions of human identity.

Core texts tentatively include William Gibson, Neuromancer; Madeline Ashby, vN; Lana Wachowski and Lilly Wachowski, The Matrix: Shooting Script; Kazuo Ishiguro, Never Let Me Go or Klara and the Sun; Blade Runner 2049 (dir. Denis Villeneuve) plus possibly one other film (or shooting script) or one other novel.

Evaluation will tentatively be based on a midterm essay, a term paper requiring secondary academic research, a final reflection essay, and participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 1
MWF,  11:00 AM -  12:00 PM

The description for this course is not yet available.

Term 2

TR, 11:00 PM - 12:30 PM

Reading Surfaces

In this course, we will survey key texts in emerging canons of graphic media—hybrids and mixtures of comics, illustrated texts, cartoons, graphic novels, graffiti, visual media and other genres—with an eye to establishing our own workable critical reading practices. What do graphic texts tell us about the limits of literature, and about the relationships between art and popular culture? How has the emergence of mass-produced graphic forms and genres impacted on the ways in which we read, and on how we value and evaluate writing? What has become of our sense of what constitutes a book or even a page? How do graphic media encourage us to reflect on the visual, spatial and material forms of representation, in language and in other sign systems and mediums? How is graphic media's increasing popularity, its burgeoning readership, tied to certain conceptions of identity, subjectivity, sociality and literacy? How do comics help us to engage with social and environmental crises in our world? Texts for this course this year will very likely include Black Panther: A Nation Under Our Feet by Ta-Nehisi Coates and Brian Stelfreeze, Making Comics by Lynda Barry, Watchmen by Alan Moore and Dave Gibbons, Ducks by Kate Beaton, Alien 3: The Unproduced Screenplay by William Gibson and Johnnie Christmas, Fun Home by Alison Bechdel, and Secret Path by Jeff Lemire and Gord Downie. The course also includes a series of comics-drawing workshops, when students can learn to make their own comics. Students will also have an opportunity to write about and discuss their own favourite graphic media.

Term 1

MWF, 2:00 PM - 3:00 PM

Vampires on Page and Screen: Transfusions and Transmutations

“I am all in a sea of wonders. I doubt; I fear; I think strange things, which I dare not confess to my own soul.” -- Bram Stoker, Dracula

This course examines adaptations in something of the way vampire transformations work, by considering how elements of appearance remain but the resulting creature is always radically different. We’ll go in prepared, not with stakes and garlic but with the critical and theoretical tools needed to move beyond popular online discussions and enable consideration of ideological, political, and cultural questions arising in creating through adaptation a new and separate text in a different genre. Our approach will be more that of literary and cultural studies than film studies, as we consider why stories about vampires, the blood-drinking immortals of myth and legend - and more recently of fiction and film - fascinate us and their adapters, and to what extent visualizing them results a transfusion, a transmutation, or both.

Core texts tentatively include Sheridan LeFanu’s Carmilla plus one adaptation (ideally the 2019 eponymous film), possibly The Vampire Lovers), Bram Stoker’s Dracula plus two adaptations: possibilities include Nosferatu (either Murnau or Herzog), Dracula (1931; Tod Browning), Bram Stoker’s Dracula (1992; Francis Ford Coppola). We might also have a look at John Polidori’s novella The Vampyre (or at one as yet unadapted vampire story) and at one vampire film that isn’t an adaptation (e.g. What We Do in the Shadows or Only Lovers Left Alive). Film choices will depend on access through Library Online Course Reserves. As well, academic readings in theory and criticism specifically concerned with adaptation, as well as in Gothic studies, will be set and provided through Library Online Course Reserves.

Evaluation will tentatively be based on a midterm essay, a term paper requiring secondary academic research, a final reflection essay, and participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 2

MWF, 2:00 PM - 3:00 PM

Hard-boiled and Noir

Admiring French film critics coined the term “Noir” to describe stylized, moody, atmospheric, politically-charged, morally-ambiguous American films from the 1940s and 1950s about ordinary people who commit extraordinary crimes. These films were themselves quirkily and sometimes surreally adapted from Gothic, mystery, and especially “hard-boiled” detective stories from the nineteenth and early-twentieth centuries that thrilled and inspired readers with tales of murder, mayhem, and daring-do—albeit in somewhat more lighthearted or comforting registers. Since in 60s, though, Noir has itself become a global phenomenon whose authors adapt its persistently sinister tropes of greed, murder, cynicism and cruelty to comment on the critical issues of their time, including psychic malaise, racial identity, class power, and gender violence. This course will survey hardboiled and noir fiction (and some films) and probe their aesthetic, psychological, and political implications. We will read several classic hardboiled and noir texts to define its modes and assumption and to differentiate them from other forms of detective fiction. We will also read some recent American and “global noir” novels offering fresh perspectives on the genre’s racial, gender, and class politics. Assignments will include in-class writing assignments and a final exam, but students will also have a chance to develop creative skills by writing their own hard-boiled or noir story.

Note: these novels and films portray, describe, and confront racial prejudice, gender violence, drug addiction, psychic trauma, and related issues in sometimes stark and challenging ways. Students are advised to bring an open mind to these texts and to be prepared to discuss the challenging issues they raise.


300-Level Courses

Term 1

MWF, 12:00 PM - 1:00 PM

Dream, play, phantasy: Affect theory and literary criticism

This course seeks to do two things. First, it introduces students to some aspects of affect and object-relations theory as these have entered literary scholarship and the theoretical humanities in the last couple of decades. We will begin with Sigmund Freud's The Interpretation of Dreams (1900), a classic text that influenced the practice of literary criticism in the twentieth century. But we will quickly move to departures from Freud that specifically critique the psychoanalytic theory of the drives. We encounter the work of Silvan Tomkins, a U.S. psychologist who develops a complex theory of affect and a phenomenological approach to affect as motivational experience. And we will spend time with the British school of object-relations theory, paying particular attention to the notion of phantasy in Melanie Klein, play in Donald Winnicott, and reverie in Wilfred Bion. Along the way we will explore secondary literature on affect, especially feminist, queer, and anti-racist critical work alongside these primary theoretical texts.

The second purpose of this course is to encourage students to experiment with a method, or a set of techniques, for literary interpretation that is guided by the affective experience of the reader. How might a careful phenomenological attention to affect and an analytic orientation help to ground criticism? If criticism is always reflexive—if it involves the reader in a process of examining their own experiences, positions, values and motivations—how will a criticism informed by affect theory keep things at once speculative and real, connected both to the text (or other aesthetic object) and to the reader?

This course is taught as a mix of lecture and discussion. In addition to primary theoretical work and other works of criticism and interpretation, we will read novels and short stories, and engage with films and television shows to see how affect theory can offer a promising set of tools for thinking across media form. We will also think about these literary and cultural artifacts as themselves proposing theoretical vantage points. Our learning objectives include:

  • to introduce students to affect and object-relations theory
  • to experiment with grounding interpretive techniques in such theories
  • to maintain an open, reflexive, analytic attitude toward aesthetic experience

Term 1

MWF, 12:00 PM - 1:00 PM
Blended Delivery

English 301: Technical Writing examines the rhetorical genre of professional and technical communication, especially online, through analysis and application of its principles and practices. You will produce a formal report, investigating resources and/or concerns in a real-life community, as a major project involving a series of linked assignments. This project will involve the study (and possibly practical application) of research ethics where human subjects are involved (e.g. in conducting surveys or interviews). Evaluation will be based on a series of four linked assignments culminating in the formal report, as well as participation in discussion and completion of various textbook exercises.

Think of this course as an extended report-writing Boot Camp: intensive, useful preparation for the last phase of your undergraduate degree, as you start applying to professional and graduate programs, and for the years beyond of work and community involvement. Technical Writing is closed to first- and second-year students in Arts and cannot be used for credit towards the English Major or Minor.

The course text will be Lannon et al, Technical Communications, 8th Canadian Edition, Pearson, 2020.

Please note that this is a blended course and will require both participation in synchronous lectures and workshops as well as asynchronous but scheduled independent work of the sort done in a conventional online course (e.g. weekly Canvas-based textbook exercises and occasional peer feedback on drafts).

Also note that while 301 is not a course in remedial grammar, this section will provide online Canvas-based writing resources and workshops designed to help identify writing and proofreading problems, and to provide strategies to address them.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 2

MWF, 11:00 AM - 12:00 PM

Rhetorics of Science, Technology, & Medicine

To study the rhetoric of science, technology, and medicine is to study both the rhetorical effects of these domains on the world and the rhetorical processes by which these domains are rendered distinguishable, authoritative, and even essential to our survival. In this class, we will situate our study in the context of gender and specifically transgender experience. Regardless of our own gender identities and expressions, we all exist in relation to discourses, industries, and policies that are deeply gendered. From surgical medicine to airport security to the video game industry, our lives are tightly regulated by unspoken assumptions about gender: who can choose it, who can change it, and why it matters. These issues are particularly important to trans and gender nonconforming people who often face obstacles accessing the care and services they need to survive. Even as many scientists, tech developers, and medical practitioners work to be more gender-inclusive, it is becoming apparent that their inclusivity is often limited to people who are white, financially secure, and nondisabled. As we will discover this term, studying the (trans)gendered rhetoric of science, technology, and medicine is not only to make a value judgement on a person's or institution's progressivism but also to evaluate these rhetorics' material effects on trans people’s lives, especially on those who exist at the margins of trans community.
The semester will be divided into two sections. The first half will be methodological and historical, introducing a range of rhetorical approaches to science, technology, and medicine, as well as exposing the (trans)gendered history of each of these domains’ development. We will focus especially on the insights and perspectives of trans, gender nonconforming, and otherwise gender minoritized people. While not all of these scholars are rhetoricians by training, each of them offers important insights on how techno-science and medicine have been rhetorically designed to regulate gender norms. The second half of the course will center trans and gender nonconforming people’s counter-rhetorics that trouble the authority of the medical industrial complex and the profit-driven motivations of the tech industry. These counter-rhetorics reimagine trans life in ways that are both gender-affirming and community-oriented. Throughout the second half of the course, students will collaborate on a service-learning project that addresses some of the health needs of the trans community at UBC.

Term 1

TR, 12:30 PM - 2:00 PM

What is rhetoric, and how do persuasion and influence work? How you can persuade your friends, family, colleagues, and strangers? Some of the most infamous historical intellectuals vehemently disagree about the answers to these questions, but taken together, their answers provide a blueprint for rhetorical theory. By reading and applying rhetorical theories advanced by important thinkers in major epochs of world history, students will learn about how rhetoric was supposed to function in ancient Egypt, ancient Greece, ancient China, medieval Arabia, and elsewhere, as well as how these theories still function (or not) today.

Term 1

TR, 2:00 PM - 3:30 PM
Hybrid Delivery

The description for this course is not yet available.

Term 2

MWF, 2:00 PM - 3:00 PM

In the English 319 course we follow the development of English from the time of the Norman Conquest to the present day. In terms of the diachronic study of language, the course provides an overview of the historical evolution of English from the Middle English period (1100-1500) through the Early Modern English Period (1500-1800) to the Late Modern English Period (1800-21st century). In each period, we study the changes in linguistic structure in terms of the sounds of the language and their relationship with spelling (phonology and graphology), words, including principles of word formation (morphology), loanwords, relevant aspects of word classes (the lexicon), word meaning (semantics) and sentence structure (syntax), with a view to learning about the dynamic, ongoing development and creative flexibility of the English language. The approach taken in the course is descriptive and is not situated exclusively in any specific linguistic theory.

Since the course aims at enabling students to grasp and describe the significant linguistic changes from one historical period to the next, students will be required to acquire a working knowledge of

  • the International Phonetic Alphabet and
  • English morphology and syntax.

There is an emphasis in this course on sustained practicing what you are learning by analyzing and describing a substantial number of examples throughout our study of the historical periods from Middle English up to present-day language use.

Required textbook: Brinton, Laurel J. & Leslie Arnovick. The English Language: A Linguistic History. 3rd ed. Oxford University Press, 2017.

Term 1
Online Asynchronous

English 321 is a fully asynchronous online course. It offers an introduction to English grammar and its use in everyday communication. Taking a descriptive stance towards the rules of grammar and language variation, we work with examples from written and spoken language used in various formal and informal situations. Our study starts with words and their parts, proceeds to word classes, phrases and clauses, and concludes by considering different communicative functions that grammatical structures can perform when we package information in particular ways. This course:

  • equips students with skills for identifying and describing the effects of derived structures in various communicative situations by means of the study and description of numerous diverse examples,
  • provides a strong basis for further study of the English language, language variation, literary and non-literary communication and style, and
  • provides essential preparation for students planning to teach English at any level.

In ENGL321, as in language courses generally, active and sustained engagement with the course materials is important. It is helpful to practice what you have learned at every step of your progress by completing the exercises provided on the course website and in the textbooks and to watch and listen in conversations or everyday reading for instances of application or non-application of the descriptive rules that you are learning in the course. The collaborative journal posting assignments provide opportunities to gather data and discuss the application of usage rules to real-life usage that you record (with permission of the participants) and describe.

Note: Although this is not a remedial course explicitly aimed at improving your own language usage, studying the structure and the usage of the language can have a positive, continuing impact on your ability to communicate effectively in English.

Textbooks

Börjars, Kersti & Kate Burridge. Introducing English Grammar, 3rd ed. Routledge, 2019.

Leech, Geoffrey, Margaret Deuchar and Robert Hoogenraad. English Grammar for Today: A New Introduction. 2nd ed. Palgrave Macmillan, 2006.

Term 2
Online Asynchronous

This fully asynchronous online course is an introduction to the study of stylistics, with an emphasis on literary stylistics. The course starts with the definition of stylistics as the linguistic analysis of literary or non-literary texts for the purpose of reaching verifiable interpretation(s) of the meaning being communicated. We observe the significant shifts that have taken place in the development of stylistics as a discipline, while maintaining a steady emphasis on the linguistic analysis of literature.

We next consider what communication strategies characterize each of the literary genres. When describing and exemplifying current stylistic tools for analyzing poems, narrative texts and dramas, we indicate how stylistic analysis enables verifiable interpretation(s) and can prevent an untenable reading.

The course emphasizes the following actions to enhance your learning:

working hands-on with examples from each of the three genres by means of detailed analysis of the language of the text;

discussing difficult concepts and good insights with class members (you can count on also receiving input from the instructor); and

verifying findings by (in this context, small-scale) replication of analyses.

The high point of the course is the term paper in which students consider two to three findings reported in a recent corpus stylistic study on the writing style of a famous novelist (and Nobel laureate). You will be asked to replicate these findings in your own reading of a very short story or an extract from a longer work by the same author with a view to verifying your interpretation of the story.

Textbooks:

  • Short, Mick. Exploring the Language of Poems, Plays and Prose. Longman, 1996.
  • Simpson, Paul. Stylistics: A Resource Book for Students, 2nd ed. Routledge, 2014.

Term 1

TR, 12:30 PM - 2:00 PM

The Language of the Media

There has been much interest recently in the impact that contemporary media (print news, social media and image-text communication) have on public discourse and public trust in information. In the course, we will study a range of language forms and communication genres to better understand the nature of contemporary public discourse and to build an informed approach to the communicative universe we live in. We will start by discussing selected language phenomena, such as types of figuration, linguistic constructions, and expressions of stance.  After establishing introductory concepts, we will focus on several case studies, looking more specifically at the discourse of major campaigns and crises (e.g. Brexit, COVID, climate change), political discourse genres (speeches and election campaigns), the role of post-truth phenomena, and internet discourse genres (memes and ads). Students will be expected to participate in in-class discussions and projects, engage with readings, collect their own media examples, and respond to take-home assignments.

Term 2

MWF, 2:00 PM - 3:00 PM

This class focuses on “everyday metaphors”: the figurative language that we use all the time, over the course of casual conversations and throughout our lives, often without even realizing it. While we may think our colloquial use of language is mostly literal, we rely on metaphors to talk about all sorts of ideas and situations. For example, we may talk about “fighting” crime, “waging war” on a pandemic, or “battling” poverty. In all these cases, we are describing one type of concept - a serious societal challenge - in terms of another concept, physical combat. But what does it mean to describe a pandemic as a “war”, versus a “wildfire” or a “journey”? Not only are these types of patterns pervasive throughout our language use, they also influence how we understand these concepts.

In this course, you will learn how to identify and analyze figurative language in a variety of texts and media, and also consider the persuasive role of metaphor as a cognitive phenomenon. In the first part of the course, we will learn about various types of figurative language (metaphor, metonymy, blending). In the second part, we will apply these theoretical concepts to a range of genres, from health care to poetry. We will also consider the role of figurative language beyond the written and spoken word, such as gesture, memes, and other forms of multimodality.

By the end of the course, students will be able to:

Identify and analyse figurative language in a variety of texts, genres, and media

Understand and apply core concepts in cognitive linguistics, including metaphor theory and frame semantics

Read and comprehend scholarly articles in the field of metaphor studies

Develop an original metaphor analysis and present it in spoken and written form

Engage in critical academic discussion with both peers and scholarly literature

Required textbook: 

Dancygier, Barbara, and Eve Sweetser. Figurative Language. Cambridge University Press, 2014.

Term 2

MW, 3:30 PM - 5:00 PM

This course explores and examines contemporary English phonology, morphology and lexical semantics. It begins with the study of speech sounds in English. We apply methods for phonetic transcription and study distinct sounds and possible sound combinations in English (phonology). We study the processes of word formation and word classification in English (morphology). We also study word meaning (lexical semantics) using a variety of approaches.

Upon completion of this course, students will:

  • understand the English sound system, including sounds that are used in speech production and the rules and patterns governing their use;
  • understand the rules of English word formation and grammatical modification;
  • understand different approaches to representing and analyzing lexical meaning;
  • demonstrate the ability to formally or diagrammatically represent this knowledge;
  • appreciate the nuances of meaning in human language and the conceptual system underlying it.

Required textbook:

Brinton, Laurel J., and Donna M. Brinton. The Linguistic Structure of Modern English. John Benjamins, 2010.

Term 2

Online with Zoom meetings set by instructor
Thursdays, 3:00 PM - 6:00 PM

The Structure of Modern English: Sentences and Their Uses

This online course focuses on the structure of modern English beyond the level of the word. We study how words and phrases are combined in English sentence structure (syntax) from a generative perspective. Our focus will be on both simple and complex sentences. We will also study meaning in sentences (sentence semantics) and how language functions in context (pragmatics).

Upon completion of this course, students will have:

  • a knowledge of the structure of simple and complex sentences in English and the ability to represent this knowledge diagrammatically
  • an appreciation of the nuances of meaning in human language and a knowledge of the conceptual system underlying meaning
  • an understanding of the use of language in context.

Course evaluation: There will be 3 tests, 3 quizzes and a class participation mark. The tests are not cumulative. A variety of in-class, homework and test questions will be given, including problem solving, short answer, and multiple-choice questions, but the emphasis will be on representing English sentence structure diagrammatically.

 

Required Text: L. Brinton. (2010) The Structure of Modern English. (2nd ed.). Amsterdam/Philadelphia: John Benjamins. Chapters 7-11.

Term 2

TR, 2:00 PM - 3:30 PM

Media ecology in the Atlantic world, 1650 to the present

This course begins by defining “media ecology” as a “coevolution” among technologies, their users, the materials from which technologies are made, and the communities in which their users participate. It examines the history of the idea of “media” and “mediation” from the early modern period to the present, and in conjunction with kinds and sites of media and mediation typically overlooked in media histories, including Indigenous knowledge-keeping, ceremony, and diplomacy and Black community production and circulation of texts. The course is organized comparatively, bringing print and digital media forms into conversation, along with a broadened sense of what “mediation” is and might be. The learning design and assessments for this course draw on comparative modes of inquiry.

The course combines theoretical and historical reading and investigation with hands-on, project-based learning. You will investigate the historical development of knowledge technologies, broadly understood, experience and reflect on their practical use, examine them in relation to broader approaches to mediation and media history, consider what it means to inquire into the experiences and lives of those who have worked with and used technological forms and participated in other modes of mediation contemporary with them, and use digital and analog media to organize and explain your findings. You will also engage with media ecologies in a second sense, considering the relationship between media, their material qualities, and the resources and practices of the surrounding world. Finally, you will consider literary texts that reflect on their own relationship to media and mediation, bringing media historical questions productively into view.

Term 1

Online Asynchronous

Media ecology in the Atlantic world, 1650 to the present

This course begins by defining “media ecology” as a “coevolution” among technologies, their users, the materials from which technologies are made, and the communities in which their users participate. It examines the history of the idea of “media” and “mediation” from the early modern period to the present, and in conjunction with kinds and sites of media and mediation typically overlooked in media histories, including Indigenous knowledge-keeping, ceremony, and diplomacy and Black community production and circulation of texts. The course is organized comparatively, bringing print and digital media forms into conversation, along with a broadened sense of what “mediation” is and might be. The learning design and assessments for this course draw on comparative modes of inquiry.

The course combines theoretical and historical reading and investigation with hands-on, project-based learning. You will investigate the historical development of knowledge technologies, broadly understood, experience and reflect on their practical use, examine them in relation to broader approaches to mediation and media history, consider what it means to inquire into the experiences and lives of those who have worked with and used technological forms and participated in other modes of mediation contemporary with them, and use digital and analog media to organize and explain your findings. You will also engage with media ecologies in a second sense, considering the relationship between media, their material qualities, and the resources and practices of the surrounding world. Finally, you will consider literary texts that reflect on their own relationship to media and mediation, bringing media historical questions productively into view.

Term 1

TR, 12:30 PM - 2:00 PM

From Codex to Code

“Never judge a book by its cover,” we are often told, and yet we do judge books, not only by their covers, but also by their typefaces, their illustrations, where they are filed in the bookstore or the library, and by any number of other factors not apparently directly related to their content. This course will introduce students to book history, a discipline that tries to unravel the complex relationships between particular books, the texts they contain, the cultures that produce them, and the readers who encounter them. D.F. McKenzie famously described bibliography as the sociology of texts. As we move through important moments in the history of book production, we will explore how materiality and meaning interact, in a range of historical and cultural contexts. Students will learn about the many forms texts have taken over the centuries, from oral recitations to ebooks, and everything in between. A feature of this course is hands-on experience with UBC’s collections: roughly every other week, we will visit the Irving K. Barber Library to explore materials from Rare Books and Special Collections. Course assignments will facilitate individual, curiosity-driven research with these materials.

Term 1

MWF, 10:00 AM - 11:00 AM

Old English Language and Translation

“You must remember we knew nothing of [Old English]; each word was a kind of talisman we unearthed…And with those words we became almost drunk.” –Jorge Luis Borges, “Blindness”

Old English, the earliest form of English, offers an uncanny sensation: so different from present-day English that it must be studied as a foreign language, it is an ancestor whose patterns reveal themselves quickly to the learner. Old English literature is strange, intimate, and violent: a general falls into his bed after a woman’s brutal swordstroke; a feud erupts at a wedding; a tree, torn from the wilderness to become an unwilling instrument of torture, clings to Christ in what Borges calls a lovers’ embrace. This literature is usually read in translation, but in this class you will begin to read it in the original. You will learn the fundamentals of Old English grammar, syntax, and vocabulary; specialized poetic vocabulary and the basic rules of poetic composition; and unusual features that have been lost in the journey from Old to present-day English.

Term 2

MWF, 10:00 AM - 11:00 AM

A man falls asleep, his bed beneath a hung shield of bright wood.
Who made it for him? Who will remember it after tonight?
He goes to sleep for the last time, brimful from feasting, glad
for his bed, his armor set above him, a scarecrow to the night.

Identical under a blanket to the rest, but not quite the same—he
Squinted
when he laughed, he had a crooked thumb…

…This one would pay dearly for his beauty sleep,
for out in the dark, something of Grendel was waiting.

(Meghan Purvis, “Grendel’s Mother”)

How far can you go in translating a thousand-year-old poem? How do you balance relevance and authenticity? What does it mean to translate Beowulf into other platforms—to screen, graphic novel, performance, fan fiction, musical score, X thread? How do ethical translators reckon with the racist, sexist and imperialist history of Beowulf interpretation? This course on the many lives of Beowulf is also a course in the theory and practice of literary translation. Primary texts include Beowulf translations by Thomas Meyer, Seamus Heaney, and Meghan Purvis; we will also read widely in contemporary theory and criticism.

Previous study of Old English not required.

 

Term 1

Online Asynchronous

Love and Honour: Medieval Chivalry and Courtly Love 

The courtly poetry of medieval Europe develops out of a vibrant reimagining of elite culture in the twelfth-century that spread like wild-fire across the courts of Europe. The development of the entwined ideologies of chivalry and courtly love (fin amour) create an environment that produces some of the masterpieces of European literature. This course examines these two social phenomena from their origins in the twelfth-century court culture exemplified by the poetry of Chrétien de Troyes, Andreas Capellanus, and others, through to the flourishing of literary activity in the world of fourteenth-century England.

We will read a range of medieval texts, some in modern translation and some in the original Middle English, ranging from Chrétien’s Lancelot, selections from chivalric manuals, secular and religious love lyrics, Sir Perceval of Gales, to the popular romance The Wedding of Sir Gawain and Dame Ragnall. Finally, as the capstone text of the course, we read the alliterative Sir Gawain and the Green Knight, a complex meditation on honour, love, the natural world, and the search for human perfection. This classic text, long central to the canon of English literature, will be examined through lenses both traditional and contemporary, asking not only what it meant in its fourteenth-century context, but what it continues to mean to us today in our own time of cultural and environmental crisis.

Term 1

TR, 2:00 PM - 3:30 PM

Chaucer’s Canterbury Tales: A World of Words and a Sea of Stories

With the help of a reader-friendly edition and a series of structured but gentle lessons, you will acquire facility in reading Chaucer’s Middle English. More importantly, you will learn how Chaucer makes use of his language’s power in assembling a series of narratives ostensibly told by the diverse company of pilgrims he met on the way to Canterbury. The pilgrims’ tales create a conversation about many themes, including class, love, sex and gender, work, language, the nature of narrative itself, and the pleasures and travails of studenthood, and our class meetings will reflect the collection’s spirit with regular sessions of open discussion. We will consider the linguistic and literary innovations that led readers to consider Chaucer the “father of English poetry” together with the sense of humour – by turns satirical, bawdy, and self-deprecating – that makes reading his poetry a constant joy.

Term 2

TR, 11:00 AM - 12:30 PM

In this course we’ll read Edmund Spenser’s Faerie Queene, one of the greatest of Renaissance epics. We’ll make our way slowly and steadily through all six books. Although there will be some discussion of religion and politics (hard to separate when Spenser wrote), our main focus will be on the Faerie Queene as poetry.

Term 1

TR, 2:00 PM - 3:30 PM

Shakespeare and the Idea of the Nation

What is a nation? What does it mean to be, and how does one become, a part of a nation? These are certainly important questions now, and they were equally important in Shakespeare’s day as England was still establishing itself as a sovereign nation. We will read works by Shakespeare and examine the nation as a category of belonging and exclusion that intersects with concerns about race, gender, sexuality, and language. We will read Titus Andronicus, “The Henriad” (Richard II, 1 Henry IV, 2 Henry IV, and Henry V), The Merchant of Venice, Othello, and Cymbeline. Class assignments will include short papers, a close reading assignment, and a research-based final project.

Term 2

MWF, 11:00 AM - 12:00 PM

Mediatic Shakespeare

This course provides a unique approach to selected plays by Shakespeare through its focus on Shakespeare’s media—orality, script, and print—and the dramatization of these media in his plays during the period when the dominant medium was shifting from orality to literacy. The course also provides students with an introduction to media theory. The historical background of Shakespeare’s era is further developed through student panel presentations on topics relevant to the media context of Shakespeare’s time, including music, scribal practices, printing, and education.

Term 2
Online Asynchronous

The description for this course is not yet available.

Term 1
MWF, 12:00 PM - 1:00 PM

Political Bodies, Social Selves: 17th century Literature

17th century England was a culture good at creating crisis: for itself, in its civil wars, and then for others, in its rapidly expanding colonialism.  This was also a world fascinated by women’s powers, gender-fluid performance, unruly workers, the idea of trees, the mysteries of the spirit, and the meaning of community.  With a king who called himself the nursing mother of the nation, and exploitative cooperatives doing deals in India, with sermons described as “a making love to the congregation” and poems imagining Indigenous peoples as the new Adam, 17th century English literature is packed with startling, complex, and important moments in the making of Englishness, Whiteness, gender, and citizenship.  Violent, sexy, and witty, painful, nostalgic, and vivid, this literature speaks to our world in its own powerful and troubled voices.

Course-modules will include Class and Social Satire; Religious Believing; Violence and the Stage; Misogyny and Romance; Rhetorics of Early Colonialism; Myths of the Citizen. We’ll read pastoral satires, country-house poems, civil-war debates, blood-tragedies, amorous verse, and religious confessions (Amelia Lanyer; John Donne; Mary Wroth; John Webster; Ben Jonson; Walter Ralegh; Oliver Cromwell; Thomas Hobbes; Katherine Philips).

The course will be as interactive as I can make it: workshops, discussion, collaborative projects, group-work.  You’ll have a custom anthology, no midterm, and lots of choice in your writing projects.

Term 1

MWF, 10:00 AM - 11:00 AM

The only text in this course is Milton’s Paradise Lost. We’ll move through it fairly slowly. Our primary focus will be on the poem as poetry. No prior experience with Christianity or the Bible is necessary.

Term 1

TR, 2:00 PM - 3:30 PM

Regulating Fantasy: Unruly Imaginations and Supervisory Education in Eighteenth-Century Children’s and Young Adult Literature

“Let me observe to you (which I would have you communicate to your little friends) that giants, magic, fairies, and all sorts of supernatural assistances in a story, are only introduced to amuse and divert: for a giant is called so only to express a man of great power” --Sarah Fielding, The Governess, 1749

 

Plots of most eighteenth-century books for children and teens reflected the adult agenda of turning youth into well-behaved respecters of parental, social, and religious authority. The young, however, were not always as compliant as adults wished: both as characters within texts and as real-world readers, children appropriated their elders’ reading, emphasized apparently minor or incidental elements of narratives, and engaged in subversive modes of interpretation. Nowhere was the tension between the priorities of children and adults more apparent than in the anxious attention to the dangers of fantasy that marked contemporary educational theory as well as the texts and paratexts of writing for youth.

This course will examine eighteenth-century strategies for disarming the threat fantasy posed, from the role translators and editors played in legitimizing French fairy tales, to the London publishing industry’s attempts at rendering folk and fantasy elements educational, to the development of a model of supervisory education, though which wise adults corrected the misunderstandings of their wards and students. After a brief overview of the prevailing models of childhood in the late seventeenth and eighteenth century, we’ll turn our attention fairy tales—the most fantastic literature widely available to youth. We’ll then examine writers working in second half of the eighteenth century—Sarah Fielding, Mary Wollstonecraft, Thomas Day, and Mary Ann Kilner, among others—who incorporated fantastic elements at the same time that they attempted to regulate young readers’ interpretations.

Term 2

TR, 9:30 AM - 11:00 AM

Popular Culture and the Eighteenth Century

Studies of modern popular culture have illuminated the complex relationships that individuals and groups maintain with the larger artistic, political, economic, and social movements around them. Through detailed engagements with eighteenth-century popular culture, this class will work collaboratively to illuminate the relationships among high culture, women’s culture, and popular culture, and the ways in which the conventional masculinization of high culture constitutes the feminine as the popular. Recognition of the historically naturalized links between the feminine and the popular in fiction (both frivolous products of fashion, determined by performance and consumption) will provide a scaffold for our work in other literary and cultural contexts that have previously been regarded as separated by less nuanced boundaries of high and low culture, including blockbuster plays like The Beggar’s Opera, shocking fiction like Behn’s The Fair Jilt, and the literary hissing match around the pop cult  phenomenon Pamela (read in excerpt), and one of the most adapted of Regency fictions, Jane Austen’s Emma. While most of this course will focus on popular culture created in the eighteenth century, we will end with a section on the implications of eighteenth-century women in modern popular culture, including screen adaptations of Emma, likely including Emma (1996), Emma Approved (online, 2013) and/or Clueless (1995). But not the excruciating 2020 version.

Want to get ahead? Read Emma over the break and watch some adaptations—in March you will be glad you did!

Term 1
TR, 9:30 AM - 11:00 AM
British and Global literature, 1780-1830, from the period of the French Revolution to the Reform Act and the Abolition of Slavery in the British Empire. May encompass multiple genres and contexts. Credit will be granted for up to 6 credits of ENGL 355 and/or 359. For ENGL courses at the 200- or 300- level, prior completion of at least one 100- level ENGL course is recommended.

Term 2

MWF, 12:00 PM - 1:00 PM

The Music of Romanticism

The seraph-band, each waved his hand,
No voice did they impart,
No voice; but oh! The silence sank,
Like music on my heart. --Coleridge, “The Rime of the Ancient Mariner” (496-99)

While songs were among the most popular media of the period in British literary history we now know as the “Romantic” (1780-1830), British Romanticism is rarely considered to have been a musical phenomenon. This course corrects that oversight. Examining six major collections of the period’s most innovative and influential lyric genres—songs, ballads, tales, sonnets (“little songs”), melodies, and improvisations—we will dive deeply into the meter, rhythm, sound, diction, poetic devices and literary effects of individual lyrics. We will also contemplate how Romantic-era poets weaved musical forms into the silent medium of print, anticipating and encouraging a tension between the intellectual work of poetry and the populist spirit of music that persists to our own day. This will enable us, further, to examine the importance of music to Romanticism’s political impulses and to explore the ways poetic music opens up questions of feeling, environment, volition, desire, identity, race, sexuality, personal growth, and social order. Primary readings will feature poems by William Blake, Charlotte Smith, William Wordsworth, Samuel Taylor Coleridge, Mary Robinson, Lord Byron, and Laetitia Elizabeth Landon (LEL). Assignments will combine creative and critical skills through presentations, common-placing, adaptations, and reviews. Although much of the work in this class will be independent, students will be expected to engage closely and systematically with the form, mood, and above all the sound of poetry in class discussions and group exercises.

Term 2

MWF, 2:00 PM - 3:00 PM

This course in early Canadian writing offers an introduction to some significant works in Canadian literary culture in English from its emergence in pre-Confederation colonial literature to its development until the end of the World War I. We will ask, how has Canada’s particular colonial history shaped what has been recognised as Canadian literature and culture? How have settlement patterns, geographical features, or political structures affected cultural production in Canada? With these questions in mind, the themes we will address in this course include: exploration, colonization and settlement; Indigenous and First Nations sovereignty; English-French relations; issues of race, class, gender and sexuality; literature and the telling of history; Canadian literary regionalism. We will address these themes and many other questions about the relationship between literature and national identification in an historically and culturally contextualised survey of selected English-Canadian poets, essayists, and writers of fiction.  

Term 1
TR, 11:00 AM - 12:30 PM

Victorian Literature for Children

This section of English 362 will explore literature written for children during the Victorian period in England. Important concerns of the Victorian period were the changing roles of women and working classes in society, Empire and national identity, and the influence of new scientific discoveries, particularly about the relationship between humans, animals and the divine. When we begin to think of “children’s literature”, we realize its slipperiness as a genre; in this course, we will explore a variety of genres tied to our core texts. Our core texts will be from the commonly-called “Golden Age of Children’s Literature”, and will be read also in conversation with some children’s literatures from other cultures. Core texts will include works by Lewis Carroll, Rudyard Kipling, Charles Kingsley, and George Macdonald, and will be supplemented by short stories and excerpts. Topics covered will include the use of fairy tales by the Victorian press, framing education in children’s literature, the portrayal of animals, humans and the natural world, the writing of colonial identity in Indian children’s literature and Indian press, and the influence of ancient Middle Eastern tales brought to England by travellers. This course will also continue your training in research and academic writing.

Term 2

TR, 2:00 PM - 3:30 PM

Middlemarch and Jane Eyre

When asked what she thought of George Eliot’s Middlemarch Emily Dickinson replied: “What do I think of glory”? A century and a half later Middlemarch was voted the greatest British novel in an international BBC Culture poll. Why is Middlemarch, described by Virginia Woolf as “one of the few English novels written for grown-up people,” so highly regarded? Why is Charlotte Brontë’s Jane Eyre, ranked fifth in the greatest British novels poll, one of the most popular English novels ever written, inspiring successive generations of authors, visual artists, and filmmakers? In attempting to answer these and other literary and cultural questions, we will explore why – and how – Middlemarch and Jane Eyre have been canonized and examine the ideological assumptions implicit in defining literary works as “great.”

We will also explore the ideological assumptions – with respect to gender, race, class, sexuality, mental and physical ability, the environment, ethics, religion, education, aesthetics, etc. – implicit in the novels and in our (and the Victorians’) readings of them.

Our texts: George Eliot, Middlemarch (Oxford World's Classics); Charlotte Brontë, Jane Eyre (Oxford World's Classics). Try not to be too influenced by – put off by? – the Middlemarch cover illustration. Yes, we will discuss why we often judge books by their covers . . .

Middlemarch is 785 pages and Jane Eyre is 440 pages: please do as much reading as possible before the course begins.

Term 1

MWF, 3:00 PM - 4:00 PM

The Origins of Science Fiction

This course explores the emergence of science fiction (SF) in a nineteenth-century climate of intellectual, social, and technological transformation. Though often viewed as a twentieth-century genre, the nineteenth century saw SF acquire its most identifiable themes — invented technologies, the encounter with otherness, imagined futures — and tropes — extra-terrestrials, space voyages, robots, the posthuman. We’ll discuss both canonical and lesser-known texts of the period, tracing the origins of SF in major social and intellectual currents including evolutionary theory, colonialism, rapid technological advancement, and an emerging distinction between professional and amateur science. Analyzing science fiction also opens novel perspectives on central issues and developments in the period: shifting perceptions of nature and the human, the conflicts and consequences of colonization, challenges to hierarchies of race and gender, mass literacy, secularization, socialism and utopian thought, and attempts to harmonize science with the supernatural.

Texts:

Texts will include Mary Shelley’s Frankenstein, Edward Bulwer-Lytton’s The Coming Race, and Pauline Hopkins’ Of One Blood: Or, The Hidden Self, as well as short stories from a range of authors, including Edgar Allan Poe, H.G. Wells, and Begum Rokeya.

Term 2

TR, 9:30 AM - 11:00AM

Haunted Landscapes of Gothic Modernism

“in the middle of my party, here’s death, she thought” - Virginia Woolf, Mrs. Dalloway

Modernism was born out of seismic, revolutionary shifts in society and culture. World wars, political revolutions in Europe and beyond, murderous civil and colonial/imperial wars, economic depression, and successive waves of technological modernization offering mixed psychological and social benefits and injuries laid siege to assumptions that the world was in any way well-ordered or reliably understood. Its literature both reflects conscious innovation and experiment and sometimes opposes these passions for change. Its obsessions respond in complex ways to those seismic shifts in its representations of gender and sexuality, social structures, race and culture, in all cases often in terms of transgression.

And yet, in its drive to make things new, Modernist literature is often a haunted place: spectres of ancestry, of war, of places escaped from collide with the present moment, creating a dark, Gothic modernity. This troubled place will be our focus as winter turns to spring.

Core texts tentatively include Henry James, The Turn of the Screw (to be read as a Modernism precursor), Dorothy L. Sayers, Strong Poison; D.H. Lawrence, Women in Love; Virginia Woolf, Mrs. Dalloway; James Joyce, “The Dead”; and Katherine Mansfield, “Prelude” and “At the Bay”; plus perhaps one more work of short fiction.

Evaluation will tentatively be based on a midterm essay, a term paper requiring secondary academic research, a final reflection essay, and participation in discussion.

Keep checking my blog (https://blogs.ubc.ca/drgmbaxter/) for updates concerning texts and requirements.

Term 1

Online Asynchronous

Modern Literature

Some descriptions of Modernism offer bloodless abstractions about formal experimentation, academic disruption, and reactions against conventional morality. This course concentrates on the wildly passionate commitment of moderns to changing the world, to finding new sensations and affects, to overcoming historical evils and biases, to appreciating with sincere admiration other arts, other cultures and languages, and other places. The practices of the literary avant-garde may be a kind of cosmopolitanism of the arts, opening borders between different aesthetic media, traditions, and forms, to correspond with the opening up of the planet’s borders through technologies of speed in movement and communication. This course analyzes Modernism through the lens of its discrete experimental literary and artistic movements, networks, manifestos, and performances. Topics include Decadence, the New Woman, Expressionism, Manifesto Modernism, Impressionism, Surreality, Psychoanalysis, Minimalism, Technological Modernity, and Graphic Modernisms. Forms include prose fiction, verse, and drama. Writers include Stein, Yeats, Rhys, Woolf, Joyce, Eliot, Conrad, others.

Term 2

TR, 11:00 AM - 12:30 PM

English 366 is dedicated to studies in twentieth-century literature. This section engages with texts that imagine different types of future society, both utopian and dystopian. Between the spread of powerful and dangerous new technologies and the rise and fall of fascist and communist states, the twentieth century was one of enormous political and social transformation. These changes prompted writers to imagine future societies as a way of questioning, warning about, and inspiring new forms of social and political order. We will read several utopian/dystopian texts, including four novels: George Orwell's Nineteen Eighty-Four, Ursula K. Le Guin's The Dispossessed, Russell Hoban's Riddley Walker, and Octavia Butler's The Parable of the Sower. Alongside these novels, we will read several short texts, including critical essays that theorize the way science fiction engages with the real world, as well as examples of political thought from the twentieth century. Through these readings, we will discuss how writers and intellectuals thought about the future then and how we might do so now, as the twenty-first century seems poised to be another time of tumultuous transformation. Course requirements will include classroom contributions and several essays. Please note that many of these texts engage with mature and difficult subject matter.

 

Term 1
TR, 12:30 PM - 2:00 PM

Contemporary U.S. Fiction

This course will examine in depth the conversation formed by five outstanding novelists and their varied takes on the mythologies, dreams, and systems undergirding U.S. life in the global world of the late twentieth and early twenty-first century.

Texts will include:

  • Don DeLillo, Libra (1988);
  • Thomas Pynchon, Vineland (1990);
  • Toni Morrison, Paradise (1997);
  • Jennifer Egan, The Keep (2006);
  • Chang-rae Lee, On Such a Full Sea (2014)

Term 2

MWF, 11:00 AM - 12:00 PM

African Climate Fiction

What is African climate fiction? How does this genre of African literature and film engage the current climate crisis of our planet? What aesthetic strategies do African literature and film deploy to comment on the ongoing climate crisis?

To engage these questions, we will start by studying the configurations of human and other-than-human actors in African epics and folktales as well as other foundational literary texts selected from across the continent. Drawing on this Africanist account of planetary engagement, we will then explore key terms in African environmentalism and climate fiction as we define fiction broadly to include film and social narratives. We will then explore how African cultural actors’ investigations of multispecies engagements, the ethics of resource use, the so-called Anthropocene, and the concept of the planetary unsettle the colonial impulses that often lurk in the environmentalisms and environmental policies of Global North political and academic frames. We will consider the sorts of “environmental tragedies” that Western environmentalism links to Africa such as the environmental degradation in the Niger-Delta and African civil wars stoked to serve cold war actors’ resource needs. Just as importantly, and contesting the environmental affects and policies of Global North actors, we will also explore how diverse African cultural imaginaries challenge the Western narrative of environmental tragedy and that narrative’s weak capacity to track the connections of rural and urban spaces, and the logics of extractivism that often ride on Western rhetoric of environmentalisms and climate change.

Term 1

TR, 9:30 AM - 11:00 AM

The Cold War in Asia: Asian American and Asian Canadian Responses

The period post-WWII until the 1980s is conventionally understood in the West as the Cold War. Marked by events such as the Cuban missile crisis, the war in Vietnam, and the fall of the Berlin Wall, these years are remembered as a tense time when it seemed that the conflict between communist and capalist democratic ideologies might result in the outbreak of nuclear war. At the same time, it is important to remember that these same tensions played out very differently in Asia and took the form of multiple bloody and violent wars.  This course will return to this historical period in order to rethink what is conventionally remembered in the West as a conflict between the US and the USSR as a struggle that also involved—and, indeed, was staged in—Asia.

By reading novels, a novella, poetry, and a memoir that move us through the Chinese civil war, the Korean war, the wars in Southeast Asia, and North Korea, we will explore the legacies of Cold War logics and the afterlife of the wars in Asia for Canadians and Americans. How do these contradictory memories and competing historical narratives shape how Asians in North America imagine themselves and are understood by non-Asians? How does what critic Jodi Kim calls the “protracted afterlife” of the Cold War continue to influence current conversations about migration, citizenship, and global events and politics? We will contextualize our discussions of these literary texts with critical and theoretical material and documentary films in order to think critically about these competing cultural representations and the narratives they produce.

Required Readings (subject to change):

  • Samantha Lan Chang, Hunger
  • Chang-rae Lee, Native Speaker
  • Madeleine Thien, Dogs at the Perimeter
  • Souvankham Thammavongsa, Found
  • Y-Dang Troeung, Landbridge

Additional theoretical readings will be available via UBC Library.

Course Evaluation (subject to change)

Participation - 10%

  • Reading Quizzes (2x5%) - 10%
  • Close Reading Essay (600 words) - 15%
  • Creative Assignment (response + 600 words) - 25%
  • Research Essay Proposal - 5%
  • Research Essay (1800 words) - 35%

Term 1

MWF, 12:00 PM - 1:00 PM

Storying Land in Canadian Literatures

Hidden in wonder and snow, or sudden with summer,
This land stares at the sun in a huge silence
Endlessly repeating something we cannot hear.
Inarticulate, arctic. --F.R. Scott, "Laurentian Shield” (1945)

 

Now, I’m going to tell you something
This stump—you think it’s a stump—
but that’s my grandfather.
He’s very, very old man.
Old, old man.
He can talk to you.  --Harry Robinson (Syilx), "You Think It’s a Stump” (1992)

 

The distinction between reading the land as a speechless space of "huge silence” and identifying with it as a living relation reflects differences between Western and Indigenous approaches to land and ecology. Land has long been central to the idea of "Canadian literature,” whose historical formation was supported by writers mapping onto ostensibly "new” territory beliefs about the sublime beauty or terror of a vast, unpopulated landscape—ideas like "wilderness” and "the North” that became tied to national identity, supported the work of "developing” lands and resources, and remain powerfully sedimented in national thought. These dominant narratives displaced not only the storied knowledge of Indigenous peoples who have lived on and with the land for millennia, but other complex relations to place and environment expressed by diverse peoples within Canada’s physical and social landscapes. In this class we will seek to understand how representations of land and non-human "nature” in Canadian literatures are mediated by these differences and implicated in the historical production of cultural sensibilities that have naturalized the claims to land and belonging of some while disavowing those of others. How does literature claim land? How has Canadian literature functioned as a discourse in the stabilization and destabilization of settler-colonial territoriality? Can literature write the land without exploiting it as a resource? How are contemporary writers re-storying the land and human relations with it in terms of decolonial and environmental justice?

In this course we’ll take up these and other questions as we develop a historical perspective on the complex, political relationship between literature and the land beneath our feet. We’ll explore a range of Canadian texts from settler, Indigenous, and diasporic writers—crossing multiple genres, spanning the early 20th century to the present, and ranging from the Pacific coast to the Arctic—that invite us to consider how land and literature intersect with (among other concerns) the politics of place, colonialism and decolonial resurgence, (im)migration, race, gender, urban space, ecocriticism, and environmental activism. In particular, our selections will invite us to consider what it means to read the land from our current location in Vancouver and BC, sites of natural beauty as well as complex struggles over land, sovereignty, and displacement.

Assignments are likely to include one short reflection essay, one research paper, a creative/critical project, a group presentation, and a final exam.

Term 2
Online Asynchronous

The description for this course is not yet available.

Term 1

MWF, 3:00 PM - 4:00 PM

Indigenous Futurisms

In this course we will consider the intersections between critical theory and Indigenous Studies to explore the notion of Indigenous futurisms. To do so, we will read and discuss a selection of diverse literary and cultural texts that engage with both critical theory and Indigenous thought and practice in nuanced and creative ways, from short stories and poetry, to films and art installations. This will include examinations of historical and contemporary texts, tensions, and dialogues, which is intended to foster an understanding of the broader social, political, and historical contexts from which these critical and theoretical productions emerge. We will investigate not only engagements between Indigenous and “Western" thought, but also between Indigenous and other non-western thinkers, including from the traditions of Black studies and other anti-colonial traditions of critical analysis.

Term 2

TR, 11:00 PM - 12:30 PM

Not Vanishing: Indigenous Literary Theory and Criticism

The past forty years have seen significant methodological and theoretical shifts in the scholarly field of Indigenous literary studies, moving from ethnographically inflected outsider analyses of culture and identity or as extensions of nation-state literatures to Indigenous-grounded concerns of peoplehood, land, language, and sovereignty in intellectual and artistic production. The range of literary forms, genres, issues, and regions represented in the scholarship has increased dramatically as well, as has attention to Indigenous voices in the archive, becoming more intentionally international in scope, culturally specific in concern, and expansive in consideration of genre and form across time and space. The demographics of the field have changed, too, now centring Indigenous thinkers among the field’s major theorists and recognizing imaginative experimentation alongside continuity of Indigenous traditions and grounded knowledge. This course will survey the field’s key intellectual and creative genealogies through focused analysis of two novels: Almanac of the Dead, Leslie Marmon Silko’s sprawling post-apocalyptic fever dream, and Real Ones, katherena vermette’s more intimate study of a Métis family’s grappling with identity politics.

Course readings:

  • Silko, Almanac of the Dead
  • Vermette, Real Ones
  • Macfarlane and Ruffo, Introduction ot Indigenous Literary Criticism in Canada
  • Online resources

Term 2

TR, 2:00 PM - 3:30 PM

Nostalgia in Post-colonial literature

This course introduces students to post-colonial studies through key debates in the field and a mixture of classic literary works and more contemporary texts. We will explore how discourses of gender, race and cultural identity are reflected in colonialist narratives, and we will study the ways marginalized voices have challenged the scripts of empire and settler colonialism. The theme of nostalgia, in particular, will allow us to focus on questions of time, history, identity, remembrance, and desire in postcolonial writing. Literary authors to be studied include Joseph Conrad, Derek Walcott and Jamaica Kincaid; critical texts include essays of Edward Said, Paul Gilroy and Gayatri Spivak.

 

Term 1

TR, 12:30 PM - 2:00 PM

This course will be an exploration of disease narratives from and about the Global South, aiming to analyze the intertwinement between the figuration of disease, sedimented histories of colonialism, and radical imagination in select narratives in the context of public health in the Global South. The term “the Global South” gained traction in the wake of the mid-twentieth-century decolonization across Asia and Africa by offering a terminological and discursive reorientation for existing political and economic categories, namely, “postcolonial nations” and “Third World countries.” As a conceptual tool, the Global South supposedly helps move beyond fixed geographical binaries while enabling an understanding of the lingering legacies of colonialism in the post-Cold War and neoliberal world order. Global public health is one of the fields that make manifest the colonial spectres underlying many international policies relating to the Global South. Experimenting with the epidemiological and cultural imagination of the inherent pathogenicity of the Global South regions, an expansive body of Global South literature makes use of such diseases as cholera, Ebola, and HIV/AIDS to interrogate colonial entanglements and/or decolonial possibilities for respective communities, which will constitute the primary readings for the course. Our readings will begin with a brief survey of colonial medicine and tropical epidemiology through select eighteenth and nineteenth-century literary and medical texts, followed by twentieth and twenty-first-century disease narratives from the Global South (e.g., by Gabriel García Márquez, Harold Sonny Ladoo, Amitav Ghosh, and Amir Taj al-Sir). We will read these literary works in conjunction with histories of biomedicine and de/colonization, rhetoric of medicine, and relevant critical theories under four core modules: tropicalization, biopolitics, securitization, and radical futures. The final list of required texts is subject to availability of course materials and will be confirmed on the first day of classes in September.

Coming of Age from the Margins: Youth, Migration, and Contemporary World Literature

Online Asynchronous
Term 1

This asynchronous online course draws on a range of texts from around the world to ask how contemporary literature has represented and responded to crucial issues that mark our experience of the 21st century. Focusing on the stories of young protagonists from a diverse range of settings, we will explore how migration shapes what it means to be young in the modern world, and how youth shapes our experiences of migration. Drawing on novels, short stories, and an autobiographical graphic novel, this course encourages students to think about questions of belonging, race, gender, and sexuality beyond the familiar frameworks provided by the nation-state and traditional literary forms.

Texts studied include

  • Funny Boy by Shyam Selvadurai
  • What Strange Paradise by Omar El Akkad
  • Welcome to Our Hillbrow by Phaswane Mpe
  • Persepolis by Marjane Satrapi
  • Binti by Nnedi Okorafor

Term 2

MWF, 10:00 AM - 11:00 AM

Moving Images, Moving Texts: Adaptation, Migration, and World Literature

“For me Africa is like the seas Melville missed so much.” – Claire Denis on Beau Travail

Modernity is defined by movement: movements of people, movements of capital, and the movements of narrative. What possibilities emerge when we bring these movements into conversation? Does the transformation of text into image, or moving image into text, allow us to rethink our relationship to migration, to contemporary history, and to cultural influence?

Drawing on a range of texts and films, we’ll look to bring together a range of otherwise distant people, spaces, and times into conversation. How does Herman Melville’s Billy Budd allow Claire Denis to interrogate the remnants of France’s colonial empire in East Africa in Beau Travail? Why might Nicole Krauss’s narrator in “Seeing Ershadi” be convinced that she has glimpsed the lead of Abbas Kiarostami’s Taste of Cherry?

Other texts include (subject to change):

  • William Faulkner - Barn Burning
  • Haruki Murakami - Barn Burning
  • Lee Chang-Dong (dir.) - Burning
  • Susan Orlean - The Orchid Thief
  • Spike Jonze – Adaptation
  • Andreas Malm – How to Blow Up a Pipeline 
  • Daniel Goldhaber (dir.) – How to Blow Up a Pipeline

Term 2

MWF, 9:00 AM - 10:00 AM

Metafiction and Ontology in Contemporary American Postmodernism

One of the most noticeable (and intimidating) features of postmodern writing is its willingness to engage with pluralistic realities, considering how slippery the distinctions between categories like the real and the artificial can be. In this course, we will examine how different postmodern American writers working in the second half of the twentieth century have employed stylistic choices like metafiction and self-reflexivity as means of examining U.S. culture’s fraught relationship with language in the aftermath of the major historical events of that century. Student writing will involve the application of theory to literary analysis, and students should expect to write two midterm papers and a final essay.

 Texts are likely to include Joan Didion’s The Last Thing He Wanted, Toni Morrison’s Home, George Saunders’ Lincoln in the Bardo, Vladimir Nabokov’s Bend Sinister, and Nabokov’s The Luzhin Defense.

 

Term 2
TR, 11:00 AM - 12:00 PM

The description for this course is not yet available.

Term 1

MWF, 11:00 AM - 12:00 PM

Space, Media, Displacement

Foundational to the study of media is the concept of extension: mechanical media (such as the automobile) extend the body, while electronic media (such as the computer) extend cognition. The effects of media are thus spatial. As extensions, however, media also displace that which they extend; they are prosthetic in the way that they function. This course examines various intersections of space, media, and displacement, including colonisation, minimalism in art, utterance as outerance, dance as the displacement of movement, digital nomadism, and the new global history. The course will develop the notion of a spatial methodology, arguing that space is a mode of critique. This critical methodology will be applied to three literary texts by student panel presentations at the end of the course.

 

Term 1

TR, 2:00 PM - 3:30 PM

Bodies: Person, Flesh, Thing

The basic premise of the course is that bodies are natural and social, biological and cultural. We have our bodies and we are our bodies. Bodies are both voluntary and involuntary. Our current understanding that the boundaries of one’s self are coextensive with the boundaries of one’s body had its origins in the eighteenth century. Using a broadly historical approach, we will begin with Richardson’s epistolary narrative Pamela and John Cleland’s 1747 pornographic novel Memoirs of a Woman of Pleasure to consider bodily privacy and its invasions. From there, we will move on to slavery, judicial torture, and incarceration as systems that reduce persons to things and flesh. Readings: Mary Prince’s slave narrative The History of Mary Prince; Jean Amery’s memoir At the Mind’s Limits; James Baldwin’s If Beale Street Could Talk; and Michelle Alexander’s The New Jim Crow. Finally, to develop the idea that bodies are subject not only to intentional harm, but also to involuntary forces such as sickness or impairment, the class will end with a text on disability. Critical and theoretical excerpts will be drawn from the work of Michael Foucault, Hortense Spillers, Didier Fassin, Elizabeth Hinton, and Jay Bernstein. Requirements: regular attendance and participation; Canvas posts; short essays; and a final essay.

Term 2

MWF, 2:00 PM - 3:00 PM

Children’s and YA Fiction from Africa and the African Diaspora

Term 2
MWF, 2:00 PM - 3:00 PM

Children’s literature addressing the lives and concerns of Black youth, both in Africa and the African diaspora, is a flourishing sub-genre. In this course we will explore a range of contemporary texts including Akwaeke Emezi’s Pet, Kacen Callender’s Felix Ever After, Lawrence Hill’s Beatrice and Croc Henry, Jason Reynolds’ Long Way Down, Adaobe Tricia Nwaubani’s Buried Beneath the Baobob Tree, Asha Bromfield’s Hurricane Summer, Angie Thomas’ The Hate U Give, and Nnedi Okorafor’s Akata Witch. These very diverse texts explore issues of identity, gender, black representation, police violence, trans and queer experience, and include works of realism, fantasy, and a novel in poems.

As well as focusing on the core texts, we will engage with theoretical perspectives on children’s literature and YA fiction, and its increasingly fluid contemporary incarnations. Students will be encouraged to develop independent critical responses to both texts and theories. Assessment will include a critical response, an in-class essay, a term paper and a final examination.

 

Term 2

Online Asynchronous

English 392 is a 14-week course that will guide you in the study and approaches to some classic Western texts and approaches to children's literature. The focus will be on British fantasy literature, by authors such as Gaiman, Tolkien, Pullman and Rowling, but we will also explore some connections with texts from other cultures. Our fully asynchronous course is part of the English Online Minor program in the Department of English Language and Literatures, but is open to English majors and to students in other programs such as Education, Language and Literacy, and Library and Information Studies. You will be reading novels, short stories and scholarly articles on children's literature throughout this term, and you will be sharing your ideas both formally, in the form of essays, and informally, in the form of discussion posts, peer reviews and games.

Term 1

MWF, 1:00 PM - 2:00 PM

Vancouver’s Coasts

Vancouver is a city of coasts. It is situated at the meeting point of a major river (itself the hub for a network of tributaries, infrastructures, and waterways), an oceanic basin (a sea, a straight, an inlet), a mountain range, and an archipelago. It is built on the unceded territory of three coastal nations. The complex stories of its beaches, estuaries, and harbours continually dog, confront, and challenge its image as Canada’s gleaming, and futuristic city of glass. Vancouver also shares a history of migrations and dispossessions with several continents to which it is attenuated by ties of commerce, culture, and conflict. What does it mean to live, work, play, a thrive in such a place? This course will offer an interdisciplinary, multi-generic, and multi-media survey of writing from and about Vancouver’s coasts, their ecologies, and their colonialisms. The literary component of the course will feature poetry and stories by Daphne Marlatt, Rita Wong, Wayde Compton, and Lee Maracle, accompanied by selected readings from the wide field of “coastal studies” and in connection with the many different philosophical, historical, aesthetic, and environmental approaches scholars bring to it. In addition, the class will visit several of the sites mentioned and discussed in our readings, including Spanish Banks, Kits Point (Senakw), Still Creek, and Steveston. Assignments will combine creative and critical skills though presentations, journals, discussions, and essays. Group work will feature prominently.


400-Level Courses

Term 1

T, 2:00 PM - 4:00 PM

Multimodal Communication and Cognition

In this interdisciplinary course, we will look at the interaction between language, co-speech gesture (i.e., the hand movements we make while speaking), and other forms of non-verbal communication (such as making facial expressions, shrugging your shoulders, or nodding your head). Course material will draw from research in cognitive linguistics, conversation analysis, psychology, anthropology, education, and other fields. Students will study how meaning emerges from combined linguistic and paralinguistic utterance ‘package’, and analyze a variety of data such as political speeches, news media, and talk shows, as well as everyday conversations. We’ll use English as our main language of study, but our English language data will be supplemented with evidence from a range of other spoken languages as well as signed languages. This will allow us to explore the diversity and universality of multimodal communication across languages, cultures, and linguistic modalities.

Term 2

T, 2:00 PM - 4:00 PM

Discourse and Analysis

Discourse analysis is an important area within language study that typically involves exploration of a variety of linguistic features and functions to understand meaning making in texts.  Aspects of language use examined can include semantics, syntax, phonological and phonetic structures, lexical choices, conversation skills and narrative structure. Analyses typically involve systematic descriptions of texts or corpora, with a focus on understanding how language is used in context.  Analyses of discourse may also highlight how language use functions to construct and maintain social understanding of the world.  In this seminar, students develop skills in performing discourse analyses and in evaluating discourse analysis research.  Readings include classic and recent research papers in linguistic discourse analysis, with emphasis on information structure, conversation and interaction, hesitation phenomena, narrative analysis, multimodality and indirectness. A key part of learning discourse analysis is doing it.  Students will therefore collect and transcribe some data at the beginning of the term.

 

Term 1
T, 11:00 AM - 1:00 PM

The Culinary Imagination: Reading Culture Through Food, Cooking, and Eating

Food, cooking, and eating are biologically necessary and socially powerful: we produce and cook food to survive, but also to reinforce social bonds, to celebrate tradition, to evoke memories of home, to compete with other cooks, to impress the eater, and even to beguile and seduce.

This course will explore food in literature, particularly life narratives, cookbook selections, and films across different cultures and borders, from the transnational to local Vancouver contexts. The production of food is essentially linked to histories of empire, colonial power, capital, racialized and gendered labour, and ecological change. Our discussions will explore these intersections.

Readings will include selections from Gitanjali Shahani (Food and Literature), Amitav Ghosh (The Nutmeg’s Curse), Sandra Gilbert (The Culinary Imagination) , Monique Truong (The Book of Salt), MFK Fisher (How to Cook a Wolf), Cheuk Kwan (Have You Eaten Yet?), Fred Wah (Diamond Grill), and Austin Clarke (Pigtails ‘n’ Breadfruit). Tasteful excerpts from cookbooks by local artist Janice Wong and the local anthology edited by Brandy Lien Worrall-Soriano, Eating Stories: A Chinese Canadian and Aboriginal Potluck, will be sampled.   Films will include Gabriel Axel’s Babette’s Feast,  Juzo Itami's  Japanese "noodle western" Tampopo,  Ang Lee's Eat Drink Man Woman, the restaurant  documentaries of Cheuk Kwan, and excerpts from the recent television series The Bear .

We will host some class dialogue with food writers and filmmakers, and students will be able to research local restaurants, gardens, or farms as optional final projects.

Multimedia examples of previous student projects for my food-themed courses can be found at the following Richmond Museum exhibit, “Our Journeys Here” (2017-2018)

Term 1

W, 12:00 PM - 2:00 PM

Adaptation in/and/of the Eighteenth Century

King Lear as a comedy. Antony and Cleopatra as romantic melodrama. Classical epistle as erotica. Jane Austen and zombies. Eighteenth-century literature adapted classical and conventional literary forms in ways that interrogated contemporary cultural practice, and in recent years, the era has been a rich source of historical fiction and film. In this seminar we will examine the theory and practice of literary adaptation in the long eighteenth century. First, we will first use a combination of both modern and historical theorizations of adaptation to examine practices of adaptation in the eighteenth century, including poetic forms like the classical imitation, dramatic adaptations of well-known plays, and fictional retellings. Once we have come to terms with the cultural work being performed by the period’s own narrative re-inventions, we will skip ahead to modern adaptations of eighteenth-century narratives with text and screen adaptations of Pride and Prejudice. Adaptation studies long ago left behind worrying about fidelity to source texts in order to address both the critical implications of the choices made by adapters and the revisionist engagements of culture that are embodied in these acts of artistic dialogue.

Want to get ahead? Read or watch Shakespeare’s Antony and Cleopatra to get ready for Dryden’s version, or King Lear to brace yourself for Tate’s adaptation (free through UBC library databases!). Or (re)read Pride and Prejudice and watch some adaptations. Be surprised by the intelligence of the book Pride and Prejudice and Zombies, but under no circumstance watch the Pride and Prejudice and Zombies film, which is so terrible it does not deserve even to be streamed for free.

Term 1

F, 2:00 PM - 4:00 PM

Literature and the City

A promise of opportunity; a site of misery and alienation; an escape from the country; a space of deviance and crime—the city has historically alternately fascinated and repelled, a spatial locus that mediates the dreams and fears saturating our cultural imaginaries. This course will focus on twentieth- and twenty-first century literary and filmic representations of the city and the urban experience. We will take a broad global and temporal perspective: that is to say, we will read early twentieth-century modernist texts that sought to come to terms with the experiences of alienation and consumerism signified by the city; move on to consider late twentieth-century postmodern representations of city space as a site of futuristic technology and simulacra; and finally, turn to postcolonial renditions of cities in what is known as the “global South”—in sites like Johannesburg, Mumbai, or Lagos—to think about how forms of global socioeconomic and racial inequities are spatially reproduced. Texts may include Joseph Conrad's The Secret Agent; Jean Rhys's Good Morning, Midnight; J.G. Ballard's High Rise; Italo Calvino's Invisible Cities; Phaswane Mpe's Welcome to Our Hillbrow; Teju Cole's Open City; or Chris Abani's GraceLand.

Term 2

M, 12:00 PM - 2:00 PM

“The Hatred of Poetry” or Poetry and/in Crisis

This seminar will consider contemporary poetry – not only individual poems but also the “social form” (Harrington) of poetry: the genre itself. What does it mean to say one “loves” or “hates” poetry? How are our attitudes toward poetry formed by popular culture or school? To explore these questions, we will consider how poems respond to crisis—both public and private—as we also consider whether the genre is, as some warn, itself “in crisis.” Is poetry dead, as critics seem perpetually to declare? Where does it lurk, on what occasions does it emerge, and how does it function in our social and political landscapes? If Taylor Swift’s album, The Tortured Poets Department, is currently ruling the Billboard charts, what might that mean for poetry, its pasts and futures? Readings will include 20th & 21st century poems by John McRae, Muriel Rukeyser, Amiri Baraka, Jordan Abel, Claudia Rankine, and more, as well as poetry criticism by scholars like Alan Golding, Joseph Harrington, Stephanie Burt, Carolyn Forché, and Ben Lerner.

Term 2

W, 2:00 PM - 4:00 PM

Contemporary Chaucers

In the first few weeks we will read a number of the most important and influential Canterbury Tales in a modern English translation. One focus of our discussion will be the range of sources and traditions, from Europe and beyond, that informed Chaucer’s writing of the Tales. We will then consider some of the best-known modern and contemporary adaptations, focusing on particular pilgrims and tales (the Miller, the Wife of Bath, the Pardoner) and areas (including the African diaspora in Britain, America, and the Caribbean). Works we read together may include, for example, Patience Agbabi, Telling Tales; Zadie Smith, The Wife of Willesden; Marilyn Nelson, The Cachoeira Tales and Other Poems; Kim Zarins, Sometimes We Tell the Truth; one or more collections of Refugee Tales by various writers. Class members will develop projects exploring the many ways that Chaucer is represented in the 20th-21st centuries: adaptation in fiction, including for children and young adults, and in poetry; stage, film, animation; translation; illustration; various kinds of allusion such as dramatic monologues based in Chaucer’s work and life. Each class member will give a presentation; there will be opportunities to present on Chaucer and his contexts, and on contemporary responses to his work.

Term 2

W, 10:00 AM - 12:00 PM

Great Filters

The Great Filter, a term coined by Robin Hanson in 1998, is a way of explaining why there’s no evidence of extra-terrestrial civilizations. The idea is that in the course of evolution some obstacle arises that constrains (or even destroys) life before it develops the capacity for sustained interstellar communication or travel. If that filter lies in our past—for example, in the difficulty of developing brains capable of abstract reasoning—then humans might be extremely rare and lucky lifeforms who are on the verge of exploring a vast (but possibly unpopulated) universe. But if the Great Filter still lies ahead, then humanity might be on the verge of an existential crisis.

As mainstays of speculative fiction, Great Filters offer writers opportunities to examine present-day concerns. In this course we will read novels that use the idea of the Great Filter to comment on the priorities—and anxieties—of modern life. Some of these depict familiar apocalyptic scenarios: Russell Hoban’s Riddley Walker takes place in the distant future after nuclear war devastates England, Greg Bear’s Blood Music chronicles the emergence of artificial intelligence from nanotechnology, and Catherynne M. Valente’s The Past is Red offers a deeply personal and heartbreaking representation of loneliness and hope in a post-climate-change civilization living on the Pacific Garbage Patch. Other novels are more whimsical. In Happiness, Will Ferguson imagines a very funny, world-ending contagion of self-help culture, while Jon Bois’ multimedia 17776 (What Football Will Look Like in the Future) imagines a world where the elimination of reproduction, aging, and death have resulted in a civilization devoted almost entirely to sports.

Note: The reading list for this class is still under consideration, and we may add one or two titles—and modes of destruction—to the above list. A full list will be available later this summer.

 

Term 2

R, 12:00 PM - 2:00 PM

All About Sherlock Holmes

This section of ENGL 490 (Majors seminar) will offer students the opportunity to explore the astonishingly resilient popularity of the greatest of all fictional detectives. Since his emergence into print in a British magazine in 1887, Sherlock Holmes has become a cultural icon around the world. In this course, we’ll be asking why, for whom, and to what end(s). We’ll read original (“canon”) Holmes stories by Arthur Conan Doyle along with some non-original ones; we’ll also have a look at contemporary parodies and sleuthing competitors. Students will examine a multiplicity of Holmesian adaptations from the last hundred-plus years, and in the process we will embark on an investigation into the history of fandom and fan cultures. The game is afoot!

Term 1

T, 2:00 PM - 4:00 PM

Asian Artificiality: Race, Matter, Circuits

“We’re so postracial we’re silicon.” -- Cathy Park Hong, Minor Feelings: An Asian American Reckoning

The above statement conjures popular images of Asians and Asianness as simulacra (AI, cyborgs, dolls, robots, or clones) and links contemporary anxieties about artificiality in the information age to a history of Yellow Peril. Hong’s lament, while equating silicon or the silicon age with postraciality, also racializes silicon as Asian, suggesting that the materiality of computational and digital processes is racial. This seminar approaches Asianness’s apparent artificiality or virtualness as an occasion to rethink racial materiality within and against genealogies of colonial modernity, militarism, and information capitalism. Considering “Asian artificiality” as a question of race, matter, and circuits, we will engage theory and cultural productions that historicize Asianness’s seemingly mediatic nature within the ongoing violence of settler colonial racial capitalism. Texts may include novels such as Hari Kunzru’s Transmission and R.F. Kuang’s Yellowface; poetry by Larissa Lai, Franny Choi, and Divya Victor; films including Jennifer Phang’s Advantageous and Kogonada’s film After Yang; and other media.

This is a tentative seminar description; the course syllabus will be posted in Term 1.

Term 1

W, 12:00 PM - 2:00 PM

Surge, Pulse, and Flow: Tending and Attending to Bodies

In this seminar, we will mix conceptual-theoretical work with practice-based research on media and literature to think about the aesthetics and the cultural politics of embodiment, particularly around questions of space, rhythm and sense. How do we come to keep time with ourselves as corporeal, material creatures? How are bodies framed, informed, and transformed by various registers of the rhythmic—social, haptic, aesthetic, diurnal, spatial, biotic, epochal? Investigating a set of six representative bodies of work—songs by Taylor Swift, stories by Alice Munro, comics by Lynda Barry, films by Alanis Obomsawin, essays and poems by Kathleen Jamie, journals and poems by Audre Lorde—we will consider the body as a representational and enactive network of troubled and troubling flows; we will couple these readings, listenings, and viewings with theoretically-inclined work by Annemarie Mol, Judith Butler, David Abram, Tricia Rose, Stefano Harney and Fred Moten, Isabelle Stengers, Dylan Robinson, and others, to begin to create a flexible conceptual framework for understanding how the body works both as and with poetic text. Students are invited to bring their creative practices into the classroom, to discover how their own thinking might mesh with these understandings of how body-awareness operates in contemporary experience, of how texture and rhythm can make meaning happen. How might addressing the body help shape our understandings of race, gender, indigeneity, (dis)ability, class and other significant fabrics of intersubjectivity and community? While students can expect to encounter writing and art that can sometimes seem challenging and daunting, this seminar is designed as a hands-on, participatory introduction to contemporary representations of the body, and provides students with an opportunity to begin to evolve their own theoretically informed critical and creative practices.

Term 1

R, 2:00 PM - 4:00 PM

Reimagining Jane Eyre and Alice’s Adventures in Wonderland

Why is Jane Eyre one of the most popular English novels ever written, inspiring successive generations of authors and artists of every description? How did Alice’s Adventures in Wonderland become a culture-text, a text that occupies such a prominent place in the popular imagination that it is collectively known and “remembered” even when the original work has never been read?

We will attempt to answer these and other questions of cultural production in our discussions of the novels and some of their adaptations and reimaginings. We will also explore the ideological assumptions – with respect to gender, race, class, sexuality, mental and physical ability, the environment, ethics, religion, education, aesthetics, etc. – implicit in the original works and in their reimaginings, and in our (and the Victorians’) readings of them.

Our discussions will be wide-ranging: from Jean Rhys’s famous Jane Eyre prequel Wide Sargasso Sea to Paula Rego’s lithographs, Sujata Bhatt’s Rego poems, Cathy Marston and Errollyn Wallen’s dance film Bertha, and Patricia Park’s Re Jane (described by Park as “updating Jane Eyre to contemporary New York and the world of organic produce and identity politics”); from Walt Disney’s 1951 Alice in Wonderland, which continues to define Carroll’s novel in the popular imagination, to Salvador Dalí’s art edition, Tara Bryan’s tunnel book Down the Rabbit Hole, Elizabeth LaPensée and K.C. Oster’s graphic novel Rabbit Chase, and the “Alice industry.”

We will be discussing Jane Eyre in its entirety during our second (September 12th) class. Please begin reading before our course begins.

Our reading and viewing list will include: Charlotte Brontë, Jane Eyre (Oxford World's Classics); Jane Eyre, devised by the Company and directed by Sally Cookson, 2015 (Drama Online, UBC Library); Jean Rhys, Wide Sargasso Sea (Penguin); Bertha, choreographed by Cathy Marston, music by Errollyn Wallen, 2021 (Joffrey Ballet); Patricia Park, Re Jane (Penguin); Lewis Carroll, Alice’s Adventures in Wonderland (Broadview); Alice in Wonderland, Walt Disney, 1951 (UBC Library); Alice in Wonderland, directed by Jonathan Miller, 1966 (Library Online Course Reserves, Canvas (only available during term)); Elizabeth LaPensée and K.C. Oster, Rabbit Chase (Annick Press).

Term 2
T, 2:00 PM - 4:00 PM

Modes of Indigenous Cultural and Political Resurgence 

This course will think through crucial questions about Indigenous communities and their relations (or lack thereof) to state structures in what is currently a Canadian and U.S. context, and how these Western political formations come into conflict/contention with Indigenous articulations of belonging, self-determination, gender, cultural expression and production, among many other things. We will examine some of the diverse ways in which creative and critical Indigenous theory texts and other modes of cultural production can facilitate meaning and knowledge about contemporary Indigenous community articulations. This will foster an understanding of how Indigenous studies conceptualizes and addresses the diversity of Indigenous political, historical, and cultural identity formations, and how these interact with the settler state. We will address Indigenous notions of gender and sexuality, kinship, social organization, and resurgence and the way these notions interface with states currently situated on Turtle Island.

Term 2

F, 12:00 PM - 2:00 PM

The Marvellous Medieval Romance

Medieval romance (OF: romanz) was one of the most popular of medieval genres. First appearing in the twelfth century as the predominant mode of literary entertainment of the aristocratic courts of Western Europe, romance narratives dominated European literature for much of the Middle Ages. Early romances took as their theme the lives, battles, and loves of chivalric knights and ladies, but the romance genre was – over time – appropriated for purposes as diverse as religious instruction, national and global identity politics, and eventually parody and humour.

The course will examine the romances of medieval England during the fourteenth and fifteenth centuries, in what has been termed the great flowering of late medieval romance. During this period the genre became highly popular not only with the nobility, but also with the rising mercantile and gentry classes of England, and this changing audience – and the changing expectations that they brought with them – led to a literature marvellously diverse in both form and content. We shall be reading of knights and ladies, giants and dragons, incestuous fathers and wicked usurpers, fearsome Saracens, malicious Faeries, children of the devil, lepers who bathe in baths of blood, and –of course– sex and sword-play. All in all, a bit like A Game of Thrones but with more difficult grammar.

Term 2
Wednesday, 2:00 PM - 4:00 PM

Crip Rhetorics: A Seminar on Disability, Rhetoric, & Activism

While rhetorical studies has long engaged disability on issues of access and accessibility, scholars such as Tara Wood, Jay Dolmage, Margaret Price, and Cynthia Lewiecki-Wilson (2014) have urged the field to “move beyond mere lists and individual accommodations.” This honors seminar sets out to explore that “beyond,” teasing out the conflicts and potentials embedded at the intersection of disability, rhetoric, and activism. Over the course of the semester, we will ask two, interanimating questions: in what ways can we write about and theorize disability rhetorically? And in what ways might experiences of disability “crip” our understanding of rhetoric and rhetorical theory?

Importantly, disability is an embodied experience (rather than a purely theoretical exercise), which means our readings will include a combination of genres, such as memoir, fiction, theory, and graphic literature, that speak to disability’s materiality. The course assignments, too, will demand a kind of engagement with the world of disability that exceeds traditional library research and a final paper. These assignments ask you to take up Rosemarie Garland-Thomson’s call to “start noticing” disability in your lives outside of school. Noticing disability is a rhetorical task because it involves rescripting the discourses that we use to name and address bodymind difference. Indeed, this course sits delicately on the border of theory and praxis, urging us to take up scholar-activism by reimagining disability and rhetoric in all aspects of our lives. As this seminar will make clear, studying crip rhetorics requires a commitment to disability liberation.

Term 2

W, 10:00 AM - 12:00 PM

Great Filters

The Great Filter, a term coined by Robin Hanson in 1998, is a way of explaining why there’s no evidence of extra-terrestrial civilizations. The idea is that in the course of evolution some obstacle arises that constrains (or even destroys) life before it develops the capacity for sustained interstellar communication or travel. If that filter lies in our past—for example, in the difficulty of developing brains capable of abstract reasoning—then humans might be extremely rare and lucky lifeforms who are on the verge of exploring a vast (but possibly unpopulated) universe. But if the Great Filter still lies ahead, then humanity might be on the verge of an existential crisis.

As mainstays of speculative fiction, Great Filters offer writers opportunities to examine present-day concerns. In this course we will read novels that use the idea of the Great Filter to comment on the priorities—and anxieties—of modern life. Some of these depict familiar apocalyptic scenarios: Russell Hoban’s Riddley Walker takes place in the distant future after nuclear war devastates England, Greg Bear’s Blood Music chronicles the emergence of artificial intelligence from nanotechnology, and Catherynne M. Valente’s The Past is Red offers a deeply personal and heartbreaking representation of loneliness and hope in a post-climate-change civilization living on the Pacific Garbage Patch. Other novels are more whimsical. In Happiness, Will Ferguson imagines a very funny, world-ending contagion of self-help culture, while Jon Bois’ multimedia 17776 (What Football Will Look Like in the Future) imagines a world where the elimination of reproduction, aging, and death have resulted in a civilization devoted almost entirely to sports.

Note: The reading list for this class is still under consideration, and we may add one or two titles—and modes of destruction—to the above list. A full list will be available later this summer.

 

2024 Summer

A. Medieval and Renaissance literatures: ENGL 343 to ENGL 350

B. 18th- and 19th-century literatures: ENGL 351 to ENGL 364

C. Modern, contemporary, transnational, and Indigenous literatures: ENGL 365 to ENGL 379

D. Media, theory, genre, and special topic:  ENGL 332 to ENGL 339; ENGL 380 to ENGL 397

A. Structure of English: ENGL 330, 331, 321

B. History of English: ENGL 318, 319, 342, 343, 344, 346

C. Approaches to contemporary English: ENGL 323, 324, 328

D. Discourse and meaning: ENGL 312, 322, 327

E. Rhetoric: ENGL 307-311

Note: topics covered in any of the above groups may also focus on ENGL 326 (which has no permanent title) and ENGL 489 (majors seminar-language, where the instructor decides on the topic offered in any given year).

Each course will be classed into one of the groups A-E in any given year, depending on the topic covered. Please see an advisor if you want ENGL 326 or ENGL 489 to count as satisfying group A-E requirements.

May 15, 2024

100-level Courses

Power and Protest in South African Literature

Term 1
Monday, Wednesday, 12:00 PM - 3:00 PM

This 6-week course introduces students to key voices in the relationship between South African literature and South African politics. How did writers living under the oppressive, violent system of apartheid (1948-1990) use literature to subvert, critique and challenge the state? What literary strategies were used to turn poetry into a “weapon of struggle?” And how did writers respond when the struggle for freedom was won, and literature no longer needed to function as a “weapon?” In exploring these questions students will encounter a selection of poetry and short stories from a wide range of South African writers, including Chris van Wyk, Mongane Wally Serote, Zoë Wicomb, Ivan Vladislavić, Gabeba Baderoon and Pravasan Pillay.

Our meetings will involve a combination of lectures, seminar-style discussions, and in-class writing activities. Over the course of the semester students will refine their close reading skills, learn to identify and analyze literary techniques in prose and poetry, and develop their argumentation skills through a focus on the essay.

Term 1
Monday, Wednesday, 6:00 PM - 9:00 PM

This course serves as an introduction to three core literary genres: the short story, poetry, and the novel. Its aim is to identify the (formal, social) conventions and traits that define these genres in order to consider how writers use, modify, and subvert them and to what ends. What does is mean for a Jamaican American poet to turn to the sonnet as a literary and cultural vehicle for interrogating Black experience in America at the time of the Harlem Renaissance? What resources does science fiction offer as a narrative mode for figuring post-globalization finance capitalism? Why would a writer choose detective fiction and the murder mystery as genres for critiquing right-wing nationalism in Argentina during the Second World War?

The syllabus for this class includes stories and poems by Jorge Luis Borges, William Gibson, Liz Howard, Franz Kafka, Jamaica Kincaid, Thomas King, and Claude McKay. As a group of literary texts, these stories and poems emerge from varying historical contexts, and their authors write from a range of social positions, in terms of nationality but also identity (gender, race, class, sexuality). Not surprisingly, the texts are unique in their content and meaning and compel us to consider a variety of issues: colonialism, Indigeneity, land and ecology, the role of the artist, capitalism, slavery, diaspora (among others). What they perhaps share, however, is a commitment to using literary forms as frameworks for narrating, investigating, and contesting the dominant political histories of the past century.

Literary Experiments

Term 1
Tuesday, Thursday, 12:00 PM - 3:00 PM

How have contemporary U.S. authors grappled with the problem of representing consciousness, subjectivity, and qualia in writing? In this course, we will consider how prose, poetry, and dramaturgy have endeavored to depict human thought and will examine how specific forms of experimental or postmodern writing allow us to represent internal experiences like memory and association. We will also consider how these authors use form and content in tandem to comment on human subjectivity and the question of how faithfully thought can be conveyed through literature. This course will introduce students to a range of literary genres and to the principles of academic close reading, analysis and writing at a university level.

Texts are likely to include Shirley Jackson’s The Haunting of Hill House, Cormac McCarthy’s All the Pretty Horses, Tracy Letts’s August: Osage County, and poems from T.S. Eliot and Marianne Moore.

Term 1
Tuesday, Thursday, 6:00 PM - 9:00 PM

The course description for this section of ENGL is not yet available. Please check again shortly.

Literary Experiments

Term 2
Monday, Wednesday, 12:00 PM - 3:00 PM

How have contemporary U.S. authors grappled with the problem of representing consciousness, subjectivity, and qualia in writing? In this course, we will consider how prose, poetry, and dramaturgy have endeavored to depict human thought and will examine how specific forms of experimental or postmodern writing allow us to represent internal experiences like memory and association. We will also consider how these authors use form and content in tandem to comment on human subjectivity and the question of how faithfully thought can be conveyed through literature. This course will introduce students to a range of literary genres and to the principles of academic close reading, analysis and writing at a university level.

Texts are likely to include Shirley Jackson’s The Haunting of Hill House, Cormac McCarthy’s All the Pretty Horses, Tracy Letts’s August: Osage County, and poems from T.S. Eliot and Marianne Moore.

Term 2
Monday, Wednesday, 6:00 PM - 9:00 PM

Narrating Realities

What does it mean to “represent” a real-world fact, experience, or belief in fiction? What happens to that “real” thing once it becomes part of a story? Why do we use stories — instead of more clearly factual modes of communication — to describe our perceptions and experiences of reality? What are the signals we use to differentiate fact from fiction in the first place? If we accept that the lines between story and reality are blurry, how can fiction be used to propose alternative realities, or challenge the “truths” and perceptions of this one?

This course will analyze themes of fictional reality in texts from authors including Jorge Luis Borges, Lana and Lilly Wachowski, and Tim O’Brien. We will particularly focus on texts by racially marginalized authors in North America, including Eden Robinson, Audre Lorde, and Octavia Butler, who have used fiction as a space in which to challenge the realities asserted by colonizer knowledge and stories. We will encounter texts in various formal genres — a novel, short fiction, poetry, graphic narratives, a film — and ask how varying approaches to narrating reality mark the differences between these genres.

Texts:

Texts will include Robinson's Monkey Beach (Vintage, 2000), graphic narratives from Moonshot: The Indigenous Comics Collection, Volume 3 (Avani, 2020), the Wachowskis’ first Matrix film (1999), and various poems and short stories.

Term 2
Tuesday, Thursday, 12:00 PM - 3:00 PM

Imagining the Human in Science

Through the nineteenth century, intellectuals frequently blended scientific facts with literary genres and modes not only to express scientific discoveries to the public, but to pose the question: what is the role of subjectivity in science?

This course will present a range of works that imagine the human in science from a variety of perspectives and consider the impact of culture, race, class, and gender. We will examine how genres like the gothic, poetry, the essay, and the memoir explore what H.G Wells called the “human interest and passion” of science. Students will close read and analyze both non-fiction and fiction from the nineteenth century, and then move to consider how questions of the human in science take shape today, particularly with concerns surrounding artificial intelligence. Assignments will involve peer collaboration work, close reading and analysis, and a written essay.

Texts:

Many of our readings (essays, poems, and short stories) are from the nineteenth century and exist in the public domain and are freely available online. Possible authors include H.G. Wells, H.P. Lovecraft, Alfred Tennyson, and Edgar Allan Poe. The only two texts you will need to purchase will be Catherine Wynne’s 2009 edited collection of The Parasite and the Watter’s Mou and Robin Wall Kimmerer’s Braiding Sweetgrass (2013). We will also watch Alex Garland’s Ex Machina (2014), which is available through the UBC library, Netflix, and other online platforms.

200-Level Courses

Term 1
Tuesday, Thursday, 6:00 PM - 9:00 PM

Literature in 4D

Our sense of time is a telling of stories. To make sense of the overload of decisions, actions, and events around and within us, humans use narrative to reduce time’s intricate web to a simple line that runs from beginning, through middle, to end. Fiction mirrors these stories we tell ourselves, selecting and organizing events and memories to create the illusion of a stable, comprehensible timeline.

In this course we will encounter fiction that highlights the relationship between story and time. We will ask how stories situate in time and discuss strategies for reading them out of time. We will consider time travel, alternative timelines, backwards time (memory, history) and forwards time (prophecy, intuition, prediction). We will ask how time governs the lifespan and motivations of characters, the dread and anticipation of tone and mood, the expansion or degeneration of worlds, and the existential considerations of theme. Most of all, we will examine the use of plot to experiment with time: jumping back and forth, speeding through a lifetime in a few sentences, or spending pages on a single moment.

Texts will include Kurt Vonnegut’s Slaughterhouse-Five (Dial, 1999), stories from The Broadview Introduction to Literature: Short Fiction (2nd edn), and a graphic adaptation of Octavia Butler’s Kindred (Abrams, 2018).

Term 1
Monday, Wednesday, 4:00 PM - 7:00 PM

Apocalypse How?  Writing and Reading the End Times in Speculative Fiction

Western culture has long been obsessed with the end. From Noah’s Flood to the Christian Apocalypse, the medieval millennial terrors of the year 1000 to the tech-panic of Y2K, narratives of ‘how it all ends’ are varied in scope and cause, but always present with us. In this course we will read six long texts that engage with a number of potential 20th and 21st century apocalyptic existential threats, from nuclear war to pandemics, from zombies to climate change. As much interested in the social implications of disaster as they are in its physical impacts, these novels offer not only warnings, but also hope in the human capacity for survival and reimagination.

Longer texts will include:

  • Stewart, Earth Abides
  • Miller, A Canticle for Leibowitz
  • Brooks, World War Z
  • Al Akkad, American War
  • Campbell, Arboreality
  • Rice, Moon of the Crusted SnowWe will also be reading a range of short stories and critical articles, which will be available via Canvas.

300-Level Courses

Term 1
Online Course

The course description for this section of ENGL is not yet available. Please check again shortly.

"Author's pen" and "actor's voice": Shakespeare in Text and Performance

Term 1
Online Course

This course will explore the extent to which we as readers of Shakespeare’s tragedies, histories, and comedies can remain engaged with his plays’ potential for realization onstage, in performance.  Part of our focus will be historicist: we will consider the institutional and social conditions attendant upon the original productions of the plays, as well as the ways in which the plays themselves dramatize matters of affect and spectatorship. Our work will also explore the formal dramaturgy of the plays in order to think about how the texts register the nuance of performance in obvious ways (in stage directions and dialogue) and by appealing to the senses and to the emotions of a live audience. We will also look at the editing, printing, and publishing of the plays in order to think about how the page simultaneously encodes and distorts performance for modern readers. Whenever possible, we will consider the performance history of the plays, with a particular emphasis on how modern adaptations for the stage make use of (cut, modify, rearrange, reimagine) the playtext.

Term 1
Tuesday, Thursday, 2:00 PM - 5:00 PM

Ghosts are Real (So are Vampires): Victorian Gothic Terror, Horror, and the Supernatural

“Ghosts are real, this much I know” – Edith Cushing, Crimson Peak
“There are such beings as vampires; some of us have evidence that they exist” – Abraham Van Helsing, Dracula

Whether we take Edith Cushing or Abraham Van Helsing at their word, the 19th-century Gothic revival certainly emphasized possibilities for terror and horror in tales of the supernatural. However, these interventions of spectral and un-dead beings often take place in the recognizable present; they speak to its anxieties. Perhaps they speak to ours as well, given our recent fascination with Neo-Victorian representations of the 19th century, such as Crimson Peak, as well as Penny DreadfulFrom Hell, Sarah Waters’s Victorian trilogy, the numerous adaptations of Dracula, plus many others.

We will examine fiction addressing issues of gender and sexuality; class, race, and culture; realism and the supernatural; urban and rural settings, all in a century known for developments in science and technology (especially photography), social upheaval, and a veneer of respectability, yet with monsters lurking in closets and under beds. Our focus will also permit consideration of the boom in publication of popular literature in a variety of formats, as well as the rise of the professional writer during the 19th century.

Core texts include Margaret Oliphant’s The Library Window, Sheridan LeFanu’s Carmilla, Henry James’s The Turn of the Screw, and selected short fiction possibly including M.R. James, “Oh, Whistle, and I’ll Come to You, My Lad”; Elizabeth Gaskell, “The Old Nurse’s Story”; Sheridan LeFanu, “An Account of Some Strange Disturbances in Aungier Street”; Mary Braddon’s “Good Lady Ducayne,” R.L. Stevenson, “The Body Snatcher”; E. Nesbit, “John Charrington’s Wedding” and maybe a couple of Victorian werewolf stories (since werewolf stories feature prominently in the research done for both Carmilla and Bram Stoker’s infamous Dracula). Evaluation will be based on a midterm essay, a term paper, a final reflection essay, and participation in discussion both in class and on the course’s Canvas site.

 

Please check my blog for updates concerning the course and its texts: https://blogs.ubc.ca/drgmbaxter/

 

“Down the Rabbit Hole”: Child, Nation and British Fantasy Literature

Term 1
Online Course

English 392 is a 13-week course that will guide you in the study and approaches to some classic Western texts and approaches to children's literature. The focus will be on British fantasy literature, by authors such as Gaiman, Tolkien, Pullman and Rowling, but we will also explore some connections with texts from other cultures. Our fully asynchronous course is part of the English Online Minor program in the Department of English Language and Literatures, but is open to English majors and to students in other programs such as Education, Language and Literacy, and Library and Information Studies. You will be reading novels, short stories and scholarly articles on children's literature throughout this term, and you will be sharing your ideas both formally, in the form of essays, and informally, in the form of discussion posts, peer reviews and games. Together, this class will build an online learning community that will explore and expand ideas that arise from the texts and course materials. The course's final examination will be held during the standard examination period, and remotely invigilated.

“And the winner is . . .!”: The 2023 Canadian Scotiabank Giller Prize Shortlist

Term 2
Tuesday, Thursday, 12:00 PM - 3:00 PM

“In short, prizes matter. . .With only an appearance on . . . [a] shortlist, a book moves from total obscurity in the classroom and pages of literary criticism to respectable showings in both—and it gets a healthy popularity boost along the way.”

“As much as each prize is an institution unto itself, it also crystallizes a variety of other consecrating forces and actors, from the publishers who select and promote a title to the authors who blurb it and the reviewers who praise it.” (Alexander Manshel, Laura B. McGrath, & J.D. Porter)

In this class, we will discuss the five fictional works shortlisted for Canada’s 2023 Giller Prize: Sarah Bernstein’s Study for Obedience, Eleanor Catton’s Birnam Wood, Kevin Chong’s The Double Life of Benson Yu, Dionne Irving’s The Islands and C.S. Richardson’s All the Colour in the World. We will consider the institutional components of this prestigious prize (evaluation criteria, selection of judges, procedures for submission and selection, history, past recipients) as well as what Manshall, McGrath & Porter refer to as the “consecrating forces and actors” which influence literary awards. In addition to writing a critical essay on one of the texts, students will participate as a jury member in an in-house “Fiction 2023” award committee to choose our own winner from the 2023 Giller shortlist.


500-level Courses

Term 1
Mondays and Wednesdays, 12:00 PM - 3:00 PM

The course description for this section of ENGL 546A is not yet available. Please contact the instructor directly.

On the Coast

Term 2
Mondays and Wednesdays, 10:00 AM - 1:00 PM

This course introduces graduate students in English to the emerging field of Coastal Studies. Unlike most environmental or “green” criticism, which tends to focus on terrestrial matters such as growth, preservation, and consumption, and the “blue” humanities, which mainly explores “unknowable” or “sublime” regions in and under the sea, coastal studies is, as Steve Mentz has argued “brown”: it examines the way things meet, mix, encounter, cross, conflict, decay, and overwhelm. At the same time, while it confronts serious and seemingly intractable issues like population expansion, species extinction, colonial domination, and climate change, coastal studies has a rhythmic and poetic aspect involving and describing the movement, collection, and dissolution of people, animals, plants, and objects. Less dialectic, and more tidalectic—to borrow the Caribbean scholar Kamau Braithwaite’s evocative term—coastal studies is about life, and death, on the edge. A necessarily interdisciplinary field that embraces geography, economics, history, hydrology, cartography, physics, literature, theory, Indigenous studies, and of course environmental science, coastal studies also imagines what the humanities will look like as ocean levels rise and the “lure” of the coast (where more than half of humanity lives) becomes less about holiday fun and more about our future living with and among our aquatic neighbours.

This seminar will be both speculative and constructive, inviting students to think through their reading, work, assignments, and experience toward the world into which their work is falling, or perhaps sinking. In classroom conversations, we will think about the ways that an orientation toward coasts has influenced new styles and genres from Romantic poetry in the past to the climate journalism, Black feminism, queer poetics, and speculative fiction coming from various nations and communities today. Taking advantage of UBC’s situation on one of the world’s most dramatically (or ominously) human coastlines, the course will look out as well as in, and feature field trips, guest speakers, and (hopefully) public engagement with local initiatives for coastal development and protection in Vancouver and the Lower Mainland. Course assignments will likewise have both an “inside” and an “outside” orientation. Students will build two assignments: (1) a conference-length paper applying coastal studies (in its broadest senses) to a reading of a literary work and (2) a collaboratively developed and constructed presentation, curation, or display situating a local (i.e. Vancouver-based) coastal initiative in a wider theoretical context.

Subject/Object and Beyond: Women in Early Modern France

edited by Nancy M. Frelick and Edith Benkov

Toronto: ITER Press

2024

Subject/Object and Beyond: Women in Early Modern France brings together seventeen essays by established and emerging scholars to honour the exceptionally rich contributions and career of Colette H. Winn. The essays explore multiple perspectives on early modern women, including their writings, translations, reception, and contributions to literature, music, politics, religion, and science. Taken together, they reveal the complexities of women’s lives, roles, and portrayals, and, by extension, perceptions of gender and gender identities in the early modern period. They also represent a wide range of methodologies and theoretical approaches, reflecting some of the possibilities open to early modern scholars today.

Purchase this Book

About the Editors

Edith Benkov is Professor Emerita of French and European Studies at San Diego State University, where she also co-directs the LGBTQ Research Consortium.

Nancy Frelick is Associate Professor of French Renaissance Literature and English Language and Literatures at the University of British Columbia where she has been teaching since 1990.  She is the author of the book Délie as Other: Toward a Poetics of Desire in Scève’s Délie (French Forum, 1994) as well as articles on French Renaissance poetry and prose, including works attributed to men (Maurice Scève, Michel de Montaigne, François Rabelais) and women (Louise Labé, Marguerite de Navarre, Marie de Gournay, Hélisenne de Crenne, and Jeanne Flore).

Learn more

 

 

 

 

 

Nothing Pure: Jewish Law, Christian Supersession, and Bible Translation in Old English

Nothing Pure: Jewish Law, Christian Supersession, and Bible Translation in Old English

Mo Pareles

Toronto: University of Toronto Press

2024

Early English culture depended on a Judaism translated away from Jews. Revealing the importance of Jewish law to the workings of early Christian England, Nothing Pure presents a Jewish revision of the history of English Bible translation.

The book illuminates the paradoxical process by which the abjection and dehumanization of Jews, a bitter milestone in the history of European racism, was first articulated in the cultural translation of Jewish literature. It locates Old English Bible translation within the history of cultural translation, so that instead of appearing as the romantically liberated fragments of a suppressed mode of literacy, these authorized and semi-authorized vernacular works can be seen as privileged texts appropriating a Jewish source culture into an English Christian host culture.

Mo Pareles proposes a theory of translation called supersessionary translation to explain the aesthetics of these texts: while at first glance they appear to dismiss irrelevant Jewish laws according to an arbitrary pattern, closer analysis reveals that they are masterful attempts to subject the legacy of Judaism, through translation, to the control of a system that has purportedly superseded and replaced it. Ultimately, Nothing Pure demonstrates the surprisingly central role of Jewish law in translation to Christian identity in late Old English ecclesiastical and monastic writings.

Purchase this Book

About the Author

Mo Pareles

Dr. Pareles (they+) is a medievalist whose interests include Old and Middle English literature, translation, temporalities, critical animal studies, and Jewish-Christian relations.

Learn more about this Author