平特五不中

Prerequisite: Open only to English Majors and Minors.

听Description: Required for English Majors and Minors, ENGL 202 is foundational to further study of literature in the department of English. Through readings of and lectures/discussions on a range of major non-dramatic听works from the Anglo Saxon period to the mid 18th century, it introduces students to English literary history, while reflecting upon the meaning of tradition, the idea of a canon and of literary history, the concept of 鈥淓nglishness,鈥� and the significance and purpose of literature. We will trace the development through time of specific literary forms and genres, including lyric, elegy, epic, satire, sonnet, romance, and pastoral. At the same time, we will consider the relation between literature and religion, politics, and culture broadly, asking why people read and write literature, and following the changing ideas of the writer and his/her role in society. This course gives students a knowledge of early literature in English that prepares them for more advanced and specialized study in the department. Class discussions (especially in conferences) and written assignments will help students develop skills of interpretation and communication.

Texts: (texts are available at 平特五不中 Bookstore):

Norton Anthology of English Literature. Vol 1. 9th Edition.
Edmund Spenser鈥檚 Poetry. Norton Critical Edition. Ed. Anne Lake Prescott and Andrew D. Hadfield. (Included with the Anthology if purchased at the Bookstore)
The Canadian Writer鈥檚 Handbook. 6th Edition. Ed. William E. Messenger et al.听Toronto: Oxford, 2015. (RECOMMENDED)

Evaluation:听20% mid-term; 40% 5-6 page term paper; 30% formal final exam;10% conference participation

Format: Lectures, conferences, discussion

NB: This course is intended for Faculty of Arts or Faculty of Science Students in a Major or Minor Program in literature in the Department of English.听 Not open to students in other Faculties.

Prerequisite: English 202. Not open to students who have taken English 201, the non-Departmental Survey of English Literature.

听Description: This is a survey of British literature from the late 18th century to the present. We will consider the main periods and literary directions鈥擱omantic, Victorian, modern, postmodern and postcolonial鈥攚hile simultaneously asking questions about the principles of periodization. As this timeframe covers a rich range of texts and authors from various backgrounds, we will discuss both established authors as well as writers who, until a few decades ago, were seldom considered to be part of the canon: women, writers of color, outsiders (Mary Wollstonecraft, Olaudah Equiano, Hanif Kureishi, Angela Carter, Linton Kwesi Johnson). In the case of the well-established writers (William Blake, Charles Dickens, Joseph Conrad, T.S. Eliot) we will draw on texts that showcase the plight of the working classes, distant imaginary or real landscapes, gender and sexuality, and less explored themes. We will study the characteristics of various literary genres, identify the cultural concerns specific to each period, and read the themes and formal elements of poetry, fiction and essays against the social and political background of each era. Finally, the class will assess how authors view literary tradition as well as perceived breaks with tradition to understand how the literary canon comes to be formed and how it changes from one historical moment to another.

Texts:
The Norton Anthology of Literature, Major Authors, Volume 2, 9th edition (Please purchase the recommended edition as it includes two novels that we will study: Joseph Conrad Heart of Darkness, Virginia Woolf Mrs. Dalloway)
Mary Shelley: Frankenstein
Sam Selvon: The Lonely Londoners
Kazuo Ishiguro: The Remains of the Day
Course pack (online)

Evaluation (tentative): Paper 25%, Midterm 25%, Final exam 35%, Conference assignments and participation 15%

Format: Lecture and conference

听Description:听This course has a dual focus. First, we will study the Bible 鈥� the 鈥渂ook of books鈥� composed by multiple authors in multiple languages 鈥� in terms of its overall structure, the varied poetic and narrative genres it contains, and its prominent themes and characters. Our text will be the King James Version, a masterpiece of English literature in its own right. We will pay close attention to individual books from the New and Old Testaments. Secondly, we will examine the Bible鈥檚 connections with the work of English authors from the medieval to the postmodern periods. This is a very large topic to pursue in a single semester; bear in mind this will be an introductory course on the subject.

Texts:听

The English Bible: King James Version. The Old Testament. A Norton Critical Edition. Ed. Marks, Herbert. New York: WW Norton, 2012.
The English Bible: King James Version. The New Testament and The Apocrypha. A Norton Critical Edition. Eds Hammond, Gerald and Austin Busch. New York: WW Norton, 2012.
Other texts TBD.

Evaluation:听midterm essay (30%); final essay (40%); final exam (30%).

Format: Lecture and class discussion

听Prerequisite: none

Description:A representative sampling of Shakespeare鈥檚 plays will provide an introduction to the scope and variety of his drama as it relates to his cultural context and to most of the main genres of his writing.听 Shakespeare began creating plays around 1589, and the plays addressed in this course represent the development of his art from somewhat after its beginnings, up to its final phase, around 1612.听 They will be dealt with in chronological order, as in the following list of the course readings.听 The course will thus provide a strong foundation for appreciating and understanding Shakespeare鈥檚 drama.

Texts will be available in paperback for purchase at the Word bookstore, 469 Milton Street, 514-.845-.5640.

Since this course will have conferences, there will be no Friday class after the first week or two (TBA) of term, and conferences will instead be provided at various times on Fridays instead.听 You will choose the Friday conference time that suits your other commitments.听 As soon as the conferences begin, you will thus have two 8:30 meetings per week for this course, unless you choose the 8:30 conference on Fridays.

Texts:

A Midsummer Night鈥檚 Dream
As You Like It
Twelfth Night
Othello
King Lear
The Winter鈥檚 Tale
The Tempest

Evaluation: term paper, 50%;听 take-home final exam, 40%;听 conference attendance and participation, 10%

Format: lectures and weekly conferences

听Prerequisite: none

Description: A survey of American literature from its beginnings to the Civil War (1860). While we may begin with early writing鈥擭ative Americans, explorers, Puritans, or 18th-century figures such as Benjamin Franklin, for example鈥攖he main emphasis will be on literature from the first half of the 19th century: authors such as Irving, Douglass, and Stowe, with a special focus on the major writers of the 鈥淎merican Renaissance鈥�--Emerson, Thoreau, Melville, Poe, Hawthorne, Whitman, and Dickinson. Particular attention will be paid to representative American themes, forms, and literary techniques. No attempt will be made to cover all major writers or writings.

Texts:

Benjamin Franklin, The Autobiography and Other Writings
The Norton Anthology of American Literature: 8th edition, Vol. B (1820-1865)

Evaluation (tentative): 20% mid-term exam; 25% essay; 15% conference participation; 40% final exam. (All evaluation鈥攐n exams as well as essays鈥攖ests abilities in literary-critical writing and analysis; none involves short-answer or multiple-choice exams graded by computer.)

Format: lectures and weekly conferences

听Description: This course traces the formal and thematic developments in the American novel from 1945 to the present. We will pay special attention to the relationship between writers and readers, the conditions of publishing, the rise of popular genres, minority voices, and fiction鈥檚 engagement with politics. The reading list includes works by Richard Wright, Patricia Highsmith, Vladimir Nabokov, James Baldwin, Thomas Pynchon, assorted Beat writers, Erica Jong, Maxine Hong Kingston, Toni Morrison, Junot Diaz, Lydia Davis, and a final novel selected by student vote.

Texts:听

Richard Wright, Black Boy
Patricia Highsmith, The Price of Salt
Vladimir Nabokov, Lolita
James Baldwin, Giovanni鈥檚 Room
Thomas Pynchon, The Crying of Lot 49
Jack Kerouac,听On the Road
Erica Jong, Fear of Flying
Maxine Hong Kingston, The Woman Warrior
Toni Morrison, Beloved
Junot Diaz,听The Brief Wondrous Life of Oscar Wao
Lydia Davis,听Can鈥檛 and Won鈥檛

Evaluation: TBD

Format: Lecture and conferences

听Description: An introduction to Canadian non-fiction, fiction, and poetry in English from its beginnings through the Second World War. Far from being a coherent tradition, early Canadian literature comprises a scattered succession of texts that shed light on both local experiences and global developments. Written in an international language and influenced by a publishing industry centred in London and New York, early Canadian writing in English reflects a country changing with waves of colonization and modernization. In this course, students will become familiar with the major genres that writers in this country adopted to express their experience of Canada: exploration narrative, satire, sketch, nature lyric, short story, long poem, free verse, novel. Emphasis will be placed on the poetics practised by nineteenth-century writers (metre, rhetorical figures). We will look at the ways in which literature manifested major issues in the evolution of Canada, including contact between European immigrants and the First Nations (the fur trade, residential schools), Christianity, French-English political relations, rivalry with the United States, the settlement of the Prairies, and the cultural effects of the First World War. The central goal and challenge of the course will be to understand why early Canadian writers wrote as they did and what ideals structured their visions of the nation.

Texts:听

Robert Lecker, ed. Open Country: Canadian Literature in English (Thomson Nelson)
William E. Moreau, ed. The Writings of David Thompson. Vol. 1, The Travels, 1850 Version (平特五不中-Queen鈥檚)
Sinclair Ross. As For Me and My House (New Canadian Library)

Evaluation: essay 1 (20%): 4 pp.; essay 2 (20%): 4 pp.; short assignments (incl. pop reading quizzes) (20%); active participation in conference sections (10%); final exam (30%)

Format: lectures and weekly conference sections

Prerequisite:听None

听Description: A survey of English Canadian poetry and prose from the Second World War to the present. We will read poetry and short fiction to explore the development of Canadian literature. In addition to looking at the work of specific authors from 1945 to the present, the lectures will cover such topics as Canadian literary nationalism, realism, postmodernism, and different forms of experimentation. We will also look at the idea of nordicity as a central metaphor in Canadian writing and discuss the economic and cultural forces accounting for the construction of a national literature.

Texts:听Lecker, Robert, ed. Open Country: Canadian Literature in English. Toronto: Nelson, 2007.鈥�

Evaluation:听TBA.

Format: Lecture.

听Description:听This course provides a critical introduction to theatre studies, in its branches of dramatic literature, dramatic theory, and theatre history. Our point of departure for this introduction to the field will be plays drawn from the major episodes of western theatre history, beginning with Ancient Greek tragedy through contemporary Canadian and postcolonial performance, and including the Department of English mainstage show. Through the plays, we will examine what 鈥渢heatre鈥� is in different periods and places, how it is constituted by the material conditions of performance, codified in dramatic genres, and conceptualised in dramatic theory.听

Texts听(to be confirmed): J. Ellen Gainor, Stanton B. Garner, Jr. and Martin Puchner (eds), The Norton Anthology of Drama, Shorter Second Edition.

Evaluation听(tentative): participation in conference sections (20%), midterm essay or exam (30%), production analysis or short paper (10%), final exam (40%)

Format: lectures, conferences

听Description: In this course we will study a range of British and American poets from the Restoration to Modernity. As we consider the literary histories and cultural contexts of poetry and poetic styles, we will pay significant attention to prosody and poetics. Our survey will explore innovations in poetic form such as the sonnet, the ode, and the ballad, and examine why they appeared within particular literary periods. 鈥淩eading Poetry鈥� provides an understanding of how to read diverse poetic genres鈥攆rom the pastoral to the elegy鈥攁s both ancient and modern literary forms. This course ranges across various poetic traditions in order to discover how poets have desired their works to be read as either traditional or innovative in their time. As the semester progresses, we will grapple with the important question of what it means to be a poet. On the one hand, we will encounter claims to spontaneity, innovation, and genius. On the other hand, we will meet with accusations of plagiarism, imitation, and influence.

Besides these aims, 鈥淩eading Poetry鈥� offers a guide to reading the ethics and politics of alternative literary traditions, styles, and forms. Primarily in the second half of the semester, will consider the fraught relationship between the English canon and women, queer, African American, and laboring-class poets. The landmark works of these historically marginalized writers renegotiate and reverse the binary myths that obtained throughout much of the modern era: the poet as 鈥減rimitive鈥� autodidact and the poet as the so-called civilized bearer of cultural capital. Our inquiries into poetry will conclude with reflection on the equally important and problematic roles that the literary critic has played in the development of the genre. At the end of the term, we will discover how the history of criticism continues to shape our present-day concepts of which poets and poems matter, and whose works we call significant, original, and universal.

Texts:

T.S. Eliot, 鈥淭radition and the Individual Talent鈥�
Percy Shelley, 鈥淒efence of Poetry鈥�
John Dryden,听Mac Flecknoe
John Wilmot (Earl of Rochester), 鈥淭he Disabled Debauchee,鈥澨�The Imperfect Enjoyment, 鈥淎 Song of a Young Lady to her Ancient Lover鈥�
Aphra Behn, Song (鈥淟ove Armed鈥�),听The Disappointment, Song (鈥淥n Her Loving Two 贰辩耻补濒濒测鈥�)
Anne Finch (Countess of Winchilsea),听Spleen,听鈥淎dam Posed,鈥澨�Nocturnal Reverie
Phillis Wheatley,听Poems on Various Subjects, Religious and Moral听(esp.听鈥淥n Being Brought from Africa to America鈥�)
Edward Taylor,听God鈥檚 Determinations Touching His Elect and the Elects Combat in Their Conversion and Coming up to God in Christ: Together with the Comfortable Effects Thereof
Jonathan Swift, 鈥淪tella鈥檚 Birthday,鈥� 鈥淎 Beautiful Young Nymph Going to Bed,鈥� 鈥淭he Lady鈥檚 Dressing Room,鈥澨�Verses on the Death of Dr. Swift
Alexander Pope,听The Rape of the Lock,听selections from听Essay on Man听and听Essay on Criticism
Thomas Gray, 鈥淓legy Written in a Country Churchyard鈥�
Oliver Goldsmith,听The Deserted Village
Charlotte Smith,听Elegiac Sonnets, The Emigrants
George Gordon (Lord Byron), selections from听Don Juan
John Keats, 鈥淥de to Psyche,鈥� 鈥淥de to a Nightingale,鈥� 鈥淥de on a Grecian Urn,鈥� 鈥淥de on Melancholy,鈥� 鈥淭o Autumn,鈥� 鈥淭o Homer,鈥� 鈥淥n the Sonnet,鈥� and 鈥淥n First Looking into Chapman鈥檚 Homer鈥�
William Wordsworth, selections from听Lyrical Ballads听(including the preface)
Walt Whitman, 鈥淥 Captain! My Captain,鈥� selections from听Song of Myself
Emily Dickinson, selected poems, especially 鈥淚 hear a Fly buzz 鈥� when I died 鈥� 鈥�, 鈥淭hey shut me up in Prose 鈥� 鈥�, 鈥淭here鈥檚 a certain slant of light鈥�; 鈥淚 felt a funeral, in my Brain,鈥� and 鈥淭ell all the Truth but tell it slant 鈥� 鈥�
Alfred Tennyson, 鈥淭he Lotos-Eaters,鈥� 鈥淯lysses,鈥� 鈥淢ariana,鈥� and听The Lady of Shallot
Elizabeth Barrett Browning, selections from听Aurora Leigh
Robert Browning, 鈥淧orphyria鈥檚 Lover,鈥� 鈥淢y Last Duchess,鈥� 鈥淭he Bishop Orders his Tomb at Saint Praxed鈥檚 Church,鈥� 鈥淔ra Lippo Lippi,鈥� 鈥溾�楥hilde Harold to the Dark Tower Came鈥欌��
Gerard Manley Hopkins, 鈥淕od鈥檚 Grandeur,鈥� 鈥淭he Windhover,鈥� 鈥淧ied Beauty,鈥� 鈥淔elix Randall,鈥� 鈥淎s Kingfishers Catch Fire, Dragonflies Draw Flame,鈥� 鈥淪pring and Fall,鈥� 鈥淐arrion Comfort,鈥� 鈥淣o Worst, There is None. Pitched Past Pitch of Grief,鈥� 鈥淭hou Art Indeed Just, Lord . . .鈥�
Algernon Charles Swinburne, 鈥淭he Roundel,鈥� 鈥淗ermaphroditus鈥�
Robert Frost, 鈥淢ending Wall,鈥� 鈥淗ome Burial,鈥� 鈥淎fter Apple Picking,鈥� 鈥淭he Wood-Pile,鈥� 鈥淭he Road Not Taken,鈥� 鈥淭he Oven Bird,鈥� 鈥淏irches,鈥� 鈥淪topping by Woods on a Snowy Evening,鈥� 鈥淎cquainted with the Night,鈥� 鈥淣either out Far Nor in Deep,鈥� 鈥淒esign,鈥� 鈥淧rovide, Provide,鈥� 鈥淭he Silken Tent,鈥� 鈥淐ome In,鈥� 鈥淣ever Again Would Birds鈥� Song be the Same,鈥� 鈥淭he Most of It,鈥� 鈥淭he Gift Outright,鈥� and 鈥淒irective鈥�
W. H. Auden, 鈥淭he Shield of Achilles,鈥� selections from听The Sea and the Mirror, 鈥淚n Memory of W. B. Yeats,鈥� 鈥淢us茅e des Beaux Arts,鈥� 鈥淪eptember 1, 1939,鈥� 鈥淚n Praise of Limestone,鈥� 鈥淎s I Walked out One Evening,鈥� and听Twelve Songs
Ezra Pound, 鈥淚n a Station of the Metro鈥� Langston Hughes, 鈥淭he Weary Blues,鈥� 鈥淭he Negro Speaks of Rivers,鈥� 鈥淒ream Variations,鈥� 鈥淐ross,鈥� 鈥淪ong for a Dark Girl,鈥� 鈥淗arlem,鈥� 鈥淭heme for English B,鈥� 鈥淒inner Guest: Me鈥�
Gwendolyn Brooks, 鈥渒itchenette building,鈥� 鈥渢he birth in a narrow room,鈥� 鈥渢he rites for Cousin Vit,鈥� 鈥淲e Real Cool,鈥� 鈥淢edgar Evers,鈥� 鈥淏oy Breaking Glass,鈥� and selections from听Annie Allen
William Butler Yeats, 鈥淪ailing to Byzantium,鈥� 鈥淭he Second Coming,鈥� 鈥淓aster 1916,鈥� 鈥淲hen you are Old,鈥� 鈥淎dam鈥檚 Curse,鈥� 鈥淭he Stolen Child,鈥� 鈥淟apis Lazuli,鈥� 鈥淟ong-Legged Fly,鈥� 鈥淭he Lake Isle of Innisfree,鈥� 鈥淣o Second Troy,鈥� 鈥淐razy Jane Talks with the Bishop鈥澨�
Seamus Heaney, 鈥淒igging,鈥� 鈥淧unishment,鈥� 鈥淭he Skunk,鈥� 鈥淎 Dream of Jealousy,鈥� 鈥淐asting and Gathering,鈥� selections from听Station听Island,听Clearances,听Squarings
Derek Walcott, 鈥淎 Far Cry from Africa,鈥� selections from听Schooner Flight, 鈥淢idsummer,鈥� and selections from听Omeros
Adrienne Rich,听Diving into the Wreck, 鈥淎unt Jennifer鈥檚 Tigers,鈥� 鈥淪napshots of a Daughter-in-Law,鈥� 鈥淢odotti,鈥� and 鈥淲hen we Dead Awaken: Writing as Re-vision鈥�
Sylvia Plath, 鈥淭ulips,鈥� 鈥淒addy,鈥� 鈥淎riel,鈥� and 鈥淟ady Lazarus鈥�
Robert Lowell, 鈥淪kunk Hour,鈥� selections from听Life Studies, 鈥淢r. Edwards and the Spider,鈥� 鈥淢y Last Afternoon with Uncle Devereaux Winslow,鈥� 鈥淲ater,鈥� 鈥淔or the Union Dead,鈥� and 鈥淓pilogue鈥�
Elizabeth Bishop, 鈥淐asabianca,鈥� 鈥淭he Fish,鈥� 鈥淔illing Station,鈥� 鈥淪estina,鈥� 鈥淚n the Waiting Room,鈥� 鈥淥ne Art,鈥� and 鈥淭he Man-Moth鈥澨�

Evaluation:听Participation: 10%; Mid-Term: 25%; Essay: 30%; Final Exam: 35%

Format: Lecture and conferences

Prerequisite:听This class is restricted to declared Majors in Drama and Theatre who have completed or are completing ENGL 230 and ENGL 355. Admission is by permission of the instructor only: sean.carney [at] mcgill.ca

听Description: This course will introduce you to basic tools and techniques used in acting, improvisation, and dramatic analysis.听 You will develop vocal and physical warm-ups, learn about breath support and a free and placed voice, explore the performance of Shakespeare monologues, participate in improvisation exercises, explore spontaneity, imagination and creativity, learn about the analysis of a contemporary dramatic script and the use of that analysis in the actor鈥檚 work.听 Throughout the course you will be asked to commit fully to the class, the group and the process, and you will be expected to work on your own, outside of class, rehearsing your monologues and scenes.

Texts: TBD

Evaluation: A combination of class participation (various exercises and presentations totaling approximately 50% of the evaluation) and various types of written assignments (approximately 50% of the evaluation).

Format: Group discussions, practical exercises, class presentations

听Description:听This course, a required course for Cultural Studies majors and minors, will introduce various critical efforts to theorize the aesthetics, semiotics, and politics of popular culture over the past century. Beginning with a few crucial theoretical touchstones (Marx, Freud, structuralism), we will survey such movements as the Frankfurt School, the Birmingham Centre for Contemporary Cultural Studies, critical race studies, queer theory, affect theory, and various feminisms, as they each formulate critical frameworks to explain how popular culture works. Along the way, we will consider the following questions: What does the 鈥減opular鈥� in 鈥減opular culture鈥� mean? Does the distinction between 鈥渉igh鈥� and 鈥渓ow鈥� culture have a political dimension? Furthermore, when we do cultural studies, whose culture should be investigated? What is the role of the critic? Finally, how can we grasp the meanings of popular culture: by examining the texts themselves, or by studying the audiences鈥� interpretations and uses of these texts?

Texts:听

Roland Barthes, Mythologies
Course pack with essays by Sigmund Freud, Karl Marx, Theodor Adorno and Max Horkheimer, Andreas Huyssen, Raymond Williams, Stuart Hall, Dick Hebdige, Louis Althusser, John Fiske, Janice Radway, Laura Kipnis, Constance Penley, and others.

Evaluation:听Evaluation: short papers, midterm quiz, conference participation, final exam

Format: lecture, weekly TA-led conferences

听Description: This course is designed to prepare students for future film courses at 平特五不中.听 It is therefore dedicated to three main goals: establishing a frame of reference for the history of film and film theory, introducing key analytical concepts and skills, and inspiring an ongoing interest in film.

This course is restricted to Cultural Studies majors/minors and Film Studies minors.

Texts: coursepack

Evaluation: quiz 10%, 3-4 page paper 15%, 5-6 page paper 25%, conferences 15%, posted class notes 5%, final 30%

Format: lecture and conferences plus weekly screenings

听Description: This course provides a critical introduction to the field of postcolonial and world literature studies, drawing specifically on texts from South Asia, Africa, and the Caribbean. We will examine how these authors conceptualize and represent their lifeworlds and ideas about community, family, history, space, gender, race, and class in their works. As we read these texts we will query the various 鈥� and often contested 鈥� meanings of the term 鈥減ostcolonial鈥� and ask how it relates to categories such as 鈥渁nti-colonial鈥� and 鈥渃olonial.鈥� The course will also familiarize students with some of the key concepts from postcolonial theory (for instance, 鈥渙rientalism鈥� and 鈥渢he subaltern鈥�). The course offers the fundaments of the field and prepares students for further study in postcolonial and world literature.

NOTE: Attendance to film screening(s) and conference(s) is mandatory.

Texts:

Joseph Conrad 鈥� The Heart of Darkness
Ngugi wa Thiong鈥檕 鈥�听The River Between
Aime Cesaire 鈥� Discourse on Colonialism
Abdullah Hussein 鈥� The Weary Generations
Buchi Emecheta 鈥� Second-Class Citizen
Salman Rushdie 鈥� Haroun and the Sea of Stories
Film: Goopy Gyne Bagha Byne (Dir: Satyajit Ray, 1969)

Evaluation: TBA

Format: Lectures, discussions, conferences, and screenings