Below are descriptions for several of the 2010-2011 courses being offered. More will be added as they become available.
ENGL 225/3 A Creative Writing: Poetry M. di Michele
To learn about the bamboo, go to the bamboo.
-- Basho
Poetry in Canada at the dawn of a new millennium finds itself in a vexed state of robust crisis. Lyric poets seem content for the moment to recount the same ingrained anecdotes of emotional intensity, while more experimental practitioners struggle in vain to invent an exceptional alternative to the precedents already set by successful innovators. Few writers have any idea about how to break out of this impasse…
This quotation is from a review published several years ago, entitled “Symptoms of a Dilemma,” by Christian Bok. And if this is true for publishing poets, how is the beginner to face these seemingly exhausted standards of poetics. MAKE IT NEW is the imperative as expounded by Ezra Pound who very early in the twentieth century sought to revitalize the by then staid conventions of Romantic and Victorian verse. But to know how or even what needs to be done to make it new you need to know what has been done through the millennia of poetic practice, and the many cultures and languages that through translation have influenced English poetry from ancient time to the present. That was a tall order even in Chaucer’s time: “The lyf so short, the craft so long to lerne.”
This is an introductory course in the writing of poetry designed to familiarize students with the traditions and innovations behind contemporary poetic practice and so help them discover a working and vital standard for their writing. Students will learn and/or review poetic techniques and through completing and discussing shared exercises acquire a common critical language with which to discuss poetry along with the language tools to write it. In the second term the class will be run as a writing workshop in which students will submit on a rotating basis their poetry for instructor and peer written and oral critiques.
Required reading: X.J. Kennedy, Dana Gioia, An Introduction to Poetry, Pearson Longman
ENGL 225/3 B Creative Writing: Poetry S. Bolster
The first term will constitute an introduction to poetic techniques and forms, based on readings from the textbook (Dana Gioia and X.J. Kennedy, An Introduction to Poetry) and critical essays included in the coursepack. Bi-weekly exercises will be submitted to the instructor and sometimes shared orally with the class. During the second term, the class will be run as a writing workshop, in which participants will submit original work for instructor- and peer-critique. Assessment will be based on a final portfolio of 10-12 pages of the participant’s best revised poetry, as will as on assingments/ presentations, regular attendance and timely submissions, and class participation and preparation.
ENGL 226/3 A Creative Writing: Fiction T. Byrnes
English 226 will concentrate on the short story—while being completely open to the writing and discussion of longer (and shorter) forms, and those kinds of story that fall under the loose heading of “experimental.” Throughout much of the fall term, we will study published fiction from a writer’s point of view. This means that we will develop a set of critical terms for the discussion and understanding of fiction as we “workshop” published stories. Toward the end of the fall term, we will begin to workshop original fiction written by members of the class. This will continue to the end of the year.
ENGL 227/2 A Creative Writing: Drama K. Sterns
The aim of English 227: Introduction to Playwrighting is to introduce you to the craft (wright means Maker or Builder) of writing plays. In the first semester, we will concentrate on understanding concepts such as: action, conflict, character, dialogue, and stage design in the context of established plays, and through writing exercises designed to put theory into practise. In the second semester, you will be asked to write a one act play, which will be discussed in the environment of a workshop. The reading list will likely include plays by: Sophocles, Beckett, Shakespeare, Ionesco, David Ives, Alan Bennett and Sarah Ruhl.
ENGL 241/4 A The Novel R. Seppanen
Acknowledging the enormous scope and flexibility of the novel form, this course introduces students to a selection of novels drawn from the past one hundred years, ranging from creation myth to modernist experimentation to magical realism and postmodern meta-fiction. Discussions will focus on the significance of innovations in plot structure, narrative perspective, characterization, style, and subject matter within the cultural contexts in which the selected novels were written and read. Works to be studied include Willa Cather, O Pioneers!, Virginia Woolf, Jacob’s Room, John Dos Passos, Manhattan Transfer, and Angela Carter, Wise Children.
ENGL 250/2 AA Forms of Popular Writing R. Seppanen
This course is an introduction to several important genres of popular writing, including romance, the vampire tradition, and detective and crime fiction. Discussions will include analysis of each genre’s conventions, including specific requirements of theme, form and setting, characterization, and representations of gender, as well as modernizations of genre conventions and the crossing of genre boundaries, the popular appeal of each genre, and film adaptations. Writers will include Anne Rice, Daphne Du Maurier, and James Ellroy.
ENGL 262/2 A British Literature 1660-1900 M. Frank
This course examines the impact on literature of the emergence of modernity by looking at examples of poetry, drama, fiction, selected criticism and non-fictional prose chosen for their qualities as well as their connections with significant social, political, and cultural problems. We follow the development of new forms to mediate private and public life, including diaries, biographies, periodical essays and the novel. We track changes to poetic form, as well as to notions of how to produce and evaluate literature, who does so and to what ends. Readings may include Wycherley’s The Country Wife, Wilde’s The Importance of Being Earnest, selected poems by Rochester, Behn, Dryden, Swift, Pope, Gray, Wordsworth, Coleridge, Shelley, Keats, Byron, Tennyson, Browning, and Arnold, Burney’s Evelina and Stevenson’s Dr. Jekyll and Mr. Hyde, and selections from Pepys, Hooke, Astell, Addison, Steele, Johnson, Burke, Wollestonecraft, Carlyle, and Mill. Course requirements include 5 short writing assignments, one paper and a final exam, in addition to attendance of weekly TA-led conferences. All readings are drawn from The Longman’s Anthology of British Literature.
ENGL 262/2 AA British Literature, 1660-1900 J. Miller
Starting with the cultural and artistic changes accompanying the restoration if the monarchy, this course surveys British literature from the mid-seventeenth century to the end of the nineteenth. It provides an introduction to literary history through various "periods" -- neo-classical, Romantic and Victorian -- and to important forms of literature such as epic, mock-epic, satire, the confessional lyric, dramatic monologue, and prose fiction through a study of representative texts.
ENGL 311/2 A Seventeenth-Century Prose and Poetry K. Pask
This course will survey the non-dramatic literature of Britain from the end of the reign of Queen Elizabeth I to the end of the English Revolution in 1660. This includes some of the greatest poetry in the English language: William Shakespeare (the sonnets), Ben Jonson, John Donne, John Milton, and Andrew Marvell. We will also, however, look at the wider range of poetry written in the period as well as developments in prose. This will include some prose romance as well as Francis Bacon’s influential “science fiction,” The New Atlantis.
Required texts: Most of the readings will come from The Norton Anthology of English Literature, Volume B (The Sixteenth Century/The Early Seventeenth Century). This will probably be supplemented by other readings to be made available to the students through a course pack.
Students will be evaluated on the basis of short journals, one longer paper, and a final examination.
ENGL 319/2 A Milton J. Herz
After a brief look at some of Milton’s early poetry and political writing, we will move to a detailed examination of Paradise Lost with the aim of becoming what Milton called a “fit audience” for this huge, demanding, and exciting epic poem. We will attempt to place Milton’s work within its historical and literary contexts, and to learn to read simultaneously (to the degree that it is possible) as Milton’s contemporaries and our own.
ENGL 320/3 B Shakespeare M. Evans
This course serves primarily as a general introduction to Shakespeare. Its main objective is to familiarize you with some of the plays; to this end, we will attend to dramatic devices, language and rhetoric, historical context, and genre. In the second semester especially, the course will also introduce you to various critical and theoretical approaches to Shakespeare. Side effects may include: an acquaintance with Shakespeare on film, theories of gender and sexuality, Renaissance politics, and philosophical approaches to literature.
ENGL 322/4 A Restoration and Eighteenth-C. Drama M. Frank
When the monarchy was restored in 1660, the theaters were re-opened with a mandate to map the social world. Actresses were introduced onto the English stage for the first time, and it became illegal for boy actors to take women’s parts. New types of plays proliferated, including the comedy of manners, heroic drama, tragicomedy, ballad opera, and sentimental tragedy; so did new types of characters, such as rakes, fops, beaux, belles, and coquettes. This course explores the functions of the theater, especially as it came into competition with new forms of print, such as the periodical essay and the novel, by familiarizing students with the conventions of a number of dramatic genres drawn from the selections offered in The Broadview Concise Anthology of Restoration and Eighteenth-Century Drama. Course requirements may include 2 short papers and a final exam, as well as attendance and participation.
ENGL 323/2 A The Literature of Sensibility D. Bobker
In the middle of the eighteenth century, British writers and readers became increasingly interested in the structure and nature of human emotions. It was a cultural movement whose many and various participants wanted to make sense not only the inner workings of the self – especially the intricate relation between thoughts, feelings, and sensations – but also what holds society together, beyond the legal, political, and economic mechanisms of the state.
In this class we seek to understand sensibility, the expansive concept at the centre of this movement. We will be interested in sensibility’s impact on ideas of social position, gender, sexuality, religion, national and cultural difference, along with the aesthetic innovations, such as the realistic novel, pornography, and Gothicism, and socio-political developments, such as the rise of philanthropy and abolitionism, it helped to foster. Authors may include Samuel Richardson, Samuel Johnson, John Cleland, Laurence Sterne, and Horace Walpole. In the final weeks of the semester we will assess Jane Austen’s critique of the new cultural obsession with feeling in her novel Sense and Sensibility.
ENGL 330/3 A Literature of the Victorian Period J. Miller
British literature from the 1830s to 1900 bears a complex relationship to its immediate predecessors and to the modernism which was to follow. This course studies representative works of poetry, fiction and the prose of thought in a world increasingly skeptical of art and the imagination: consequently, writers of the time had to find new ways of engaging with questions of politics and government, science, religion, the increasing tension between domestic and public life, among others. The reading list includes two long novels, both to be studied in the second term: Charles Dickens’ Bleak House and George Eliot’s Middlemarch.
ENGL 331/2 A 18th- & 19th-Century Women Writers D. Bobker
In this course, we read authors such as Aphra Behn, Mary Astell, Mary Montagu, Eliza Haywood, Frances Burney, Mary Wollstonecraft, and Jane Austen in conversation with one another and with male contemporaries such as Rochester, John Locke, Alexander Pope, Joseph Addison and Richard Steele, and Henry Fielding. We will explore the merits and limits of early feminist positions on, for example, professional authorship, education, marriage, motherhood, friendship, fashion, and prostitution, and their relation to broader issues in political, socioeconomic, legal, and literary history.
ENGL 332E /2 A Victorian Fin de Siecle J. Camlot
In this course we will examine the dark issues of late-Victorian and Edwardian literature by placing literary works in the context of such topics in cultural history as: fears of over-civilization and diagnoses of neurasthenia, the psychopathology of deviant sexualities and hysteria, spiritualism, feminism and the 'New' and 'Fallen' woman, fin de siècle socialism, spiritualism, and the terrors of Empire. Key to our understanding of the period will be a consideration of the negative possibility inherent in Darwinism, that of degeneration or cultural reversal, and the late nineteenth-century conceptual bifurcation of art into 'high' and 'low' in the face of an emerging mass culture. Our primary materials will be literary works and a variety of readings in cultural history. Among the texts on the syllabus will be:
Sally Ledger and Roger Luckhurst, Eds., The Fin de Siecle: A Reader in Cultural History c.1880-1900 (Oxford UP)
George Gissing, The Odd Women [1893] (Broadview)
Henrik Ibsen, Ghosts [1881/1882] Trans R. Farquharson Sharp. (Dover)
Max Nordau, Degeneration [1895] (U Nebraska P)
George Bernard Shaw, Mrs. Warren's Profession [1894] (Broadview)
R.L. Stevenson, The Strange Case of Dr Jekyll and Mr Hyde [1886] (Broadview)
H.G. Wells, The Time Machine [1895] (Broadview)
Oscar Wilde, The Soul of Man Under Socialism and elected Critical Prose (Penguin)
Oscar Wilde, Salome [1894] (Dover)
ENGL 340/3 A Modernism O. Moses
Though beginning with the Victorians, this course concentrates on an interval between the turn of the century and World War II. The intent is to survey the many sides of the period of artistic innovation called modernism. We will take advantage of the two semester format to get a rich sense of the writings of the period involved, looking at a representative sampling of the poetry and fiction produced in Britain, Ireland, and the U.S. We will also have occasion to consider the “international” arts of film and painting (the latter mostly as it bears upon experimental writing). The course will provide a loose road map of some of the major developments of the movement, and the artistic schools involved: Imagism, Vorticism, Cubism, Dadaism, and so on. The unsettling and disorderly forces of migration, colonialism, industrialization, fascism, the World Wars, the loss of empire, gender and class conflict, and racism will form the backdrop to this period, and where appropriate, we will spend time reflecting on the way writers react to these broad historical and social phenomena. Modernism is an iconoclastic movement that is paradoxically also obsessed with the authority of tradition. In order to explore this tension, we will scrutinize modernists’ polemics and critical writing, as well as their fiction and poetry. Finally, we will take an interest in the various moods of modernism, its melancholia or euphoria, as well as its distressed or exhilarated, expansive or myopic, frames of mind. The question that will occupy us throughout is: How does it feel to be modern, and what does it take to respond artistically to the conditions of modern life? In asking this question of our writers, we will want to know how their responses are shaped by the necessarily incomplete and transitional sense of their historical present.
ENGL 341/2 A Modern Fiction R. Seppanen
This course examines a developing international literary culture from the early twentieth century to the mid-1950s through a close study of selected works by several significant writers of this period. Although these fictions arise within different cultural and linguistic contexts, they share many concerns on subjects such as the self, relations between self and other, gender and sexuality, the liberating and/or coercive power of modern spaces and institutions on individuals, and the possibility of personal reinvention and change. The various literary forms through which these concerns are expressed will also be discussed. Readings will include Franz Kafka, The Metamorphosis and Other Stories, Djuna Barnes, Nightwood, Vladimir Nabokov, The Annotated Lolita, and Jorge Luis Borges, Collected Fictions.
ENGL 345/2 A Modern Drama A. Furlani
A survey of modern European theatre from the closing symbolist phase of Henrik Ibsen and the realism of Anton Chekhov, through the burlesques of Alfred Jarry, the peasant drama of J.M. Synge, Bertolt Brecht’s “epic theatre,” and the metaphysical dramas of Luigi Pirandello, culminating in the black comedy of Samuel Beckett’s Waiting for Godot. The performance contexts as well as literary character of the plays will be addressed, in conjunction with influential manifestos of the period, including those of Zola, Wilde, Stanislowski, Strindberg, Yeats, Marinetti, Piscator, Brecht, Craig, Artaud, Benjamin, and Goll. Assessment will be based on an essay, an exam, and class participation.
ENGL 349/4 A Modern Poetry A. Furlani
A survey of modern poetry framed by Ezra Pound’s haiku “In a Station of the Metro” before the First World War and his Pisan Cantos at the end of the Second World War, with attention in between to Imagism, the poetry of the Western Front, Vorticism, the Harlem Renaissance, the Objectivists, and Leftist poetry. Poets studied will include W.B. Yeats, Gertrude Stein, T.S. Eliot, H. D., William Carlos Williams, Marianne Moore, D.H. Lawrence, Hugh MacDiarmid, Robert Frost, Carl Sandberg, Langston Hughes, Claude McKay, Jean Toomer, James Weldon Johnson, Sterling Brown, Mina Loy, Edward Thomas, Isaac Rosenberg, Ivor Gurney, Robert Graves, Siegfried Sassoon, David Jones, Wilfrid Owen, Laura Riding, George Oppen, Charles Reznikoff, Basil Bunting, Louis Zukofsky, Wallace Stevens, E.E. Cummings, Hart Crane, Kenneth Rexroth, and W.H. Auden. All selections are from The Norton Anthology of Modern and Contemporary Poetry, volume 1, Ramazani, Ellmann, and O’Clair, editors (New York: Norton, 2003). Assessment will be based on an essay, an exam, and class participation.
ENGL 359A/2 AA The Irish Short Story Tradition M. Kenneally
This course will deal with the development of the Irish Short Story as a literary genre, beginning with such nineteenth-century writers as William Carleton, Emily Lawless and George Moore. We will then examine how this genre reached maturity in the work of James Joyce, Frank O'Connor, Norah Hoult, Sean O’Faolain, Liam O’Flaherty, Elizabeth Bowen and Mary Lavin. We will proceed to consider the treatment of the genre by more recent writers such as Edna O’Brien, John McGahern and William Trevor, before going on to examine a sampling of the profusion of contemporary short story writers such as Eilís Ní Dhuibhne, Bernard MacLaverty, Colm Toibín, Colum McCann and Claire Keegan. The course will therefore focus on the changing concerns and evolving narrative strategies evident in stories written over a period of a century and a half. The influence of the oral storytelling tradition of Gaelic culture as well the dual linguistic heritage in Ireland will be considered. We will also examine how various critical theories can be usefully applied in our reading of specific stories.
Stories will be chosen from these two texts and selected other sources:
Trevor, William, Ed. The Oxford Book of Irish Short Stories. New York: Oxford University Press, 1989.
Conlon, Evelyn & Hans-Christian Oeser, eds. Cutting the Night in Two,
Short Stories by Irish Women Writers (New Island Books: Dufour Editions,
2001.
Note: The course will require students to work in groups outside of class time to prepare two or three short presentations in class.
EVALUATION:
One short essay 10%
Term Paper 30%
Take-home final examination 20%
Class presentations 20%
Quizzes 10%
Attendance 10%
ENGL 360/3 A American Literature N. Nixon
This course gives an overview of American literature from the Puritans to contemporary writers. It is divided into sections, titled sequentially, “What is an American” (Crevecoeur, Franklin), “American Exceptionalism” (Douglass, Melville, Whitman), “American Gothic” (Poe, Hawthorne, Dickinson), “American Modernism” (James, Faulkner, Eliot), “American Regionalism” (Jewett, O’Connor, Welty), and “American Ethnicities” (Davis, Roth, Cisneros). The projected texts required are: The Norton Anthology of American Literature, Shorter; Melville, Moby-Dick; Jewett, The Country of the Pointed Firs; Roth, Call It Sleep (note: the first two are firm; the second two may change, but are in second term). The evaluation of student work is: Essay #1 (20%); In-class test (15%); Essay #2 (35%); Final ex
ENGL 363N/2 A American Literature 1865-1914 M. Esteve
This course traces American literature and culture from the conclusion of the Civil War until World War I. Among other works of fiction, the course will PROBABLY include Washington Square (James); McTeague (Norris); The Country of Pointed Firs (Jewett); Yekl and/or The Imported Bridegroom (Cahan); The Autobiography of an Ex-Colored Man (Johnson); either Sister Carrie or The Financier (Dreiser); The House of Mirth (Wharton).
English 374/2 A Canadian Fiction to 1950 D. O’Leary
This class will provide students with spectrum of early Canadian fiction drawn from both canonical and print cultural sources. The course begins with a literary-historical introduction to Georgian and Victorian Canadian fiction. The course then moves on to sketch the basic features of early 20th-century and proto-modernist Canadian fiction, discussing the relationship between Canadian writing and developments in the literary world elsewhere. Feminism, social activism, and nationalism in Canada are some of the issues that will be raised in connection with our readings.
Required Texts (tentative):
A New Anthology of Canadian Literature in English, edited by Donna Bennett and Russell Brown.
Duncan Campbell Scott, In the Village of Viger.
Sinclair Ross, The Lamp at Noon and Other Stories.
Sara J. Duncan, The Imperialist.
ENGL 383/2 A African Literature J. Didur
This course will introduce you to African writing in English from the 1950s to the present. It is during this period that the break-up of the British Empire began and African nations entered an era of self-governance fraught with the legacy of the colonial era. This course will have a special emphasis on literature from Nigeria and South Africa. Our discussions will focus on establishing how the experience of colonization and decolonization mediates the creation, reception and interpretation of African literature from this period. Some of the questions that will guide our discussion include: How do these texts speak to the particular historical moment in which they were written? How has the African writer adapted or appropriated ‘E’nglish and English literary genres to suit the needs of the African cultural context. What is the relationship between settler and indigenous cultures? What are the effects of the collapse in colonial rule on the postcolonial culture? What is the situation of women and other marginalized groups living within colonial and postcolonial structures? How does the colonial past continue to haunt the postcolonial present? What is the impact of neocolonialism and globalization on postcolonial cultures? Your assignments will be geared to developing reading/writing strategies that are attentive to the language of the texts and their worldly implications. Class time will be divided between lectures and discussion. A tentative list of writers to be covered includes Chinua Achebe, Buchi Emecheta, Ken Saro-Wiwa, Es’kia Mphahlele, Nadine Gordimer, J.M. Coetzee, and Miriam Tlali.
ENGL 393/2 AA Gender and Sexuality in Literary Studies
Bina Toledo Freiwald
Employing “gender” and “sexuality” as categories of historical analysis and literary interpretation, we will draw on feminist and queer theories of gender and sexuality in order to engage with a range of historical and contemporary literary texts. Works studied will include:
Evaluation will be based on: mid-term exam (open book); final paper; attendance and participation (including Discussion Questions to be posted on Moodle).
ENGL 425/3 A Advanced Creative Writing: Poetry S. Bolster
This workshop is intended for experienced poets who are active writers and readers and who wish to turn a magnifying glass on their poetry and their poetic practice, with a view to creative and technical development. Although the primary reading material will be the participants’ own poetry-in-progress, discussions of required critical readings (by such poets as Frank Bidart, Dana Gioia, Louise Glück, Donald Hall, Robert Hass, Ted Hughes, Robert Pinsky, and Robyn Sarah) from the coursepack will supplement the workshop process. Assessment will be based on a final portfolio of 15 pages of the participant’s best revised poetry, as well as on assignments, regular attendance and timely submissions, and class participation and preparation.
ENGL 426/3 B Advanced Creative Writing: Fiction T Byrnes
The workshop's central method is group discussion of students' work. Although these discussions are typically free flowing, some patterns will probably emerge. For instance, we will often discuss character, form, and development, and then compare our reading of the story with the writer’s intentions, evaluating the techniques used to achieve those intentions. When it’s useful, we’ll also read and discuss published stories. The class will advise, criticize, support, and offer suggestions for rewriting in an attempt to make the trial‑and‑error process of learning to write a little more efficient (although sometimes more uncomfortable) than if you were working alone.
ENGL 446D/2 A Narrating The Self: Contemporary Textual and Visual Self-Representations Bina Toledo Freiwald
“Do I not know that, in the field of the subject, there is no referent?” (Roland Barthes by Roland Barthes)
The growing appeal of textual and visual forms of auto/biographical expression owes much to the contemporary preoccupation with the complex and shifting character of subjectivity, now understood as "a site of multiple solicitations, multiple markings of 'identity,'” but also of multiple figurations of agency and resistance (Gilmore, Autobiographics). We will examine autobiographical works alongside visual self-narratives (graphic memoir, photography, film), and will draw on theorizations of subjectivity and auto/biographical practice from the perspectives of literary and cultural studies, sociology, psychology, and philosophy. Our discussion will involve issues such as: self-fashioning within and against the identity grids of gender, sexuality, class, race, nation; the experience of selfhood as relational; consciousness and memory as narrative; generic and linguistic hybridity and the interface of visual and textual self-representations; auto/biographical practices as alternative jurisprudence.
Primary works could include:
--- Michael Apted, the Up series (documentary series that follows a group of British seven-year-olds, interviewing them at the ages of 7, 14, 21, 28, 35, 42, 49)
--- Janis Lundman and Adrienne Mitchell: Talk 16; Talk 19 (1991-1993; five teenage girls interviewed at 16 and then 19)
--- Tom Joslin, Silverlake: The View From Here (1993; a video diary of Joslin and his partner who are living with AIDS)
--- Eisha Majara, Desperately Seeking Helen (1998; about the filmmaker’s life from her childhood in small-town Quebec, to
her desperate attempts in Bombay to track down her childhood idol Helen, a star of Indian cinema)
--- Elia Suleiman, Chronicle of a Disappearance (1996; in Arabic with subtitles; exploring Palestinian identity)
We will read chapters from some of these critical works :
Adams, T. Light Writing and Life Writing (2000)
Bruner, Jerome. Acts of Meaning (1990)
Damasio, A. The Feeling of What Happens: Body and Emotion in the Making of Consciousness (1999)
Eakin, P. Living Autobiographically: How We Create Identity in Narrative (2008)
Eakin, P. How Our Lives Become Stories: Making Selves (1999)
Eakin, P.ed. The Ethics of Life Writing (2004)
Egan, S. Mirror Talk: Genres of Crisis in Contemporary Autobiography (1999)
Foucault, M. The History of Sexuality (1976; 1980)
Giddens, Anthony. Modernity and Self-Identity: Self and Society in the Late Modern Age (1991)
Gilmore, L. Autobiographics (1994) and The Limits of Autobiography (2001)
Jones, Amelia. Self/Image: Technology, Representation, and the Contemporary Subject. (2006).
Heddon, Deirdre, Autobiography and Performance (2008)
Lane, Jim. The Autobiographical Documentary in America (2002)
Reicher, S & Nick Hopkins, Self and Nation (2001)
Smith, P. Discerning the Subject (1988)
Smith, S. & J. Watson. Reading Autobiography: A Guide for Interpreting Life Narratives (2001)
Taylor, C. Sources of the Self (1989)
ENGL 455/2 AA The American Nation Mary Esteve
This course focuses on such issues in American literature and culture as the cosmopolitan, the regional, the local, and the transnational, exploring the theoretical and literary ways in which writers enshrine, consolidate, or call into question ideas of the American nation.
NOTE FROM INSTRUCTOR: This is the first time this course has been offered by the department and I will be finalizing its structure and reading list in the spring. It is an advanced course and students who enroll in it will be expected to possess basic knowledge of American literary and cultural history. For those interested in the course but who have not completed previous courses in American literature, I recommend spending time in the summer reading big chunks of the Norton or Heath Anthology of American literature. The course will be conducted seminar
style: attendance will be mandatory; each student will deliver an oral presentation; an annotated bibliography and research paper will be required.
Page Title: Undergraduate Course Descriptions - Concordia University - Montreal, Quebec, Canada
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Date Printed: Wed May 16, 2012
