Undergraduate Courses 2025-26

Courses and room assignments are listed in Timetable Builder (search: “English”).

100 Level

The courses in our 100 series introduce students to the study of English literature at the university level through broad courses that introduce the major literary forms via examples drawn from different times and places. These courses aim to develop writing, reading, and critical skills, and frequently require some oral participation in tutorial groups. Essays at the 100 level typically do not require research or secondary sources.

200 Level

Courses in the 200 series provide historically, geographically, generically, or theoretically grounded introductions to the study of English literature. These include the four "gateway" courses required of Specialists and Majors--introductions to the major national-historical fields (British, Canadian, and American) that comprise literatures in English--as well as a wide range of courses that will prepared students for further study. Coursework at the 200 level may require some research and the beginnings of familiarity with scholarship on the subject. Students will often be expected to participate orally in class or in tutorial groups. English 200-level courses are open to students who have obtained standing in 1.0 ENG FCE, or ANY 4.0 University-level FCE, or who are concurrently taking one of ENG110Y1, ENG140Y1, ENG150Y1.

300 Level

At the 300 level, courses advance into a particular period or subject within a literature or literary genre: contemporary American fiction, for instance, or a particular topic in Shakespeare studies. Courses at this level introduce students to research skills and typically require essays that incorporate some secondary sources. The smaller size of many of these courses frequently demands a greater degree of oral participation. Most English 300-level courses are open to students who have obtained standing in at least 4.0 FCE, including 2.0 ENG FCE.

400 Level

Courses in the 400 level are both advanced and focused, unique courses created by Department faculty that often relate to their own research. Active student participation, including oral presentations, is an important part of these courses. Courses at the 400 level require a substantial research essay for which the student has significant input into framing the research question. 400 level courses are open to students who have obtained standing in at least 9.0 FCE, including 4.0 ENG FCE, and who have completed ENG202H1, ENG203H1, ENG250H1, and ENG252H1.

Notes on the Timetable, Enrollment Regulations and Procedures

1. For updated information on room assignments and course changes, consult ACORN. When enroling in courses, important to pay attention to the session ( F, S, or Y) and LEC section numbers. If a course has a tutorial, they are mandatory and it is the student's responsibility to enrol in a TUT section.

2. Changes to Reading Lists and Instructors - Students should note that changes to scheduling, staffing, reading lists, and methods of evaluation may occur anytime thereafter. When possible, changes to the course schedule will appear on ACORN. Students should avoid purchasing texts until the reading list is confirmed by the instructor during the first week of classes. Students wishing to read listed texts in advance are advised to use copies available at both the University and public libraries.3. Enrollment in all English courses is limited by Department policy. First-year students may enroll in any 200-series course if they are concurrently enrolled in ENG110Y1, ENG140Y1 or ENG150Y1. In some 200-series courses and all 300-series courses, priority is given to students enrolled in an English program. In 400-series courses, priority during the first round of enrollment is given to fourth-year students who require a 400-series course to satisfy program requirements. To ensure maximum availability of 400-series courses, fourth-year Specialists are allowed to enroll in only 1.0 400-series ENG FCE and fourth-year Majors are allowed to register in only 0.5 400-level ENG FCE. During the second round of enrollment the priority is lifted and the course is open to all students who meet the prerequisites.

100-level

ENG100H1F - Effective Writing

Section Number: LEC5101

Time(s): Thursday 6-9 pm ONLINE SYNCHRONOUS

Instructor: Deirdre Flynn

Brief Description:
University invites students to take a preliminary dive into the disciplines of their choice. In order to navigate the new information and ideas they encounter during this preliminary dive, university students generally need to do two things: first, they need to remember, understand, and use discipline-specific terms specialized discourse; second, they need to analyze, evaluate, and, eventually, compose texts that effectively combine discipline-specific words and everyday familiar words such that readers can easily decode and comprehend the message. This means that incoming university students are developing higher-order thinking skills on three fronts, simultaneously:

1) on the factual front, students are learning what specialists are saying, writing, and thinking (key terms, facts, and details);
2) on the conceptual front, students are learning how professionals tend to speak, write, and think (dominant classifications, principles, and theories); and
3) on the procedural front, students are learning when and where to apply diverse subject-specific skills, techniques, and procedures (to solve problems, analyze texts, run experiments, and so forth).

This class is designed to help students navigate this transition by providing them with a wide array of tools, techniques, and strategies that will help them develop next-level reading, writing, and thinking skills.

Simply put, the class works if students work it. In other words, those students who do the weekly exercises and process-oriented assignments (all of which are readily accessible in the course workbook and on Quercus), will hone their ability to read analytically, think critically, and write effectively in university and beyond.

Method of evaluation:
50% for process-oriented assignments, which will be exercises and drafts evaluated for engagement, effort, and completion (in accord with the instructions):
9 exercise sets (10% total)
2 process writing assignments (5% each, 10% total)
1 process-oriented mini-essay (10%)
1 rough draft (of Essay 1, worth 3%)
1 peer-review session (of Essay 1, worth 3%)2 five-slide outlines w/explanatory notes (of Essay 1 and Essay 2, worth 6% total)
1 Annotated bibliography (for Essay 2, worth 8%)

50% for final products, which will be two essays evaluated for content, coherence, clarity, and formatting, in accord with detailed evaluation rubrics. The first essay will be a problem-analysis essay of 1100-1200-words (worth 20%), and the second, final essay will be an interdisciplinary research problem-solution essay of 1200-1300-words (worth 30%).

ENG100H1S - Effective Writing

Section Number: LEC5101

Time(s): Thursday 6-9 pm ONLINE SYNCHRONOUS

Instructor: Deirdre Flynn

ENG102H1F - Literature and the Sciences

Section Number: LEC0101

Time(s): Monday 1-2 pm, Wednesday 1-3 pm IN-PERSON

Instructor: Thom Dancer

Brief Description: Appropriate for non-humanities students. Like science fiction? Argue with your friends about the depiction of future and fictional worlds? Want to learn how to talk with more sophistication about what you like and dislike about art, fiction, and film? Ever wonder what science fiction novels, stories, and movies tell us about ourselves, our future as a species, the trajectory of technology? Then this class is for you. This class aims to develop a critical appreciation of popular science fiction, popular culture, and film from the perspective of literary analysis. Central to critical appreciation is the recognition of literature as carefully crafted art form, which basically means coming up with a cogent account of

what a piece of literature means,
what it is trying to do to/for the audience,
what technical, verbal, and structural choices the author has made and how they contribute to the overall experience of reading, and so on.

This course introduces students without a background in literary analysis or writing to basics of analysis, interpretation, and study of literature. It is a course that emphasizes the development of reading and thinking and communication skills.

Method of evaluation: Quizzes (22%), Reading Responses (25%), Written Analysis (20%), Final Exam (33%)

ENG140Y1 - Literature for Our Time

Section Number: LEC0101

Time(s): LEC Friday 1-3 pm. TUT Friday 11-12 pm or 12-1 pm IN-PERSON

Instructor: Adam Hammond

Brief Description: This course explores how recent literature in English responds to our world in poetry, prose, and drama. In the fall term we’ll visit some famous and not-so-famous landmarks of late-nineteenth and twentieth-century literature: a dusty laboratory in a side-street in London, a sunny beach in Italy, a smoke-filled apartment in Harlem, and a hotel bar in Chicago. In the spring term, our guides will be closer to our own time, living writers and more recent books. In both terms, emphases will include literature’s reasons for being, its formal qualities, historical context, relation to other media, and relevance to our moment in time. In addition to reading, discussing, and writing about literature, this course offers significant extracurricular opportunities for making, performing, and publishing it: we will mount a class performance, host open mic nights and zine fairs, and produce a literary journal composed entirely of work by students in the class.

Method of evaluation:

ENG150Y1 - Literary Traditions

Section Number: LEC0101

Time(s): LEC Tuesday 11 am - 1 pm. TUT Thursday 11 am - 12 pm or 12-1 pm IN-PERSON

Instructor: J ohn Rogers

Brief Description: ENG150 is an exploration of some of the greatest works of literature composed over the course of three thousand years. We begin in the Fall term with the creation stories of the Hebrew Bible; the Odyssey of Homer; and the lyrics of Sappho. For the remainder of the course, we trace the undeniable but controversial influence of those ancient works on our understanding of story-telling, nation building, the origin of the cosmos, and the meaning of the human. The fall term ends with Dante’s Inferno, the poetry of Rumi, Cervantes’ Don Quixote, and Shakespeare’s Hamlet. In the Winter term, we extend our investigation through a study of four masterpieces of modernity, Milton’s Paradise Lost, Swift’s Gulliver’s Travels, Mary Shelley’s Frankenstein, and Dostoevsky’s Crime and Punishment. The course concludes with a recent work of science fiction by Ling Ma, Severance. Over the course of both terms, we will be dipping into the commentaries on literature implicit in some of the mind-bending stories of the post-modern Argentinian writer Borges. A few of the many aims of this course are to help students understand some of the cultural and social energies motivating these works, to become conversant in some of the literary controversies through which these works are generally understood and fought over, and to help students develop and hone skills of critical reading and argumentative writing.

ENG197H1F - First Year Seminar: Time Travel and Narrative

Section Number: LEC0101

Time(s): Monday 9-11 am IN-PERSON

Instructor: Thom Dancer

Brief Description: From H.G. Wells to Star Trek to Bill and Ted's Excellent Adventure, tales of time travelers remain captivating. What does our fascination with time travel tell us about storytelling and narrative? This course will explore the questions that time travel raises about narrative as well as history, temporality, subjectivity, and agency. We will look at examples of time travel in film, television, and books as well as philosophical and scientific writing about it.

Method of evaluation: Quizzes (20%), Reading Journal (30%), Written Analysis (20%), Participation (20%), Presentation (10%)

Possible readings/viewings include: Film: Bill and Ted's Excellent Adventure, Star Trek IV, Back to the Future; Television Episodes: Star Trek, Doctor Who, The Venture Bros., Futurama, Rick & Morty. Novels: H.G. Wells, Connie Willis, Ryōsuke Takeuchi, Haruki Murakami

ENG198H1F - First Year Seminar: Representing Disability

Section Number: LEC0101

Time(s): Wednesday 11 am - 1 pm IN-PERSON

Instructor: Katherine Williams

Brief Description:

Method of evaluation:

200-level

ENG201H1F - Reading Poetry

Section Number: LEC0101

Time(s): Tuesday 11 am - 1 pm, Thursday 11 am - 12 pm IN-PERSON

Instructor: M ing Xie

Brief Description: An introduction to poetry through a close reading of texts, focusing on its traditional forms, themes, techniques, and uses of language; its historical and geographical range; and its contemporary diversity. This course helps students develop skills, and build confidence, in close reading and critical evaluation.

Method of evaluation: In-class essays, term tests, participation and discussion.

ENG201H1S - Reading Poetry

Section Number: LEC5101

Time(s): Wednesday 6-9 pm IN-PERSON

Instructor: Audrey Walton

Brief Description:

Method of evaluation:

ENG202H1F - Introduction to Bitish Literature I

Section Number: LEC0101

Time(s): LEC Tuesday 11 am - 1 pm. TUT Thursday 11 am - 12 pm or 12-1 pm IN-PERSON

Instructor: Carroll Balot

Brief Description: A survey of English literature, from its beginnings in the Anglo-Saxon period through the late seventeenth century, emphasizing major authors, movements and periods, and formal analysis. Central themes will include the relationship between the ancient heroic code and Christian values; the movement from a providential to a modern scientific cosmology; the many forms of love; community, individualism, and alienation in the transition to modernity; and sin, shame, and forgiveness. We will employ a variety of approaches to literary analysis, including historicism, psychoanalysis, New Criticism, and modes of political and affective reading.

Method of evaluation: Short essay; midterm; final examination; participation.

ENG202H1S - Introduction to British Literature I

Section Number: LEC0101

Time(s): LEC Monday 11 am - 1 pm. TUT Wednesday 11 am - 12 pm or 12 -1 pm IN-PERSON

Instructor: Matthew Sergi

Brief Description: ENG 202 is an introduction to early British literature, exploring works in poetry, prose, and drama, from the earliest English writing to the end of the seventeenth century. A course covering the literature of such a broad span of time—a full millennium (c. 670 through the 1660s)—must leave out many more important works than it includes; as a result, different versions of ENG 202, from one term to another, will include noticeably different approaches and arrays of readings. This version of ENG 202 is organized around community-building, connection, and play: we will discover that the roots of British literature grow out of social practices in which texts are read among friends—and, often, composed by multiple hands or voices. The earlier we go (our readings will be in reverse chronological order, so we’ll start with the latest works first!), the more we’ll consider early literature as an occasion to convene in fellowship and fun, to co-conceive temporary or imaginary societies with fanciful rules, to step together outside of the purely reasonable into the wildernesses and otherworlds of the possible. We’ll do our best to create full-class meetings and tutorials that are true gatherings, building real and lasting community among readers, who have something genuinely enjoyable to share together — just as the early makers and audiences of our class texts did, or aimed (or claimed!) to do.

Visit https://premodernity.net/eng-202 for ENG202H’s most recent full syllabus and schedule.

Method of evaluation:
Engagement and Participation in tutorial sessions, 15%
Final Exam, 15%
Real-Time Comprehension Questions, asked at the end of each class session, 15%
Actual Attendance during at least 20 of our 24 class sessions, 10%
Mid-Term Assignment (can take the form of an essay, OR two in-class presentations, OR two in-class dramatic performances), 22.5%
Final Assignment (can take the form of an essay, OR two in-class presentations, OR two in-class dramatic performances), 22.5%

ENG203H1F - Introduction to Bitish Literature II

Section Number: LEC0101

Time(s): LEC Tuesday 1-3 pm. TUT Thursday 2-3 pm or 3-4 pm IN-PERSON

Instructor: Simon Dickie

Brief Description: Our goal in this course is to learn the conventional periodization of British literary history from 1660-1900, and the major genres and authors associated with each period. In the process, we will learn the specialized terminology of literary criticism: how to recognize verse forms, metres, and rhyme schemes; prose style, tone, point of view, allusion, adaptation, and much more. In lectures – and especially in weekly tutorials – students will practice using this terminology for detailed close reading of primary texts. This well-informed close reading will then be the focus of your essays and final exam.

Method of evaluation:
3 Quizzes on the literary history, terms, and concepts of each period
(12-15 short answers, 25 minutes, in tutorial)          5% each = 15%
Short Close-Reading Assignment (500 words)       10%
Essay (1500 words) 30%
Tutorial and Class Participation 10%
Final Exam (during Exam Period)                            35%

Section Number: LEC0101

Section Number: LEC0101

Time(s): LEC Tuesday 10 am - 12 pm. TUT Tuesday 1-2 pm or 2-3 pm IN-PERSON

Instructor: Nick Mount

Brief Description: This short introduction to Canadian literature provides literary and historical context for a small selection of stories from a very long history of telling stories. Mostly, we’ll read and talk about novels, about one every two weeks, with recent poems scattered along the way. Expect tears in a train station, child monsters, mad jazz, junkies and pimps in Montreal, and a shipwreck in Greece.

Tentatively, we’ll read excerpts from William Berens’s Memories, Myths, and Dreams of an Ojibwe Leader, poems from Molly Peacock and Anita Lahey’s The Best of the Best Canadian Poetry in English,

Elizabeth Smart’s By Grand Central Station I Sat Down and Wept, Marie-Claire Blais’s Mad Shadows, Michael Ondaatje’s Coming Through Slaughter, Heather O’Neill’s Lullabies for Little Criminals, Dionne Brand’s Inventory, and Omar El Akkad’s What Strange Paradise. All texts are required. I’d put the total book cost at about $150, much less if you can (and you can) find used copies.

Method of evaluation: Short, informal weekly reading responses (10%); Essay #1, 1,000-1,250 words (20%); Essay# 2, 1,000-1,250 words (30%); tutorial participation (15%); in-class term test (25%).

ENG252H1S - Introduction to Canadian Literature

Section Number: LEC0101

Time(s): LEC Tuesday 10 am - 12 pm. TUT Tuesday 1-2 pm or 2-3 pm IN-PERSON

Instructor: Nick Mount

Brief Description:

This short introduction to Canadian literature provides literary and historical context for a small selection of stories from a very long history of telling stories. Mostly, we’ll read and talk about novels, about one every two weeks, with recent poems scattered along the way. Expect tears in a train station, child monsters, mad jazz, junkies and pimps in Montreal, and a shipwreck in Greece.

Method of evaluation: Short, informal weekly reading responses (10%); Essay #1, 1,000-1,250 words (20%); Essay# 2, 1,000-1,250 words (30%); tutorial participation (15%); in-class term test (25%).

ENG254H1S - Introduction to Indigenous Literatures

Section Number: LEC0101

Time(s): Monday 1-2 pm, Wednesday 1-3 pm IN-PERSON

Instructor: R ebecca Hogue

Brief Description: This course will introduce fiction, poetry, oratory, and more from only a small sampling of the over 1000 Indigenous nations across North America and Oceania. Thematically we will consider a variety of issues that inspire Indigenous story-telling: environmental and social justice; gender and sexuality; land rights and city life; militarization and extractive capitalism; the law and tribal recognition; education and much more. In our readings, we will ask, how do the oral, visual, sonic, cosmological, environmental, or political contexts influence Indigenous authors and their writing? With attention to specific histories and traditions, while also considering shared experiences, we will explore how literature plays a role in expressing contemporary Indigenous sovereignty and self-determination around the world.

Method of evaluation: Discussion posts, quizzes, short analysis paper, longer research paper.

ENG270H1F - Introduction to Colonial and Postcolonial Writing

Section Number: LEC5101

Method of evaluation: Weekly N/CR homework (10%), Participation, including pre-recorded presentation (10%), term test (35%), essay with optional revision (35%), take-home test (10%).

ENG286H1F - Literature and Data

Section Number: LEC0101

Time(s): LEC Tuesday 11 am - 1 pm. TUT Thursday 11 am to 12 pm or 12-1 pm IN-PERSON

Instructor: TBD

Brief Description:

Method of evaluation:

ENG287H1S - The Digital Text

Section Number: LEC5101

Time(s): LEC Monday 6-8 pm. TUT Wednesday 6-7 pm or 7-8 pm IN-PERSON

Instructor: TBD

Brief Description:

Method of evaluation:

ENG289H1F - Introduction to Creative Writing

Section Number: LEC5101

Time(s): LEC Tuesday 6-8 pm. TUT Thursday 6-7 pm or 7-8 pm IN-PERSON

Instructor: TBD

Brief Description:

Method of evaluation:

Section Number: LEC0101

Time(s): Wednesday 1-4 pm IN-PERSON

Instructor: J ohn Rogers

Brief Description: This course is focused on the work of John Milton (1608-74). We will examine most of Milton’s major poetic works, paying particular attention to Paradise Lost, the epic that the blind poet wrote with the controversial ambition of rewriting the Bible and re-imagining the universe. We will explore Milton’s noisy effort to reinvent the sound and feel of English poetry. And we’ll confront his systematic attempts to use literature to force a rethinking of his age’s relation to the questions of political sovereignty, regicide, censorship, slavery, terrorism, physical disability, the relation of the sexes, the right to divorce, the path to heavenly salvation, and the very identity of God himself. Along the way, we'll observe Milton wrestle with the definition of the human being: is a human fundamentally individualist, or is the human fundamentally sociable, and thus hard-wired, or most comfortable, living in pairs or groups? We’ll conclude the term with a consideration of Milton’s literary legacy, examining in particular the visionary treatise, The Marriage of Heaven and Hell, by the English Romantic poet and artist William Blake. Other Milton-soaked writers to be considered over the course of this term include fantasist Ursula K. Le Guin and novelist Chimamanda Ngozi Adichie.

ENG306H1F - Restoration and Early 18th Century Literature

Section Number: LEC0101

Time(s): Tuesday 1-3 pm, Thursday 1-2 pm IN-PERSON

Instructor: Thomas Keymer

Brief Description: This course explores the literatures produced across roughly two generations following the Restoration of the Stuart monarchy in 1660, during which time literary patronage gradually gave way to an early print capitalism. What emerged from that context was an exciting period defined by great satires, often obscene imagery, experimental prose, and novel media. This course examines the era’s formal innovations while touching on themes that remain pressing today, including questions of politics, religion, and power, the tension between classical tradition and scientific discovery, shifting categories of identity such as race, class, and gender, and censorship and the role of the arts in the public sphere. Authors studied may include Pepys, Behn, Bunyan, Rochester, Dryden, Defoe, Haywood, Montagu, Pope, and Swift.

The course also includes an “adopt a book” research assignment centred on a publication of the student’s choice on which little or no modern criticism or scholarship exists. Using full-text databases such as Eighteenth-Century Collections Online and 17th–18th Century Burney Collection Newspapers, you will select a separately published poem, poetry collection, or magazine issue of the period, analyze its literary qualities, research its authorship, and trace its publication and marketing in newspapers and other periodicals.

Method of Evaluation: one or two in-class tests (20%); “adopt a book” research assignment (35%); final essay (35%); informed and energetic participation (10%).

Students will find literature of the 1660–1740 period interesting for many reasons, but especially for the innovative ways (following the trauma of civil war, plague, and conflagration) in which authors approached cities and urban experience: not only the London of Samuel Pepys or Daniel Defoe, but also the Dublin of Jonathan Swift and the Constantinople (Istanbul) of Lady Mary Wortley Montagu.

ENG308H1F - Romantic Literature to 1812

Section Number: LEC0101

Time(s): Monday 11 am - 12 pm, Wednesday 11 am - 1 pm IN-PERSON

Instructor: K aren Weisman

Brief Description: This course introduces students to the earlier years of Romantic poetry and prose. Romanticism (roughly 1780-1832) was a time of intense intellectual, cultural, political and social activity. We will explore some of its many forms and themes, including such topics as the nature of self, human rights, nationalism, political revolution, the role of imagination, nature, poetic form, slavery and abolition. Texts will include selections from authors such as William Wordsworth, Charlotte Smith, S.T. Coleridge, William Blake, Edmund Burke, Anna Barbauld, Mary Robinson, Olaudah Equiano.

Method of evaluation: Two in-class essays (topics to be posted at least one week before test date); one take-home essay (includes small research component; approximately 2,500 words).

Students will find the course readings especially interesting because they explore such compelling questions as the nature of human feeling, human self-understanding, and our capacity for expression in the midst of profound challenges.

ENG309H1S - Romantic Literature after 1812

Section Number: LEC0101

Time(s): Monday 11 am - 12 pm, Wednesday 11 am - 1 pm IN-PERSON

Instructor: K aren Weisman

Brief Description: This course introduces students to the later years of Romantic poetry and prose. Romanticism (roughly 1780-1832) was a time of intense intellectual, cultural, political and social activity. We will explore some of its many forms and themes, including such topics as the nature of self, human rights, nationalism, political revolution, the role of imagination, nature, poetic form, slavery and abolition. Texts will include selections from authors such as Percy Shelley, Mary Shelley, John Keats, Felicia Hemans, John Clare, Thomas De Quincey, Mary Prince, Lord Byron, Letitia Landon.

Method of evaluation: Two in-class essays (topics to be posted at least one week before test date); one take-home essay (includes small research component; approximately 2,500 words).

Section Number: LEC0101

Time(s): Monday 2-5 pm IN-PERSON

Instructor: Simon Dickie

Brief Description: The rise of the novel – the rapid emergence of modern narrative fiction in early eighteenth-century England – is one of the most important developments in the history of representation. In this course, we will study three early English novels (published between 1722 and 1749), and the literary, cultural, and socio-economic contexts that produced them. We will explore the role and influence of women writers, the complex interactions of comic and sentimental modes in English fiction, and many other topics. Alongside the canonical texts, we will read a range of para-literary materials, including jokes, proverbs, short erotic novels, criminal biography and repentance narratives, folk-tales and animal fables, one-act farces, and even an early version of the Punch and Judy show.

Method of evaluation:
One short quiz, in class 10%
Essay, 2000 words 35%
Final Exam 40%
Participation, including timely completion of all readings; active and informed participation in discussion 15%

What students will find unique about this course is the level of attention we bring to prose fiction – the kind of close analysis usually reserved for poetry.

Students will find Moll Flanders, Pamela, and Tom Jones especially interesting because each text speaks to the other two.

What excites me about teaching this course is the opportunity to spend 3-4 weeks on each novel.

ENG322H1S - The Rise of the Novel

Section Number: LEC0101

Time(s): Tuesday 1-3 pm, Thursday 2-3 pm IN-PERSON

Instructor: Thomas Keymer

Brief Description: This course traces the emergence of the modern novel between the late seventeenth and early nineteenth centuries, with special attention to innovations and experiments in narrative form, the mingling of genres in the early novel, and the wide thematic range of the period’s fiction. The focus is both technical and thematic: on the formally self-conscious quality of much eighteenth-century narrative, and on novelists’ use of the genre to address a broad range of issues such as selfhood and subjective experience; local and national identities; race, gender, ethnicity, and class relations; urban experience and social change; sympathy and community; politics and empire. There will also be an individual research assignment involving work with full-text databases of rare books, newspapers, and magazines, e.g. Early English Books Online, Eighteenth-Century Collections Online, 17th–18th Century Burney Collection Newspapers, and Eighteenth-Century Journals. Authors studied may include Behn, Defoe, Haywood, Richardson, Fielding, Sterne, Smollett, Austen; some attention may also be paid to related genres (e.g. journalism, autobiography, diaries, letters) that influenced, and were influenced by, the themes and conventions of the emergent novel.

Method of Evaluation: one or two in-class tests (20%); individual research assignment (35%); final essay (35%); informed and energetic participation (10%).

Students will find early novels especially interesting because of their experimental quality. Authors were self-consciously innovating, playing with narrative form and its expressive possibilities, with results that often come across as startlingly fresh and modern.

ENG323H1F- Austen and Her Contemporaries

Section Number: LEC5101

Time(s): Tuesday 6-9 pm IN-PERSON

Instructor: Alex Hernandez

Brief Description: A stone slab tucked away in Winchester’s cathedral church marks Jane Austen’s grave, noting that: “the extraordinary endowments of her mind / obtained the regard of all who knew her and / the warmest love of her intimate connections.” This course explores that extraordinary mind and the culture that it brought about, placing Austen in the context of her times in several senses.

We’ll look to situate her work in a dialogue with that of contemporaries in literature, philosophy, and aesthetics, to read closely as she traces the complex family dynamics of the late Georgian home, and to understand her work as part of a moment of global political upheaval with profound consequences even to this day. To do so, we’ll read a number of her novels, for the most part moving chronologically, making the occasional detour into the work of fellow authors while also tracing parallel secondary critical accounts. Students will learn to read her work more critically and develop some facility with the era’s literature, to demystify Austen’s body of work and return it to its larger context, as well as gain an understanding of some of the classic accounts through which scholars have understood this period.

Method of evaluation: Participation (25%); Choose-Your-Own Paper (25%); Term Tests (25% and 25%)

What students will find unique about this course is that it features game-ified group work that playfully brings Austen’s world as well as eighteenth- and early nineteenth-century studies to life. Students will dive deeply into Austen’s work while also competing for the fabled Austen Cup.

ENG323H1S - Austen and Her Contemporaries

Section Number: LEC5101

Time(s): Wednesday 6-9 pm IN-PERSON

Instructor: Thomas Keymer

Brief Description: Jane Austen is one of the most popular canonical novelists, yet also one of the most underestimated, often seen as a purveyor of wish-fulfilling romance. We will approach Austen by asking a series of associated questions about form, content, and context. How far was her fiction constrained, and how far was it enabled, by the emerging conventions of the novel genre and the dictates of consumer demand? What was new, distinctive, or otherwise important about her narrative technique and her social or moral vision? How far, and in what ways, was her writing conditioned by the turbulent politics of the French Revolution and Napoleonic Wars era? Is it right to read her as a conservative moralist, a progressive satirist and social critic, or as something of both?

Two of Austen’s major novels (Northanger Abbey and Persuasion) are at the heart of the course, and we will take the opportunity presented by the Jane Austen’s Fiction Manuscripts Digital Edition to compare these works with writings left unpublished at her death, notably her epistolary story Lady Susan and the unfinished novel Sanditon. For context, we will also read a short novel by Austen’s radical contemporary Mary Wollstonecraft (The Wrongs of Woman) and extracts from other writers whose work Austen probably or certainly knew. As a way to understand the literary marketplace that Austen had to navigate, the course also includes an “adopt a book” research assignment. Using primary online resources (Eighteenth-Century Collections Online, the Corvey Collection 1790-1840, and journalism databases such as 17th-18th Century Burney Collection Newspapers and 19th Century British Library Newspapers), each student will choose an obscure work of fiction or other writing published in Austen’s lifetime, analyze its literary qualities, and research its publication, newspaper marketing, and reception in reviewing periodicals.

Method of Evaluation: one or two in-class tests (20%); “adopt a book” research assignment (35%); final essay (35%); informed and energetic participation (10%).

What students will find unique about this course is the emphasis on original individual research. Training will be provided in relevant digital humanities techniques, especially the use of full-text databases of rare books and periodicals in order to generate and analyze research results. In an age of exciting print proliferation, and when (for one Austen character) “newspapers lay everything open,” there is much to be learned through strategic use of the huge primary-source databases now available online.

ENG324H1F - Early Victorian Novels

Section Number: LEC0101

Time(s): Monday 1-4 pm IN-PERSON

Instructor: A udrey Jaffe

Brief Description: “We have become a novel-reading people,” wrote Anthoy Trollope in 1870, and indeed in the nineteenth century, everyone, it was said, read novels. Authors took on the most pressing issues of the day, many of which—such as gender and sexuality; class, race and colonialism; technological change—remain crucial areas of concern for us. But novelists of the period often struggled with questions about the genre’s purpose. Students in this class will gain a fascinating glimpse into the construction of key cultural narratives, as early nineteenth-century authors sought to reconcile morally-approved realism with page-turning strategies that would attract and seduce the reading public. Our texts will include spectacular narratives of crime, family, and identity by Charles Dickens (Oliver Twist) and George Eliot (Silas Marner); Charlotte Brontë’s revolutionary Bildungsroman, Jane Eyre; Elizabeth Gaskell’s compelling critique of industrialism, Mary Barton, and, just in time for the holidays, Dickens’s strange, cautionary take on Christmas. Students who love reading novels and are interested in the influence of art and popular culture on public and private life—both historically and in the present day--will find this class, and the ongoing discussions and debates these novels provoke, both absorbing and enlightening.

Method of Evaluation: informed participation (15%); short essay (20%); long essay (25%); term test (25%); collaborative work (15%).

ENG325H1S - Late Victorian Novels

Section Number: LEC0101

Time(s): Monday 11 am - 1 pm, Wednesday 11 am - 12 pm IN-PERSON

Instructor: Hao Li

Section Number: LEC5101

Time(s): Monday 6-9 pm IN-PERSON

Instructor: Katherine Williams

Brief Description:

Method of evaluation:

ENG340H1F - Modern Drama

Section Number: LEC0101

Time(s): Tuesday 11 am - 1 pm, Thursday 11 am - 12 pm IN-PERSON

Instructor: Philippa Sheppard

Brief Description: This course explores twelve major plays of the first half of the twentieth century -- an era of rapid social and political change – in the light of new intellectual and artistic movements such as Naturalism, Surrealism, Feminism and Socialism. Using clips from filmed productions, we will delve into performance history to arrive at a better sense of what makes these seminal dramas as important today as in their own time.

Method of Evaluation: One in-class essay (25%); one take-home essay (30%); one three-hour exam (35%); participation (10%). I will take attendance each class, and make note of oral contributions, to arrive at the participation mark. Attendance is important.

What students will find unique about this course is it focuses solely on the best examples of Modern drama, instead of on novels or poems. We will discuss clips from recent productions and attend a live show as a field trip.

Students will find these plays Ibsen’s A Doll’s House; Strindberg’s Miss Julie; Chekhov’s Uncle Vanya; Wilde’s The Importance of Being Earnest; Yeats’ On Baile’s Strand (online); Synge’s Playboy of the Western World; Glaspell’s Trifles; Pirandello’s Six Characters in Search of an Author; Shaw’s Saint Joan; Brecht’s Galileo; O’Neill’s Long Day’s Journey into Night, Hansberry’s A Raisin in the Sun especially interesting because they emerge from different cultures, covering a fascinating range of topics from sexual jealousy and aristocratic lifestyles to spousal murder and drug addiction.

What excites me about teaching this course is introducing plays that are consistently remounted to a new generation of students/spectators.

ENG341H1S - Post-Modern Drama

Section Number: LEC0101

Time(s): Monday 11 am - 1 pm, Wednesday 11 am - 12 pm IN-PERSON

Instructor: Philippa Sheppard

Brief Description: This course investigates twelve major plays of the turbulent post World War II era -- an era of rapid social and political change – in the light of new intellectual and artistic movements such as: Absurdism, Feminism, and Post-Colonialism. Clips from filmed productions will act as a springboard for discussions about changing modes of performance in these exciting works of drama which are as important today as in their own time.

Method of evaluation: One in-class essay (25%); one take-home essay (30%); one three hour exam (35%); participation (10%). I will take attendance each class, and make note of oral contributions, to arrive at the participation mark. Attendance is important.

What students will find unique about this course is that it focuses entirely on the best examples of drama instead of novels or poetry. We also examine clips of recent productions as well as going on a field trip to the theatre.

Students will find these plays: Williams’ The Glass Menagerie, Miller’s The Crucible, Osborne’s Look Back In Anger, Beckett’s Happy Days; Pinter’s The Homecoming; Churchill’s Vinegar Tom; Soyinka’s Death and the King’s Horseman; Friel’s Translations, Shepard’s True West, Mamet’s Glengarry Glen Ross, Stoppard’s Arcadia, Ins Choi’s Kim’s Convenience especially interesting because they cover a surprising range of topics from witchcraft and Western films to tribal ritual suicide and the gentrification of Toronto neighbourhoods.

What excites me about teaching this course is introducing plays that are consistently remounted in theatres across the world to a new generation of students/spectators.

ENG347H1F - Victorian Literature

Section Number: LEC0101

Time(s): Monday 11 am - 1 pm, Wednesday 11 am - 12 pm IN-PERSON

Instructor: Hao Li

Brief Description: This is a critical introduction to major genres of Victorian literature. It offers an opportunity to explore how novelists, poets and (non-fictional) prose writers respond to crisis and transition: the Industrial Revolution, the Idea of Progress, and the Woman Question; conflicting claims of liberty and equality, empire and nation, theology and natural selection; the Romantic inheritance, Art for Art’s Sake, Fin de siècle, and Decadence.

Text List:
1. Dickens, Charles. Great Expectations. 1860-1. Ed. Margaret Cardwell. Oxford: Oxford UP, 2008.
2. Hardy, Thomas. Jude the Obscure. 1895. Ed. Patricia Ingham. Oxford: Oxford UP, 2009.
3. All other readings (by Tennyson, Browning, Carlyle, J. S. Mill, Matthew Arnold, etc.) will be provided through Quercus.
(Nos. 1, and 2 are available at the U of T Bookstore)

Method of evaluation: Short assignment, major essay, test, informed participation.

What students will find unique about this course is the rhetorical analysis of non-fictional prose works, which will likely help improve their own essay writing skills. Students will find the multi-genre setup especially interesting because they get to see how works of different genres converse with each other in responding to the same historical issues. What excites me about teaching this course is the intellectual stimulation the works will offer and the open-ended discussion they tend to generate. The reasonable course reading load will also allow students to read the works and think about them before class discussion

ENG348H1S - Modern Poetry to 1960

Section Number: LEC0101

Time(s): Tuesday 11 am - 1 pm, Thursday 11 am - 12 pm IN-PERSON

Instructor: Ming Xie

Brief Description: This course explores poems by the representative poets of the modern(ist) period, such as Thomas Hardy, W.B. Yeats, Robert Frost, Ezra Pound, T.S. Eliot, H.D., W.H. Auden, Elizabeth Bishop, e.e. cummings, Langston Hughes, and others. What is unique about this period is the co-presence of and tension between elements of the chronologically modern and the radically modern (i.e. “modernist”), embodied in perspectives and issues that continue to impact our contemporary era. Students will be intrigued by the depth of anxieties and the variety of opportunities inherent in modern and modernist poetry.

Method of evaluation: In-class essays, term tests, participation and discussion.

ENG349H1S - Contemporary Poetry

Section Number: LEC0101

Time(s): Tuesday 2-3 pm. Thursday 1-3 pm IN-PERSON

Instructor: Ming Xie

Brief Description: This course introduces the work of contemporary poets such as Billy Collins, Louise Glück, Carol Ann Duffy, Yusef Komunyakaa, Rae Armantrout, John Yau, Claudia Rankine, and Kenneth Goldsmith, in a variety of poetic styles and movements. It aims to provide an in-depth engagement with some of their representative works and a critical understanding of their poetic, intellectual, and cultural perspectives. Students will find contemporary poetry appealing because it’s reflective of the world around us and the cultural shifts shaping our experiences, making it a dynamic field for exploration and connection.

Method of evaluation: In-class essays, term tests, participation and discussion.

ENG353H1F - Canadian Fiction

Section Number: LEC0101

Time(s): Monday 1-3 pm, Wednesday 2-3 pm IN-PERSON

Instructor: Smaro Kamboureli

Brief Description: “The truth about stories is that that's all we are,” said Cherokee/Greek author Thomas King. Author Robert Kroetsch also said something similar: “We haven’t got an identity until somebody tells our story. The fiction makes us real.” Why does storytelling play a fundamental role in the formation of identities and nations? What are the differences between the storied knowledge in Indigenous cultures and the stories that “represent” real-world or imagined experiences? How do master narratives of a nation-state such as Canada come about and what do they signify? Why are some stories rendered invisible? What difference does it make when somebody else tells our story? These are some of the questions that this course will explore with particular emphasis on a selection of Canadian novels and short stories from early twentieth century to the present. We will address such themes as land/scape, gender, diaspora alongside matters of form, narrative, and genre.

Authors: (tentative) novels by Dionne Brand, Cherie Dimaline, Kim Fu, Hiromi Goto, Howard O’Hagan, Sinclair Ross, Thomas Wharton; stories by Margaret Atwood, Norma Dunning, Nalo Hopkinson, Thomas King, Alistair MacLeod, Charles G.D. Roberts, Rudy Wiebe.

Method of evaluation: (subject to change) energetic participation 15%; attendance (at least 18 of 22 classes) 10%; in-class quiz 15%; in-class essay 25%; essay 35%.

What students will find interesting about this course is its range of stories and forms.

What students will find unique about this course is that it will allow them to relate their own stories to the stories we will read.

ENG354H1F - Canadian Poetry

Section Number: LEC5101

Time(s): Monday 6-9 pm IN-PERSON

Instructor: Vikki Visvis

Brief Description: A study of English-Canadian poetry from the nineteenth century to the present day. This survey course will begin with an analysis of poems from the mid-nineteenth and early twentieth centuries, particularly the confluence of Romantic and nationalist influences in the works of Confederation Poets. We will continue with a discussion of poetry in Canada from 1920 to 1960, addressing the modernism of the Montreal Group, debates over “native” or nationalist and “cosmopolitan” or internationalist poetic influences, and the next generation of late modernists. The course will close with an examination of late twentieth and early twenty-first-century poetry. Special attention will be given to issues of masculinity; women writing desire; formal experimentation in concrete and sound poetry; and multiculturalism, particularly Jewish-Canadian and BIPOC poets.

Required Reading: Course Reader with poetry by Charles Sangster, Archibald Lampman, Duncan Campbell Scott, E. Pauline Johnson, A. J. M. Smith, F. R. Scott, A. M. Klein, Dorothy Livesay, E. J. Pratt, Earle Birney, P. K. Page, Irving Layton, Raymond Souster, Louis Dudek, Al Purdy, Michael Ondaatje, Patrick Lane, Margaret Atwood, Anne Carson, Lorna Crozier, bp Nichol, bill bissett, Christian Bök, Eli Mandel, Leonard Cohen, Anne Michaels, Dionne Brand, George Elliot Clarke, Ian Williams, Lee Maracle, Marilyn Dumont, Leanne Betasamosake Simpson, Rupi Kaur, and Souvankham Thammavongsa. Michael Ondaatje, The Collected Works of Billy the Kid (Vintage); Anne Carson, Autobiography of Red (Vintage); Course Reader available on course Quercus site. Texts by Ondaatje and Carson are available at the University of Toronto Bookstore (214 College Street, 416-640-7900).

Method of evaluation: Essay—4 pages (25%); Essay—8 pages (40%); Final exam—2 hours (25%); Participation (10%).

What students will find unique about this course is its combination of approaches—both historical contextualization and close formal engagement—to the study of over almost 200 years of Canadian poetry.

Students will find assigned course readings especially interesting because they reveal the evolutionary changes, rich diversity, and surprising uniqueness of Canadian poetry.

What excites me about teaching this course is working with students to unearth their own interpretive responses to Canadian poetry.

ENG357H1S - New Writing in Canada

Section Number: LEC5101

Time(s): Thursday 6-9 pm IN-PERSON

Instructor: Vikki Visvis

Brief Description: A study of fiction published in Canada in the twenty-first century by emerging writers. Focusing on both the novel and the short story collection, we will consider how contemporary fiction in Canada moves in new directions in its treatment of genre and in its reconceptualization of canonical preoccupations. We will begin with an analysis of speculative fiction, both Indigenous “Wonderworks” and Afrofuturism, to explore the traumas of settler-colonialism, Indigenous resurgence, cross-cultural solidarity, and environmental sustainability. We will continue with a critique of the Canadian wilderness to examine how women, madness, and criminality complicate gendered constructions of the North and the adventure narrative. The course will close with a discussion of postmodernism in Canada, specifically its evolving relationship with God, humanism, and history.

Required Reading: Cherie Dimaline, The Marrow Thieves (DCB); Wayde Compton, The Outer Harbour (Arsenal); Elizabeth Hay, Late Nights on Air (McClelland&Stewart); Gil Adamson, The Outlander (Anansi); Yann Martel, The Life of Pi (Vintage); Chester Brown, Louis Riel: A Comic-Strip Biography (Drawn&Quarterly).

Fiction available at the University of Toronto Bookstore (214 College Street, 416-640-7900).

Method of evaluation: Essay—4 pages (25%); Essay—8 pages (40%); Final exam—2 hours (25%); Participation (10%).

What students will find unique about this course is its examination of recent innovations in Canadian fiction as they relate to genre and canonical subject matter.

Students will find [assigned course reading] especially interesting because they will challenge assumptions about presumably typical Canadian terrain, namely, white settler prairie realism, men in the Great White North, and a postmodernism devoid of God.

What excites me about teaching this course is engaging with students to rethink what we mean by “Canadian literature.”

ENG358H1F - Early African Canadian Literature

Section Number: LEC5101

Time(s): Tuesday 6-9 pm IN-PERSON

Instructor: G eorge Elliott Clarke

Brief Description: Black Canadian Literature (poetry, drama, fiction, non-fiction) from its origin in the Transatlantic Slave Trade in the 18th century to its current flowering as the expression of immigrants, exiles, refugees and ex-slavery-descended and colonial-settler-established communities. This half-course will focus on significant and representative authors of the latter 20th century, such as Austin Clarke, Dionne Brand, Lorena Gale, Dany Laferriere, Djanet Sears, etc., while lectures will address the history and politics that inspire Canada’s most relevant and dynamic, diverse and radical, insightful and outspoken assembly of scribes.

Method of evaluation: Two in-class-written essays & participation.

What students will find unique about this course is the combination of literary criticism, close reading, and attention to international history and politics–and their domestic repercussions–in terms of imperialism/anti-imperialism, slavery/anti-slavery, Black nationalism/Pan-Africanism and immigration/multiculturalism.

Students will find assigned course reading especially interesting because Black Canadian writers tend to address deathless social issues while also constructing compelling narratives in fiction, lyricism in poetry, theatricality in drama, and attention-grabbing facts in non-fiction.

What excites me about teaching this course is leading students to understand and appreciate the differences between African-Canadian and other Black Diasporic literatures while also learning more about the construction of Canada as a European-dominated, settler-founded state, one headed, still, by a “foreign” monarch.

ENG359H1S - Later African Canadian Literature

Section Number: LEC5101

Time(s): Tuesday 6-9 pm IN-PERSON

Instructor: G eorge Elliott Clarke

Brief Description: Black Canadian Literature (poetry, drama, fiction, non-fiction) from its origin in the Transatlantic Slave Trade in the 18th century to its current flowering as the expression of immigrants, exiles, refugees and ex-slavery-descended and colonial-settler-established communities. This half-course will focus on significant and representative authors and anthologies of the current century, such as Andre Alexis, Wayde Compton, Michael Fraser, Suzette Mayr, Zalika Reid-Benta, etc., and anthologists such as G. Frankson, K. Cameron & V. Mason-John. Lectures will address the history and politics that inspire Canada’s most relevant and dynamic, diverse and radical, insightful and outspoken assembly of scribes.

Method of evaluation: Two in-class-written essays & participation.

ENG363H1S - American Literature to 1900

Section Number: LEC5101

Time(s): Wednesday 6-9 pm IN-PERSON

Instructor: P aul Downes

Brief Description: A survey of some of the most important and influential literary texts published in the United States in the nineteenth century. Authors to be studied include Henry David Thoreau, Edgar Allan Poe, Ralph Waldo Emerson, Nathaniel Hawthorne, Emily Dickinson, Walt Whitman, Frederick Douglass, Herman Melville, Charles Chesnutt and Henry James. While reading some of the most stylistically inventive and engaging works in literary history (including Whitman’s “Song of Myself,” Melville’s “Bartleby, the Scrivener,” Dickinson’s poetry and Douglass’s speeches), students will also be introduced to social and political questions (concerning slavery and racism, the rise of a capitalist commodity culture, early modes of environmentalism) that continue to resonate in the twenty-first century. Students will come away from this course with a better understanding of US cultural history and a greater appreciation for the range of voices and ideas circulating in the nineteenth-century United States.

Method of evaluation:
3 Short essays: 3 x 30%
Attendance/Participation: 10%

ENG364H1F - American Literature 1900 to the Present

Section Number: LEC0101

Time(s): Monday 11 am - 1 pm, Wednesday 11 am - 12 pm IN-PERSON

Instructor: I. Augustus Durham

Brief Description:
To call the color blue ubiquitous is somewhat obvious. The sky; water, ranging from lakes to oceans; clothing as ordinary as denim jeans—all of these entities and objects project blueness. And yet, the color has a cultural phenomenon that opposes these exterior realities, and instead chronicles the interior life.

Prior to the transatlantic slave trade, blue symbolized more than just a color. Whether from the mourning rituals and the material culture of textiles in western Africa to the blue devils of England and early America, blueness has moved from the simple to the complex. Encompassing the tangible and the affective, blue has a history that is as varied as its multiple uses. Therefore, this class will undertake charting what blue looks and feels like in order to explore the terrain of a color engendering character.

Utilizing various forms of media, including film, sound, television, and text, this class looks at blue in its variance: music genre, melancholic comportment, color palette, national sentiment, race play, poetic muse. Examining blue in all of its shades, the class intends to show that being kind of blue is a descriptor of everything.

What students will find unique about this course is…the specificity of how a color is experienced along lines of difference.

Students will find [assigned course reading] especially interesting because…the ways of thinking about a color are more vast than one imagines.

What excites me about teaching this course is…students implementing what they have learned to educate each other about a color at the end of the course.

ENG367H1F - African Literatures in English

Section Number: LEC0101

Time(s): Monday 3-5 pm, Wednesday 3-4 pm IN-PERSON

Instructor: Comfort Azubuko-Udah

Brief Description: This course is an exploration of some of the foundational as well as emerging concerns and investments of African literatures in English. The texts we will read and discuss will allow us to dive into some of the foundational conversations in the field, while also making room for topics and voices that are newer or quieter. Course materials will inform introductory lessons and conversations on postcolonialism, African feminisms, nationalisms, the history of African literatures in English, the rise of the novel in Africa, oral literature and African poetry, and African genre fiction.

Method of Evaluation: Three 2-page close reading essays, in-class work and discussion participation, quizzes, and a peer review assignment.

What excites me about teaching this course is witnessing students discover and learn to appreciate a variety of texts they might not have encountered otherwise. It is also particularly exciting to witness lively participation during class discussions, which enhances the learning experience for everyone. The class atmosphere is encouraging, and class time is structured to provide ample opportunity for both small group and whole class discussions, framed by short lectures and guiding questions from me.

What students have found unique about this course is the peer review assignment, which comes with detailed and helpful guidelines for reviewing and revising an essay. Students appreciate that it provides a structured system for receiving feedback from multiple reviewers, and also emphasizes writing and close reading skills as core course objectives.

ENG368H1 F and S - Asian North American Literature

Section Number: LEC0101

Time(s): Monday 11 am - 1 pm, Wednesday 11 am - 12 pm IN-PERSON

Instructor: Jeff Noh

Brief Description: A survey of Asian North American fiction, poetry, memoir and visual culture from the early twentieth century to the present. We will pay special attention to how this literature represents the movement of people from Asia to the Americas—as indentured laborers, refugees, immigrants, and adoptees—and to the reverberations of these migrations in collective memory. We will study how Asian diasporic artists across North America have imagined different “origin stories,” including Chinese Exclusion, U.S. colonization of the Philippines, Japanese internment, and the Cold Wars in Asia. We will also attend to the ways successive generations of writers have drawn from—and questioned—these origin stories, re-imagining the boundaries of Asian diasporic identities. Our methods will include close reading, formal analysis, historical study, and engagement with scholarship.

Method of evaluation: Attendance and participation (15%); pop quizzes (5%); comparative paper (20%); mid-term examination (30%); research paper (30%)

Students will find H. T. Tsiang’s And China Has Hands (1937) especially interesting because it challenges common assumptions about early Asian North American literature while addressing political questions—about immigration, labour, gender, and racial identity—that resonate in the present. An experimental novel by a Chinese American writer who worked during the exclusion period (and under constant threat of deportation), And China Has Hands tells the story of an immigrant proprietor of a Chinese laundry and an aspiring actress of mixed Chinese and African descent who meet in New York City’s Chinatown. It’s a weird, funny, and self-reflexive work by a writer obsessed with how Chinese Americans navigated systems of exclusion in the early 20th century.

ENG369H1F - South Asian Literature

Section Number: LEC0101

Time(s): Tuesday 10 am - 1 pm IN-PERSON

Instructor: Rijuta Mehta

Brief Description: This course introduces you to questions of anti-colonialism, feminism, same-sex desire, technology, spirituality, race and caste apartheid, rape and territorial boundaries through a close reading of literature and media from and about South Asia.

Method of evaluation: Essays, Tests, Participation

ENG371H1F - Topics in Indigenous, Postcolonial, and Transnational Literatures: Pacific Islands Literature

Section Number: LEC0101

Time(s): Mondays 1-3 pm, Wednesdays 1-2 pm IN-PERSON

Instructor: R ebecca Hogue

Brief Description of Course: This course centers Indigenous writing from the Pacific Islands, not as “islands in a far sea” but as Tongan writer Epeli Hau’ofa powerfully reinscribed, a “sea of Islands.” Engaging with a multitude of textual forms, we will be inspired by Banaban scholar/activist/poet Teresia Teaiwa’s notion of the “polygenesis” of Pacific Islands literatures; that is, how Pacific Islands literatures have multiple and intersecting artistic and historic influences. We will read oral histories, navigational charts, paintings, photographs, poetry, fiction, personal narratives, film, carvings, tattoo, and regalia. Discussions will analyze the roles of storytelling practices in historical and contemporary ecological and political relationships, including climate change, demilitarization, sovereignty, the protection of sacred sites, and more.

Required Reading: Selected readings from Patricia Grace (Ngāti Toa, Ngāti Raukawa and Te Āti Awa), Kathy Jetn̄il-Kijiner (ri-Majel), Albert Wendt (Samoan), Terisa Siagatonu (Samoan), Selina Tusitala Marsh (Samoan and Tuvaluan), Haunani-Kay Trask (Kanaka Maoli), Jully Makini (Solomon Islander), Grace Mera Molisa (ni-Vanuatu), Brandy Nālani McDougall (Kanaka Maoli), and more.

Method of Evaluation:
Discussion Posts             25%
Short Paper                     30%
Final Paper Proposal     5%
Final Paper 40%

Students will find Pacific Islands Literatures especially exciting for their creative engagements with multiple artistic forms and their interrogations of power, gender, colonialism, capitalism, and environmental issues.

ENG372H1S - Topics in Indigenous, Postcolonial, and Transnational Literatures: Feminisms of Colour

Section Number: LEC0101

Time(s): Thursday 10 am - 1 pm IN-PERSON

Instructor: Rijuta Mehta

Brief Description: What does feminism do? How does it shift the questions of race and empire? This course will introduce you to some key concepts and debates in and around the field of Feminist Cultural Studies. We will engage with texts by racialized practitioners of resistance, work through theoretical debates about speech and silence—especially focusing on why BIPOC life activities are seen as resistance acts—and bring our insights to bear upon questions of global feminist solidarity in media forms.

Method of Evaluation: Essays, Tests, Participation

ENG373H1F - Topics in Pre-1800 British Literature: King Arthur, Britishness, and Empire

Section Number: LEC0101

Time(s): Tuesday 11 am - 12 pm, Thursday 11 am - 1 pm IN-PERSON

Instructor: Sebastian Sobecki

Brief Description: Why has King Arthur enthralled readers for the last 1000 years? While the romances, or adventure tales, about his Knights of the Round Table may have been told and re-told across all cultural forms, medieval England’s original Arthurian literature holds up a mirror to the deepest fears and dreams of its audiences. These romances idealise adultery, negotiate the role of women, and lay the foundations for the British Empire.

More than any other variety of medieval writing, romances connect the literature of the Middle Ages with that of both earlier and later periods. They blend Classical myth with Celtic mystique, oriental exotica with local issues. Romances tell stories about King Arthur and his court, the Crusades, and ancient English princes. In this course we will explore the romance tradition in England, with special attention to the origin and development of the Arthurian canon, the political meaning of Englishness and Britishness, the self-examination of courtly ethics and gender relations, and the ideological origins of the British Empire. The course will not only examine the aristocratic culture of medieval England but will also demonstrate how premodern writings inform the literature of later periods.

Method of evaluation: attendance and participation (20%); presentation (20%); first essay (20%); write-a-romance project (20%); final essay (20%)

What students will find unique about this course is how it inverts their ideas of the Middle Ages. Students will find the course reading especially interesting because it shows just how creatively medieval audiences imagined the role of women and the world human relationships, how they experimented with ideas of empire and colonialism, and how they wished to escape their own realities.

What excites me about teaching this course is that it allows students to eavesdrop on intimate relationships between medieval people and listen to their innermost secrets: their desire for power and their need to be loved.

ENG373H1S - Topics in Pre-1800 British Literature: Obscure Shakespeare

Section Number: LEC0101

Time(s): Tuesday 11 am - 12 pm, Thursday 11 am - 1 pm IN-PERSON

Instructor: Misha Teramura

Brief Description: Despite Shakespeare’s reputation as the most celebrated writer in the English language, some of his works remain rarely performed and seldom read. These “forgotten” works span Shakespeare’s entire career and all of the major forms in which he wrote: poetry, comedy, history, and tragedy. Far from minor or insignificant, some of these works constitute milestones in Shakespeare’s career and reception. The blockbuster poem Venus and Adonis was his debut publication, Henry VIII and The Two Noble Kinsmen were his last works for the stage, and the manuscript of Sir Thomas More preserves the only surviving literary example of Shakespeare’s handwriting. This course tracks the shape of Shakespeare’s career through an examination of his lesser-known works, asking how these comparatively neglected texts change our understanding of Shakespeare while also considering the critical and political forces that led to their marginalization. We will approach the plays both as literary texts and as embodied theatrical events, giving special attention to Shakespeare’s poetic language, dramaturgy, and complex treatments of power, politics, community, family, nation, race, gender, and sexuality.

Method of evaluation: Participation (15%); Two Quizzes (20%); Passage Analysis Assignment (20%); Final Essay (40%); Surveys (5%).

What students will find unique about this course is the chance to explore an author through their least famous works and to consider how authorial legacies are shaped by which works readers chose to remember.

ENG373H1S - Topics in Pre-1800 British Literature: Shakespeare's Tragi-Comedies

Section Number: LEC0201

Time(s): Tuesday 11 am - 1 pm, Thursday 11 am - 12 pm IN-PERSON

Instructor: Philippa Sheppard

Brief Description: Shakespeare, from 1608 onwards, responded to his company’s adoption of an indoor venue, Blackfriars, and new aesthetic demands from his audience, by helping to pioneer a fresh genre of drama: the tragicomedy or romance. Influenced by Greek myths and epics, the sophisticated court masque, and folk- and fairy-tale, these five late plays are linked by common themes: reconciliation, renewal and wish-fulfilment. These tragicomedies provoke questions about the nature of power, family identity, and the role of the arts in society. Recent productions on stage and screen will animate our study.

Method of evaluation: One in-class essay (25%); one take-home essay (30%); one three-hour exam (35%), participation (10%).

What students will find unique about this course is it brings together three relatively obscure Shakespeare plays, two co-authored, with two famous ones. Students in past years have found our discussions of the clips from different recent productions really opened their eyes to the myriad possibilities available to the directors of Shakespeare’s plays. We also always attend a live show as a class field trip.

Students will find the assigned course reading especially interesting because the five plays Pericles, Cymbeline, The Winter’s Tale, The Tempest and Two Noble Kinsmen boast plots filled with fantasy, travel and magic, treating a remarkable range of topics from incest to sexual rivalry and madness. These plays were produced in a ground-breaking new era for special effects, involving more music, dance and spectacle than his previous works. In short, they are especially theatrical plays, which lend themselves easily to transposition and adaptation.

What excites me about teaching this course is that at least three of these plays will be utterly fresh to my students. More Shakespeare to love! No matter how often I lecture on Shakespeare’s plays, I am always astounded by some fresh instance of his brilliant insight. I love sharing my passion for his stagecraft and poetry with a new generation of students.

ENG374H1F - Topics in Pre-1800 British Literature: 18th Century Children's Literature

Section Number: LEC0101

Time(s): Monday 1-3 pm, Wednesday 2-3 pm IN-PERSON

Instructor: Carol Percy

Brief Description: This course surveys children’s books of the long eighteenth century in key intellectual and social contexts.

Students will find the reading schedule especially interesting because of its design. Organized by genre, the course provides a structured understanding of the period’s characteristic literary forms. We will explore genres such as ABCs and readers, fables and animal stories, family stories, school stories, fairy stories, travel and adventure stories, natural history, poetry, and games. Special attention will be given to representing books and reading.

Each week, we will analyze contrasting texts to understand how they differ from each other, from modern genres, and from the period’s adult literature. We will investigate what representations of supernatural, inanimate, animal, and human characters reveal about child readers, concepts of childhood, parenthood and development, and social relations in Britain and its empire. Additionally, we will explore how the creation and content of children’s books relate to contemporary beliefs about education, pedagogy, psychology, and religion.

A final focus of the course is the book trade. Using digitized books and newspapers from the period, along with resources from the local Osborne Collection of Early Children’s Books, students will explore the commercial and material aspects of producing books and other educational products.

What students will find unique about this course and what excites me about teaching it is the personalized research paper at the course’s heart. Brief low-stakes reflections on the week’s readings will help you select and contextualize your topic, prepare for the final exam, and produce a well-developed paper.

Method of Evaluation: Weekly N/CR discussion posts (10%), in-class essay (20%), research essay (30%), informed in-class participation (10%), Final exam (30%).

ENG374H1F - Topics in Pre-1800 British Literature: Renaissance of Petrarchism

Section Number: LEC0201

Time(s): Monday 1-3 pm, Wednesday 2-3 pm IN-PERSON

Instructor: C hristopher Warley

Brief Description: “I was in love, I got dumped, I wrote a poem.” Today everyone and anyone is an expert at love poetry because everyone and anyone is the subject of love poetry. It has not always been so. The point of departure for this peculiarly democratic literary experiment is the 14th century poet Petrarch, and “Petrarchism” is best understood as the name of the literary manifestation of a social revolution in art called, simply, Renaissance. Petrarchism is at the heart of virtually all Renaissance literature, and its democratic disposition unravels any claim to hierarchical rule or triumphant destiny—and continues to do so today, as the top 100 on Spotify attests. We will consequently study the birth and rebirth of Petrarchism in sixteenth-century England and beyond, with particular (not exclusive) focus on Wyatt, Sidney, Shakespeare, and Donne.

Method of Evaluation: 2 papers, quizzes

ENG374H1S - Topics in Pre-1800 British Literature: Medieval English Travel Writing

Section Number: LEC0101

Time(s): Tuesday 1-2 pm, Thursday 1-3 pm IN-PERSON

Instructor: Sebastian Sobecki

Brief Description: Despite the lack of cars, trains, and planes, the medieval world felt, in many ways, no smaller than ours: adventurers, crusaders, fishermen, mercenaries, penitents, pilgrims, spies, students, traders, all travelled widely throughout and beyond Europe in the Middle Ages. Medieval people were fascinated with the worlds that lay beyond their town or country, beyond Europe, beyond Jerusalem, beyond the seas, beyond the known.

This course will concentrate on a range of travel accounts and voyage tales, from the Asian wonders of John Mandeville’s Travels to the role of King Richard Coeur-de-Lion during the Crusades. In addition to less familiar texts, such as the graphic war accounts of John Page’s Siege of Rouen and John Kay’s Siege of Rhodes, we will work with new editions of the oriental romance Floris and Blancheflour, the pilgrim guidebook The Stacions of Rome, Chaucer’s mysterious account of magic in The Squire's Tale, and King Arthur’s conquests in the Alliterative Morte Arthure.

Method of Evaluation: Attendance and participation (20%); ‘adopt a map’ research assignment (20%); first essay (20%); Rome pilgrim project (20%); final essay (20%)

What students will find unique about this course is that it explores premodern ideas of race and geography, conflict and cultural encounter.

Students will find our textbook, Anthony Bale and Sebastian Sobecki, ed., Medieval English Travel: A Critical Anthology (Oxford: Oxford University Press, 2019), especially interesting because it includes some of the most exotic and surprising literature to have survived from the Middle Ages.

What excites me about teaching this course is to see how the encounter with the global Middle Ages - its fears, monsters, and topographies – changes our own sense of self and place in the world.

In our readings we will encounter imagined places (Australia, Brazil) and real ones, such as the end of the world. Our weekly themes will follow our textbook, which was specifically written for this course: 'Places, Real and Imagined', 'Maps the Organisation of Space', 'Encounters', 'Languages and Codes', 'Trade and Exchange', and 'Politics and Diplomacy'.

ENG374H1S - Topics in Pre-1800 British Literature: Renaissance in Theory

Section Number: LEC0201

Time(s): Monday 1-4 pm IN-PERSON

Instructor: Christopher Warley

Brief Description: What’s a Renaissance? It is a famously frustrating question: a historical period defined by its art? an art defined by its historical period? Can a “re-birth” even exist? We will look at the emergence of the concept in the 16th century (More, Aristotle, Sidney); in the 19th century (Michelet, Ruskin, Burckhardt, Pater); and in the 20th century (Febvre, Panofsky, Auerbach). We will also ask why since the 1980s scholarship has often taken such pleasure in denouncing the Renaissance: why has the unstable rebirth of aesthetic historicism seemed so scary?

Method of Evaluation: 2 papers, quizzes

ENG378H1F - Special Topics: Gothic Fiction and Revolution

Section Number: LEC0101

Time(s): Monday 11 am - 1 pm, Wednesday 11 am - 12 pm IN-PERSON

Instructor: Michael Johnstone

Brief Description:

Method of Evaluation:

ENG378H1F - Special Topics: Conspiracy Theory and Narrative Desire in the Age of Mass Culture

Section Number: LEC0201

Time(s): Tuesday 3-4 pm, Thursday 3-5 pm IN-PERSON

Instructor: Jim Hansen

Brief Description: Why do so many of us prefer elaborate, unsubstantiated paranoid theories to cold, hard, substantiated facts? What’s the attraction? Well, nearly all of us have seen, read, and maybe even speculated about the theories surrounding John F. Kennedy and the wave of political assassinations in the 1960s. More recently, we’ve run across theories concerning terrorist conspiracies, government conspiracies, corporate conspiracies, and information-systems conspiracies. Our culture has grown so accustomed to the terms and expressions that accompany paranoid thinking that no one even seems very surprised by these lunatic ravings anymore. We’ve entered what critics and journalists have dubbed the “post-truth era,” an age where opinions and theories trump facts and truths.

In her 1971 New Yorker essay, “Lying in Politics,” Hannah Arendt explained that “the chances of factual truth surviving the onslaught of power are very slim, indeed; it is always in danger of being maneuvered out of the world not only for a time but, potentially, forever. Facts and events are infinitely more fragile things than axioms, discoveries, theories – even the most wildly speculative ones – produced by the human mind.” Perhaps people really do prefer conspiracy theories to facts and evidence. But why? Why would citizens in a democracy prefer elaborate lies to the truth?

This course will address this question by digging into literary, filmic, and philosophical texts that explore the obsessive, hyper-alert experience that we call conspiracy theorizing. Throughout, we’ll also discuss how to become an informed, astute, and clever critical thinker without giving in to paranoia.

Method of Evaluation: 2 exams, students will be required to write three 1000-word movie reviews, and one 8-page research paper.

ENG378H1S - Special Topics: Contemporary Dystopian Fiction

Section Number: LEC0101

Time(s): Monday 11 am - 1 pm, Wednesday 11 am - 12 pm IN-PERSON

Instructor: Michael Johnstone

Brief Description:

Method of Evaluation:

ENG378H1S - Special Topics: Modern American Literature, 1900-1950

Section Number: LEC0201

Time(s): Wednesday 2-5 pm IN-PERSON

Instructor: Scott Rayter

Brief Description: We will look at how a number of American writers’ works from the first half of the twentieth century reflect national and individual concerns with freedom, identity, and sexual politics. What does “America” mean during this period and how does it come to be understood in relation to “the modern” and to “modernity,” and expressed and represented though the literature of American Modernist writers? What is the relationship between Realist/Naturalist texts and Modernist ones? Do we see a contestation of America and the nation in that work, and how are both individual and national identities explored and articulated in relation to race, gender, and sexuality? Writers include Cather, Wharton, James, Chopin, Sui Sin Far, Wahington, Du Bois, Larsen, Hurston, Eliot, Frost, W.C. Williams, Hemingway, Fitzgerald, Faulkner, Parker, Stein, Zitkála-Šá, & T. Williams.

Method of Evaluation: Passage analysis (25%); essay (30%); take-home final exam (30%); participation (15%).

ENG378H1S - Special Topics: Black Messiah

Section Number: LEC0301

Time(s): Tuesday 1-3 pm, Thursday 1-2 pm IN-PERSON

Instructor: I. Augustus Durham

Brief Description: On December 15, 2014, R&B singer D’Angelo, and his band The Vanguard, released his third studio album Black Messiah. Consisting of twelve tracks, this was his first project in close to 15 years, dating back to his previous two albums, Voodoo (2000) and Brown Sugar (1995). Black Messiah entered the charts at a fever pitch in the racial and hegemonic imaginary.

The album is inclusive on a full scale: the liner notes use the words “we,” “all,” and “us” throughout and it situates its message in a transnational frame with references to Ferguson, the Arab Spring, and Occupy Wall Street. Thus, although the album is not about race, it is invested in blackness. What might this mean? This class will wrestle with that question and hopefully pose others in turn, arguing that Black Messiah stages teachable moments in the sonic genealogy of the black aesthetic and radical traditions.

Each track from the album will shape the weekly class meetings as the foundation for provoking critical theory. With the class grounding itself in an album as the ur-text, what a better way to approach the album than to theoretically hit SHUFFLE and see what it has to say—the remix to an already mixed and mastered product! Likewise, we will think critically about, among other things, music and its utility as protest and affect, specifically melancholy; love and intimate community; nostalgia and projections of the future for those deemed perpetually homeless/in diaspora; and the album as homage.

What students will find unique about this course is…the hybridity of text, film, and sound to orchestrate D’Angelo’s intention and its application to the contemporary moment.

Students will find [assigned course reading] especially interesting because…the range of sources will be applicable to them both in the compulsory aspects of the class and to the creativity they will cultivate for the final project.

What excites me about teaching this course is…exposing students to sound studies and critical theory.

ENG379H1F - Special Topics: Literary Toronto: Imagining and Writing the City

Section Number: LEC0101

Time(s): Tuesday 3-4 pm, Thursday 3-5 pm IN-PERSON

Instructor: S arah Caskey

Brief Description: How is a city variously represented and captured through literature? This course examines the city of Toronto as it is imagined, narrated, and constructed in a range of contemporary novels and short stories. Focusing on works by diverse Canadian authors, we will consider how they represent Toronto not just as geographical setting, but as a central literary subject with multiple meanings.

We will pay attention to the way characters navigate the city’s physical and social landscapes, and how their identities are shaped by, and inscribed upon, the spaces they inhabit. We will also look closely at how acts of storytelling and creative expression become vital tools for navigating—and potentially transforming—the city. As a literature course, we will analyze how writers use different literary forms to evoke the complexity, dynamism, and precarity of Toronto life through the invocation of multiple perspectives, temporal shifts, multi-layered narrative structures, and fragmented storytelling. What versions of Toronto are these authors trying to convey, and how is Toronto constituted by these different stories?

Method of evaluation: In-Class Passage Analysis (25%); Essay (40%); In-Class Final Assignment (25%); In-Class Participation (10%).

ENG379H1S - Special Topics: Late Victorian Novels: Feminism, Science Fiction and the Gothic

Section Number: LEC0101

Time(s): Monday 10-11 am, Wednesday 11 am - 1 pm IN-PERSON

Instructor: Cannon Schmitt

Brief Description: A time of social, political, and literary tumult, the late Victorian era witnessed the publication of novels that would come to be iconic, including H. G. Wells’s The Time Machine and Bram Stoker’s Dracula. We will read both—as well as less universally known but equally compelling texts like Thomas Hardy’s Jude the Obscure, Olive Schreiner’s The Story of an African Farm, and Sarah Grand’s The Beth Book. In every case we will have the opportunity to think through the relation between literary form and historical change, analysing how specific styles and genres emerged in conjunction with specific political questions, such as empire, and scientific discoveries, such as evolution.

Method of evaluation: Informed participation (15%), in-class presentation (5%), close reading (10%), short paper (35%), term test (35%)

ENG379H1S - Special Topics: Fairy Tales, Fantasy & Adaptations for the Young

Section Number: LEC0201

Time(s): Tuesday 11 am - 1 pm, Thursday 11 am -12 pm IN-PERSON

Instructor: Deirdre Baker

Brief Description: We’ll be looking at a few hardy old stories, European fairy tales, and the ways writers for the young have reiterated, dismantled, critiqued, revitalised, re-purposed or damned canonical fairy stories from Charles Perrault, the Grimm brothers and others. Fairy tales were once relegated to the nursery, but contemporary writers such as Diana Wynne Jones, Gail Carson Levine and Helen Oyeyemi peel back their potential for expressing – or sometimes, forcefully constraining – the knotty, shadowed complexities of adolescence, gender, sexuality and race. We’ll be studying YA novels by these writers: other texts may include works by Frances Hodgson Burnett, Terry Pratchett, Margot Lanagan &c. Our exploration will take us to Toronto Public Library’s Osborne Collection of Early Children’s Books, where we’ll examine firsthand retold, reimagined fairy tales from the eighteenth century to the present.

Method of evaluation: Short reading response papers; essays; class discussion

What students will find unique about this course - Many people think children’s literature is “cute”, rife with talking bunnies, sunny flowers and lessons in being nice. Looking closely at Little Red Riding Hood or Beauty and the Beast and their retellings reveals just how dark, comic or subversive – or even coercive – it can be, and may indeed have been, on the students themselves.

ENG379H1S - Special Topics: Contemporary BIPOC Canadian Literature

Section Number: LEC5101

Time(s): Monday 6-9 pm IN-PERSON

Instructor: V ikki Visvis

Brief Description:This course will study contemporary BIPOC (Black, Indigenous, and People-of-Colour) Canadian fiction and poetry. We will begin by examining literary depictions of Black bodies in motion, whether travel, escape, relocation, or migration. Specifically, we will consider how the travels of a queer, Black train porter challenge conventional representations of the Canadian Pacific Railway; how Black jazz musicians attempting to escape Nazi Europe reveal the prominence of aural responses to sound in racial discrimination; how a Black couple relocating under the strains of neoliberalism confronts the marked differences between Jamaican and American Black cultures; and how formal experimentation enacts the repercussions of forced migration during the slave trade. We will continue with an investigation of colonial legacies and cultural resurgence in works by Indigenous women writers. With an emphasis on BIPOC speculative fiction, the course will examine the legacies of residential schools and settler-colonialism, be it broken kinship relations, intergenerational trauma, or internalized racism. In response to these outcomes, we will investigate how these works emphasize the value of cultural resurgence through reclaimed custom, reserve community, and Anishinaabe law. The course will close with an analysis of states of in-betweenness in literature by People-of-Colour. By addressing the pressures of residing between a country of origin and Canada, between first- and second-generation migrants, or between a present-tense reality and a speculative future, readings will foreground the insidiousness of cultural essentialism, the strain on family relations, and the vulnerability to abuse for People-of-Colour who have immigrated to Canada.

Required Reading: Suzette Mayr, The Sleeping Car Porter; Esi Edugyan, Half-Blood Blues; Cherie Dimaline, The Marrow Thieves; Alicia Elliott, And Then She Fell; Kevin Chong, The Double Li of Benson Yu; poetry and short stories by Dionne Irving, Kaie Kellough, Eden Robinson, Leanne Betasamosake Simpson, Souvankham Thammavongsa, Rohinton Mistry, Madeleine Thien, and Djamila Ibrahim.

Method of Evaluation: Essay—4 pages (25%); Essay—8 pages (40%); Final exam—2 hours (25%); Participation (10%).

What students will find unique about this course is its focus on writers from diverse ethnic backgrounds who reveal the cultural and aesthetic richness of contemporary Canadian literature.

Students will find assigned course readings especially interesting because of their willingness to mine idiosyncratic experiences—both fantastic and realistic—from traditionally excluded perspectives in formally innovative ways.

What excites me about teaching this course is collaborating with students to explore how those who have been socially marginalized can reshape our understanding of Canadian culture and literary form.

ENG384H1F - Literature and Psychoanalysis

Section Number: LEC0101

Time(s): Tuesday 2-3 pm, Thursday 1-3 pm IN-PERSON

Instructor: Carroll Balot

Brief Description: An exploration of the relationship between literature and psychoanalysis through four core problematics: the unconscious; narrative; temporality; and transformation. Rather than a linear history of psychoanalysis or an overview of psychoanalytic literary criticism, the course sets novels and short stories that critically engage psychoanalysis in dialogue with foundational psychoanalytic essays. Readings include Ben Lerner, The Topeka School; Tsitsi Dangarembga, Nervous Conditions; Alison Bechdel, Are You My Mother; and essays by Sigmund Freud, Melanie Klein, Donald Winnicott, Jessica Benjamin, and Franz Fanon.

Method of Evaluation: Term tests; essay; presentation; participation.

What students will find unique about this course is the conversation between literary and psychoanalytic modes of understanding.

ENG385H1S - History of the English Language

Section Number: LEC0101

Time(s): Tuesday 11 am - 1 pm, Thursday 11 am - 12 pm IN-PERSON

Instructor: Car ol Percy

Brief Description:
This introductory course deconstructs standard English, decodes slang and jargon, and gives students from every discipline tools to read older texts. Accessible to multilingual students, it exploits every student’s expertise, experience, and interests.

The course begins with the standard English we share as scholars, introducing transferable linguistic and theoretical concepts. By its conclusion, you won't know Old English (OE), but you'll know about OE and confidently describe variation, change, and standardization in vocabulary, grammar, accents, and spelling of historical, regional, and social varieties of Englishes.

You'll learn to use online resources to understand earlier texts and answer questions about language contact, variation, change, policy, and authority. You'll critique definitions of language standards and understand external events influencing Englishes' development.

Five broad questions guide the course:

What can vary and change in English? How can we describe and track variation in resources like English-corpora.org?
How do norms and standards arise? What cultural work is done by categorizing standards, dialects, or languages?
How can we learn to read earlier English texts more easily? Students will find previously difficult reading especially interesting!
How can historicized/contextualized varieties of Englishes illuminate earlier (including literary) cultures?
How are earlier Englishes reflected in present-day Englishes?

Literary and cultural-historical texts ground explanations of linguistic concepts.

Weekly N/CR homework and repeatable e-xercises reinforce new concepts and spark research papers. What students will find unique about this course are the personalized assignments, expanding from homework and culminating in research on literary or cultural subjects.

Method of Evaluation: Weekly N/CR homework (10%), Anthology Contribution (25%), Research Essay (25%), Final exam (25%), Repeatable e-xercises (5%), Participation (10%).

ENG388H1S - Creative Writing: Poetry

Section Number: LEC5101

Time(s): Monday 6-9 pm IN-PERSON

Instructor: Robert McGill

Brief Description: In this course, we’ll tackle a variety of traditional and contemporary poetic forms and genres, from blank verse and ghazals to pantoums, erasure poems, ecopoems, elegies, and odes. We’ll discuss published examples, and there will be regular writing activities, including in-class prompts and opportunities to share work. Students will also gain expertise in providing written and oral feedback, and they’ll develop their revision skills.

Method of Evaluation: Class participation 15%; written peer feedback 15%; revision assignment 10%; poetry performance 10%; portfolio preface 10%; portfolio 40%

What students will find unique about this course is the opportunity to learn about and try their hands at a wide range of forms and genres in a low-stakes environment that encourages risk and creativity.

Students will find the published poems that we read especially interesting because the poems demonstrate the incredible diversity of contemporary poetry and the ways in which form and genre can be great liberators of the imagination, as well as catalysts for experimentation and artistic play.

What excites me about teaching this course is that it’s designed to be equally welcoming to experienced poets and to people who’ve never written poetry. A key premise of the course is that reading poetry and writing poetry make one not just a better poet but a better writer in general, and maybe even—if you believe that a sensitive attunement to language’s affordances and nuances can create new possibilities for being—a better person.

ENG389H1F - Creative Writing: Short Fiction

Section Number: LEC0101

Time(s): Wednesday 1-4 pm IN-PERSON

Instructor: Noor Naga

Brief Description: This course is for aspiring fiction writers who wish to deepen their craft. Most seminars will feature a craft discussion as well as an in-class writing exercise or workshop. Students will be expected to produce three stories of varying lengths over the course of the semester and to workshop each other’s stories in small groups, providing oral and written feedback. The final assignment is a portfolio of revised stories introduced by an Author’s Statement.

Method of Evaluation: Three short stories (25%); workshop feedback (30%); class participation (10%); final portfolio (35%).

What students will find unique about this course is how intimately they will get to know their peers through smaller workshop groups and paired writing exercises. Writing is impossible without community, so it is my priority that everyone leaves the course with at least one friend.

ENG394H1F - Creative Writing: Playwriting

Section Number: LEC0101

Time(s): Thursday 1-4 pm IN-PERSON

Instructor: TBD

Brief Description: TBD

ENG394H1F - Creative Writing: Science Fiction

Section Number: LEC5101

Time(s): Monday 6-9 pm IN-PERSON

Instructor: Robert McGill

Brief description: Our focus will be on the craft of writing science fiction short stories. Classes will include writing exercises, workshopping, and the discussion of published fiction, most of it from the past decade. We’ll treat the genre expansively, not least by considering the relationship between science fiction and genres such as fantasy, horror, and literary fiction.

Method of evaluation: Writing exercises (10%); short story (10%); class participation (15%); written peer feedback (10%); joint presentation (10%); portfolio (35%); portfolio preface (10%).

What students will find unique about this course is how it gives them multiple entry-points to devising ideas for stories and facilitates writing in low-stakes ways that encourage playfulness and experimentation.

Students will find the readings especially interesting because they demonstrate the amazing range of things that a science fiction short story can offer, from cinematic plotting to mind-bending thought experiments and even innovative kinds of lyricism.

What excites me about teaching this course is that science fiction is a signature genre of the twenty-first century—resonating in all sorts of wild, estranging ways with contemporary life—and also one of the most expansive genres out there. I love introducing students to different varieties of it and witnessing the further directions in which students take science fiction in their writing.

ENG394H1S - Creative Writing: Language is Material: Creating Chapbooks

Section Number: LEC0101

Time(s): Friday 1-4 pm IN-PERSON

Instructor: Claire Battershill

Brief description: This creative writing course on chapbooks will take a project-based approach: each student will write and make their own small book over the course of the semester. Students will write a sequence of poems, a long poem, a short story, a series of flash fiction pieces, or sequence of experimental works and design and produce 25 copies to share with their classmates and communities. Drawing inspiration from visits to the Thomas Fisher Rare Book Library and the Massey College Library, we will consider chapbooks (and related genres such as zines, literatura de cordel, small artists’ books, and small-run pamphlets) as vehicles for creative work and contextualize our own creative efforts within the rich history of small and micropress literary production. Students in this course will be thinking about the whole of their works, designing the books intentionally to reflect the materials they’re writing about and honing their literary aesthetics as they learn how to make books. No experience in book arts or crafts is required: students will receive hands-on material education, learning from Toronto artists in the fields of papermaking, letterpress printing, and bookbinding. Through low-stakes exercises and prompts, we will also be exploring the notion of language as a material and theorizing materiality, repetition, multiples, and graphic art as these relate to writing.

Method of evaluation:
30% draft and prototype book
10% first complete copy
20% final edition
20% participation and collaboration
20% process documentation and reflection on methods

What students will find unique about this course is that they will have the opportunity to write and make their own books, share copies with their peers, and read their work in a public launch at the end of the semester.

Students will find Write, Fold, Print, Staple especially interesting because in it the poet Jim Johnstone connects the work we do in this class with a strong history and community of small and micropress publications in Canada.

What excites me about teaching this course is seeing the student projects come to life and watching student writing find material forms that suit the work. I also love connecting the history of books with the contemporary creative practice.

ENG394H1S - Creative Writing: Literary Journalism

Section Number: LEC0201

Time(s): Thursday 1-4 pm IN-PERSON

Instructor: TBD

Brief description: TBD

400-level

ENG400H1S - Internship

Section Number: LEC5101

Time(s): Wednesday 3-5 pm IN-PERSON

Instructor(s): P aul Downes

Brief Description of Course: In this course students will participate in partnership-based, curricular, academic internships with selected organizations. Learning will involve both in-class and workplace learning with an emphasis on integrating academic learning in an applied setting, developing professional skills, critical reﬂection and personal and shared reﬂection on the work experience. Students will also participate in workshops designed for this course in partnership with the Careers Exploration and Education, UofT.

Method of Evaluation:
Placement attendance: 20%
Course participation and attendance: 20%
Placement log: 20%
Presentation: 20%
Placement reflection: 20%

ENG480H1F - Advanced Studies Seminar: Mediating the Refugee Crisis: Stories, Spectacles, Affects

Section Number: LEC0101

ENG482H1F - Advanced Studies Seminar: Representing Vandalism

Section Number: LEC0101

Time(s): Monday 9-11 am IN-PERSON

Instructor(s): Nick Mount

Brief Description of Course: Marking walls, defacing monuments, burning books, blowing up statues, breaking windows…for as long as us humans have created things, we have also willfully defaced and destroyed them. What is vandalism? Who does it, and why? Does vandalism also create? Can a transhistorical, humanist approach to vandalism offer new perspectives on old and new forms of vandalism that period-specific historians and social scientists may have missed? These are the working questions of my current research. Besides key theoretical discussions of vandalism old and new, this inter-disciplinary seminar will explore representations of vandalism in both “fact” and fiction. Our topics of conversation, and potentially of your own research and essays, will include such things as state-sponsored vs. citizen vandalism, cultural vandalism, political vandalism, the vandalism of art, art as vandalism, vandalism for fun and vandalism for profit.

Method of evaluation: Course marks will be determined by seminar participation, including short written weekly responses (25%); a 1,000-word preliminary essay and literary review (25%); and a 2,000-word final essay (50%).

ENG482H1F - Advanced Studies Seminar: Divisions of Labour: Representing Work in Theory and Fiction

Section Number: LEC0201

Time(s): Monday 12-2 pm IN-PERSON

Instructor(s): A udrey Jaffe

Brief Description of Course: What do people do all day? —asks Richard Scarry’s well-known children’s book, in which a collection of furry creatures perform essential tasks: cleaning, cooking, driving, building. But what do people (actual people) do all day, and what is the relation between that work-life and the selves we construct around it? What strategies have writers from the Industrial Revolution to the present used to represent and explore the world of work and workers, and how do these fictions influence our working (and non-working) lives, as well as our conceptions of time, space, and self? Readings may include: Fiction and memoir: Conan Doyle, “The Man With the Twisted Lip”; Dickens, Great Expectations; Baker, The Mezzanine; Bourdain, Kitchen Confidential; Murata, Convenience Store Woman. Theory: selections from Marx, Capital; Mayhew, London Labour and the London Poor; Beeton, The Book of Household Management; Goffman, The Presentation of Self in Everyday Life; Elaine Scarry, “Work and the Body”; Terkel, Working; Huizinga, Homo Ludens; Hochschild, The Managed Heart.

Method of Evaluation: informed participation (15%); presentation (15%); short essay (20%); long essay (25%); term test (25%).

ENG482H1S - Advanced Studies Seminar: Alice Munro

Section Number: LEC0101

Time(s): Thursday 1-3 pm IN-PERSON

Instructor(s): Sarah Caskey

Brief Description of Course: When Alice Munro was awarded the Nobel Laureate for Literature in 2013, she was acknowledged as a “master of the contemporary short story.” This assessment represents the widely shared view that Munro has radically reshaped and reimagined what the short story can do. But her achievement is not limited to innovation with the short-story genre, but extends to rethinking the place of storytelling in our lives more generally and more profoundly. By way of close readings, this course will explore Munro’s writing from early pieces to her latest. Critical reception to her writing will reveal her investigations of region, gender, social class, literary realism, modes of perception, memory, identity construction, and above all, the processes of storytelling.

Students will find it especially interesting to focus on the work of a single author. With this deeper dive, we will be able to appreciate the way Munro develops, refines, and revises her thematic concerns and narrative interests in startling ways from one collection to another and across her body of work.

What excites me about teaching this course is encountering Munro’s absolute genius in her intricately constructed stories. Munro’s narratives have multiple layers, multiple levels, and eschew a single plot or a single point of view. Instead, they offer a large vision and an exhilarating experience of trying to make sense of life’s ambiguities through storytelling. An Alice Munro story captures the fullness and complexity of life, and this course seeks to explore the fullness and complexity of Munro’s literary aesthetic.

Required Reading: Alice Munro’s Lives of Girls and Women (1971) and Alice Munro: My Best Stories (2009) will be available from the UofT Bookstore. Other story selections will be available on the Library Reading List through Quercus.

First Three Authors/Texts: “The Peace of Utrecht,” Lives of Girls and Women, “The Beggar Maid.”

Method of Evaluation: Short Passage Analysis (25%); Essay (40%); Final Assignment (25%); Participation (10%).

ENG483H1F - Advanced Studies Seminar: Darwin and Literature

Section Number: LEC0101

Time(s): Monday 1-3 pm IN-PERSON

Instructor(s): Cannon Schmitt

Brief Description of Course: Charles Darwin’s theory of evolution revolutionized biology and related disciplines such as paleontology and ecology, providing them with what continues to serve as their fundamental assumption: that life changes over time by means of natural and sexual selection. Surprisingly, that theory also transformed non-scientific fields, including especially literary production. We will begin by reading Darwin himself: his travel narrative, The Voyage of the Beagle, as well as two works of evolutionary theory, On the Origin of Species and The Descent of Man, and Selection in Relation to Sex. We’ll then turn to nineteenth-, twentieth-, and twenty-first-century novels, novellas, and short stories deeply influenced by his thinking, including H. G. Wells’s The Time Machine and The Island of Dr. Moreau, Thomas Hardy’s Jude the Obscure, Charlotte Perkins Gilman’s Herland, Margaret Atwood’s Oryx and Crake, and others. Along the way we'll pay particular attention to matters of temporality, literary form, character, sexuality, and race. The course will provide an exciting, practical immersion in the field of studies of literature and science.

Method of evaluation: Informed participation (20%), précis of scholarly and literary-critical readings (2 x 15% each = 30%), final paper (50%)

Method of Evaluation: Participation (20); short presentation (15); position paper (15); essay proposal (10); final essay (40)

ENG485H1F - Advanced Studies Seminar: Fantasy Worlds in Lewis, Jones and Pullman

Section Number: LEC0101

Time(s): Tuesday 1-3 pm IN-PERSON

Instructor(s): Deirdre Baker

Brief Description of Course: C.S. Lewis’s Narnia stories have had an enduring after-life. We’ll look at Lewis’s Narnia chronicles; the His Dark Materials trilogy by Philip Pullman, which responds in part to Lewis’s books; and works by Diana Wynne Jones, who was taught by Lewis (and Tolkien). In what ways are these writers imagining worlds, ecosystems, and species interdependencies? How does the threat of “paradise lost” – or indeed, under threat - play out in these invented worlds? What notions of place and ecology constitute the heart of the fantasies? How might the medieval territory of the soul reflected in Lewis’s work bleed into an interpretation of these texts, illuminating today’s environmental crisis? In considering these and other questions, we’ll also explore David Robertson’s Indigenous spin on Lewis in The Barren Grounds.

Method of Evaluation: Short response papers; discussion in class; research essay

ENG485H1F - Advanced Studies Seminar: Minor Morrison

Section Number: LEC0201

ENG488H1F - Advanced Studies Seminar: Canadian Speculative Fiction

Section Number: LEC0101

Time: Thursdays 11 am - 1 pm IN-PERSON

Instructor: Vikki Visvis

Brief Description of Course: If speculation beyond the directly observable natural world is the hallmark of speculative fiction, then, the emphasis on realism in historical surveys of Canadian fiction means the elision of genres such as science fiction, fantasy, and horror. However, Canadian literature betrays a commitment to speculative fiction, from Margaret Atwood’s archetypal feminist dystopia The Handmaid’s Tale to the inception of cyberpunk with William Gibson’s Neuromancer. This course examines how Canadian speculative fiction responds to three timely issues: American socio-politics, Canadian settler-colonialism, and experiential displacement. We will begin by appraising how Canadian futuristic dystopian narratives offer critiques of and convey anxieties about the socio-political dynamics of their US neighbours, whether in terms of misogyny, reproductive rights, religious extremism, totalitarianism, terrorism, biological warfare, a second American Civil War, and climate change. We will, then, evaluate how Indigenous “Wonderworks,” Indigiqueer speculative fiction, and Afrofuturism not only uncover Canada’s own problematic history of residential schooling, two-spirit discrimination, anti-Black racism, and ghettoization but also celebrate the power of cultural resurgence to combat settler-colonial legacies. The course will close by considering how post-apocalyptic pandemic settings and cyberpunk display the dynamics of displacement and alienation, be it as a stateless refugee or as post-human. Ultimately, by investigating the ways Canadian speculative fiction responds to American socio-politics, marginalized cultures, and conditions of displacement, this course exposes how fantastic worlds are far from escapist avoidance; they are, in fact, vehicles for new forms of critical engagement that educate us about our immediate reality and enable us to navigate our future.

Required Reading: Margaret Atwood, The Handmaid’s Tale; Omar El Akkad, American War; Cherie Dimaline The Marrow Thieves; Nalo Hopkinson, Brown Girl in the Ring; Emily St. John Mandel, Station Eleven; William Gibson, Neuromancer; short stories by Adam Garnet Jones, Kai Minosh Pyle, Mari Kurisato, and Nazbah Tom from Love After the End: An Anthology of Two-Spirit and Indigiqueer Speculative Fiction, Ed. Joshua Whitehead.

First Three Authors/Texts: Margaret Atwood, Omar El Akkad, Cherie Dimaline

Method of Evaluation: Five short response assignments (1-2 pages each) 15%; Participation 10%; Seminar presentation (15 minutes) 20%; Essay proposal and annotated bibliography 20%; Final long essay (15-18 pages) 35%.

ENG488H1S - Advanced Studies Seminar: Postcolonial Theory

Section Number: LEC0101

Time: Tuesday 1-3 pm IN-PERSON

Instructor: Rijuta Mehta

Brief Description of Course: This course will introduce you to some key concepts and debates in and around the field of “Postcolonial Theory.” We will engage with texts from practitioners of resistance against colonial power, then move to theoretical debates about speech, silence, and the readability of resistance, and finally bring our insights to bear upon some responses to warfare today.

Method of evaluation: Essays, Tests, Participation

ENG489H1F - Advanced Studies Seminar: Nuclear Empires, Nuclear Literatures

Section Number: LEC0101

Time: Wednesdays 3-5 pm IN-PERSON

Instructor: R ebecca Hogue

Brief Description of Course: This course will examine nuclear narratives in global contexts as reminders and remainders of empire. We will ask: are nuclear futures only tied to whims of unpredictable world leaders, or are they already part of our daily realities? Whose nuclear stories are told, and whose are suppressed? Reading government propaganda, activist writing, television, fiction, photography, poetry, and film from 1945 to the present, this course will explore the cultural and material legacies of radiation around the world. From American “atomic culture” of the 1940s and ‘50s to Cold War era peace movements in the Pacific Islands to nuclear disasters like Chernobyl and Fukushima, we will assess whether nuclear narratives have changed over time by using a place-based investigation of nuclear research, uranium mining, atomic bombs, “clean” energy, and anti-nuclear resistance. Course texts will include poetry from The Marshall Islands, Aotearoa (New Zealand), and Australia; documentaries set in United States, Canada, the Navajo Nation, and French Occupied Polynesia; as well as popular film and television like Dr. Strangelove (1964), Star Trek (1967), and Godzilla (1954).

Method of Evaluation:
Discussion Posts          25%
Short Paper                  30%
Final Paper Proposal    5%
Final Paper     40%

ENG489H1S - Advanced Studies Seminar: Milton, Slavery, and the Rhetoric of Early Modern Colonialism

Section Number: LEC0101

Time: Friday 1-3 pm IN-PERSON

Instructor: Paul Stevens

Brief Description of Course: Since the middle of the 20th-Century, since the collapse of Western Europe’s global empires, terms like “colonialism” have become irredeemably pejorative. Clearly, this was not always the case. In John Winthrop’s famous 1630 address to English immigrants, for instance, the new colony in Massachusetts Bay is imagined as a model of Christian charity, “a city upon a hill,” a beacon of light for all. In this course, our aim is to study the beginnings of early modern Western colonialism, especially as it manifests itself in literature. To what extent did literature authorize or promote colonial venture, including the re-emergence of chattel slavery, and to what extent did it complicate it, or even resist it? If Milton’s Satan is imagined as a colonial adventurer, bound for “honour and empire,” for instance, to what extent does this substantiate the claim that Milton was a “poet against empire.” Besides Paradise Lost, other texts we will study include the Torah, the Pauline Epistles, Virgil’s Aeneid, Las Casas’s Destruction of the Indies, Spenser’s Present State of Ireland, Shakespeare’s Merchant of Venice, and Defoe’s Robinson Crusoe.

Method of Evaluation:
Class participation – 15%
Seminar presentation – 35%
Final essay – 50%

ENG497H1S - Advanced Creative Writing Seminar: Literary Citizenship

Section Number: LEC0101

Time: Wednesday 3-5 pm IN-PERSON

Instructor: Robert McGill

Brief Description of Course: Literary citizenship involves participation in building and sustaining communities that involve literature in some way. It can include activities as varied as reviewing books, creating a podcast, running a micro-press, organizing a reading series, and attending book clubs. Examining Toronto-based initiatives and organizations, some with a local focus and others with a national or transnational emphasis, we’ll investigate how and why they were developed, whom they serve, and what functions they perform.

We’ll consider the economics and demographics of contemporary publishing, the effects of new media on book culture, the use of literature in fostering literacy and social justice, and the relationship between literary citizenship and the state. Students will also practise literary citizenship themselves through blog posts, book reviews, and independent research into literary-citizenship initiatives. The course will cultivate expertise regarding a wide range of possibilities for literary citizenship while attending to broader issues such as literary value, labour, and community.

Method of evaluation: Class participation (10%); blog post and responses (15%); book review (20%); report proposal and outline (10%); report (40%); report presentation (5%).

What students will find unique about this course is how it takes up matters that are central to literary culture but that aren’t always centred in courses on literature or creative writing: e.g., advocacy for the arts, funding for writers and publishers, and efforts to forge literary solidarity.

Students will find the readings especially interesting because they tackle recent hot-button issues in which creative writers take a leading role in the public discourse—without necessarily agreeing with each other.

What excites me about teaching this course is, not least, the guest speakers from various literary organizations in Toronto. The speakers are able to offer expert, insider perspectives on what it’s like to participate meaningfully as a literary citizen beyond simply reading and writing, as well as on the conditions on the ground for literary culture in the present moment.

ENG499Y1 - Advanced Research Seminar: Belles-Lettres

Section Number: LEC0101

Time: Monday 3-5 pm IN-PERSON

Instructor: Michael Cobb

Brief Description of Course: The category of Belles-Lettres is vague and changing. Once it described literature in general. Now it often only includes fine essay writing, memoir, or any other forms of writing that are not as easily classifiable as poetry, prose, or drama but are still elegant, full of literary qualities. This advanced research seminar, however, will fixate less on what counts as Belles Lettres or not (it is not a historical accounting of the category) and more on the beauty, style, fineness, elegance, or anything else that distinguishes writing as "belles." The seminar will be interested in how beautiful writing impacts the presentation of ideas, stories, feelings, and so forth. It will make an argument for how "the beautiful" is essential, and how research projects in literature departments can benefit from adopting some of the literariness, the "belles-ness," of the objects those departments study. Joan Didion, Slouching Toward Bethlehem and The Year of Magical Thinking; Susan Sontag, Under the Sign of Saturn; Marcel Proust, Swann's Way (Lydia Davis' translation) Thornton Wilder, The Bridge of San Luis Rey; Djuna Barnes, Nightwood; James Baldwin, The Fire Next Time; Rolland Barthes, A Lover's Discourse; Gwendolyn Brooks, Selected Poems; Maxine Hong Kingston, The Woman Warrior; Anne Carson, Autobiography of Red and Decreation; Hilton Als, White Girls

Method of Evaluation: Participation (20 %); short essay (25%); seminar presentation (15%); final research paper (40%).

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Courses and room assignments are listed in Timetable Builder (search: “English”).

100 Level

200 Level

300 Level

400 Level

Notes on the Timetable, Enrollment Regulations and Procedures

100-level

ENG100H1F - Effective Writing

ENG100H1S - Effective Writing

ENG102H1F - Literature and the Sciences

ENG140Y1 - Literature for Our Time

ENG150Y1 - Literary Traditions

ENG197H1F - First Year Seminar: Time Travel and Narrative

ENG198H1F - First Year Seminar: Representing Disability

200-level

ENG201H1F - Reading Poetry

ENG201H1S - Reading Poetry

ENG202H1F - Introduction to Bitish Literature I

ENG202H1S - Introduction to British Literature I

ENG203H1F - Introduction to Bitish Literature II

ENG203H1S - Introduction to Bitish Literature II

ENG210H1S - Introduction to the Novel

ENG213H1F - The Short Story

ENG215H1S - Canadian Short Story

ENG220H1F - Introduction to Shakespeare

ENG220H1S - Introduction to Shakespeare

ENG234H1F - Children's Literature

ENG235H1S - The Graphic Novel

ENG237H1F - Science Fiction

ENG239H1S - Fantasy and Horror

ENG240Y1 - Old English

ENG250H1F - Introduction to American Literature

ENG250H1S - Introduction to American Literature

ENG252H1F - Introduction to Canadian Literature

ENG252H1S - Introduction to Canadian Literature

ENG254H1S - Introduction to Indigenous Literatures

ENG270H1F - Introduction to Colonial and Postcolonial Writing

ENG273H1S - Queer Writing

ENG280H1F - Critical Approach to Literature

ENG280H1S - Critical Approach to Literature

ENG281H1F - Writing About Literature

ENG285H1F - The English Language in the World

ENG286H1F - Literature and Data

ENG287H1S - The Digital Text

ENG289H1F - Introduction to Creative Writing

JWE206H1S - Writing English Essays

300-level

ENG300H1S - Chaucer

ENG301H1F - 16th Century Literature

ENG303H1S - Milton

ENG306H1F - Restoration and Early 18th Century Literature

ENG308H1F - Romantic Literature to 1812

ENG309H1S - Romantic Literature after 1812

ENG311H1F - Medieval Literature

ENG320H1F - Shakespeare I: Poems and Early Plays

ENG321H1S - Shakespeare II: Later Plays & Poems

ENG322H1F - The Rise of the Novel

ENG322H1S - The Rise of the Novel

ENG323H1F- Austen and Her Contemporaries

ENG323H1S - Austen and Her Contemporaries

ENG324H1F - Early Victorian Novels

ENG325H1S - Late Victorian Novels

ENG328H1S - Modern Fiction

ENG330H1F - Medieval Drama

ENG331H1S - Drama 1485-1603

ENG335H1F - Drama 1603-1642

ENG340H1F - Modern Drama

ENG341H1S - Post-Modern Drama

ENG347H1F - Victorian Literature

ENG348H1S - Modern Poetry to 1960

ENG349H1S - Contemporary Poetry

ENG353H1F - Canadian Fiction

ENG354H1F - Canadian Poetry

ENG357H1S - New Writing in Canada

ENG358H1F - Early African Canadian Literature