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.
February 15, 2024
100-level Courses
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
The course description for this section of ENGL is not yet available. Please contact the instructor directly.
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.
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 Dreadful, From 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.