E N G L I S H. Courses in Literature & Composition

Transcription

1 E N G L I S H Courses in Literature & Composition Winter 208

2 PLEASE NOTE All information in this booklet was complete and accurate up to press time. For more current information, you should consult the Douglas College on-line course scheduler, accessible through the College s home-page.

3 Academic Writing Skills Review Writing Skills Review (English 099) is a brush-up course for students wishing to refresh their writing abilities prior to taking English 30, first-year literature, and other writing intensive courses. It will include instruction in sentence construction, paragraph and essay development, and work on grammar and mechanics. 0 9 Please Note: This course is a College-credit only course and does not transfer to universities. 099 Sections 00 [3622] Tues/Thur, 8:30-0:30am David Lam J. Hoekstra 002 [3623] Tues/Thur, 2:30-2:30pm David Lam J. Hoekstra 003 [3624] Tues/Thur, 2:30-4:30pm New West J. Hoekstra 004 [365] Wednesday, 3:30-6:30pm New West J. Hoekstra 050 [3652] Thursday, 6:30-9:30pm New West D. Stiles 9

4 3 0 Academic Writing English 30 introduces students to the process of writing academic argument essays. To that end, it includes instruction in writing strategies, and assignments and exercises designed to develop the student s abilities as a writer. Students receive instruction in the general principles of composition as well as in the specific development, organization, style, and mechanics of the academic argument essay. The course also includes instruction in reading and using source materials according to the mla style of documentation. Readings and assignments in English 30 are drawn from a variety of academic disciplines. Some sections feature an organizing theme linking the readings and assignments, whereas in other sections, students can expect to work with texts and assignments on a wider range of topics.

5 English 30 Sections Instructor L. Saldanha 00 [2542] Friday, 8:30-:30am New West 004 [2943] Friday, 2:30-3:30pm New West Instructor J. Nicholsfigueiredo 002 [2243] Friday, 8:30-:30am New West 005 [2244] Friday, 2:30-3:30pm New West Instructor J.P. Henry 006 [2653] Tues/Thur, 2:30-2:30pm New West 008 [2246] Tues/Thur, 4:30-6:30pm New West Instructor J. Allwork 007 [2245] Tues/Thur, 2:30-4:30pm New West 029 [4669] Tues/Thur, 0:30am-2:30pm New West Instructor D. Fong 009 [2944] Wednesday, 8:30-:30am New West Instructor E. M c Causland 0 [2248] Mon/Wed, 2:30-2:30pm New West 02 [25] Mon/Wed, 2:30-4:30pm New West Instructor D. Wright 03 [2267] Tues/Thur, 8:30-0:30am New West 04 [2556] Tues/Thur, 0:30am-2:30pm New West 3 Instructor K. Cowan 027 [4005] Tues/Thur, 2:30-4:30pm New West 028 [4007] Tues/Thur, 2:30-2:30pm New West Instructor N. Phillips 030 [4728] Wed/Fri, 0:30am-2:30pm New West 03 [4733] Wed/Fri, 2:30-2:30pm New West 0 Sections 0, 02, 04 & 05 are team taught by L. Saldanha & J. Nicholsfigueriredo. Students in these sections are eligible to apply for a step-up bursary.

6 Instructor W. Emilsson 07 [2758] Tues/Thur, 0:30am-2:30pm David Lam 09 [2558] Tues/Thur, 2:30-4:30pm David Lam Instructor T. Matson 08 [2679] Tues/Thur, 2:30-2:30pm David Lam 024 [3046] Wednesday, 3:30-6:30pm David Lam Instructor I. Cikes 020 [277] Wednesday, 8:30-:30am David Lam 023 [2959] Wednesday, 2:30-3:30pm David Lam Instructor R. Stephenson 02 [2759] Wed/Fri, 0:30am-2:30pm David Lam 022 [283] Wed/Fri, 2:30-2:30pm David Lam Instructor N. Earle 025 [3255] Tues/Thur, 8:30-0:30am David Lam 026 [3977] Tues/Thur, 0:30am-2:30pm David Lam Instructor K. Trainor 032 [4994] Tues/Thur, 4:30-6:30pm David Lam 033 [579] Tues/Thur, 2:30-2:30pm David Lam 3 0 Instructor R. Miller 05 [2358] Tuesday, 6:30-9:30pm David Lam 054 [2942] Thursday, 6:30-9:30pm David Lam Instructor J. Bourget 052 [304] Tuesday, 6:30-9:30pm David Lam 053 [2770] Wednesday, 6:30-9:30pm David Lam Hybrid Section Instructor N. Squair 00 [2247] Wednesday, 0:30am-2:30pm New West j The above section features two hours each week in class, with the remainder on-line. j

7 Reading Literature & Culture This course is organized thematically, typically examining a range of texts in the light of a central theme, such as crime (and punishment), the hero quest, utopias, the image of the masculine, immigrant experiences. Students will read works from at least two of the three major genres fiction, poetry, and drama and study works of at least one other sort, which may include works of a less traditional kind, such as creative non-fiction, graphic novels, and film. 0 2

8 Instructor D. Wright In this course, we will examine artistic (primarily literary) representations of the archive. We ll look at how texts portray history, memory, and popular culture through stories about archives, libraries, bookstores, and digital records. We ll focus on how themes, symbols, and characters encounter archives, both real and imagined. Overall, the course will address how representations of archives might reveal inherent biases about race, gender, and cultural production while at the same time providing context for coping with the increasing volume of our own digital production, personal archives, and social records. Cline Ready Player One Cooley The Archivist Padua Thrilling Adventures of Lovelace & Babbage Sloan Mr. Penumbra s 24-Hour Bookstore 00 [2650] Wednesday, 8:30-:30am New West 002 [3352] Friday, 8:30-:30am New West Sections 00 & 002 offer a hybrid 02, with two hours each week in class, and the remainder on-line. 0 2 Instructor L. Saldanha How do ideas of identity and diversity relate to each other in an increasingly globalizing, interconnected world? While many celebrate diversity for its ability to strengthen identity, others interpret diversity as threatening identity. In this course, we will investigate a range of texts, written and produced in English, from different parts of the world (including Canada) in order to meet multiple experiences of living, celebrating, suffering, and surviving the relationship between identity and diversity today. As such, we will find ourselves at the centre of hopes, anxieties, conversations, and debates about walls, bans, and sunny ways revealing that the relationship between identity and diversity is definitely more complicated than many assume. Dimaline The Marrow Thieves Tan The Arrival 003 [3588] Tue/Thur, 8:30-0:30am New West 004 [3807] Tues/Thur, 0:30am-2:30pm New West Section 003 of 02 is part of a three-course package on the theme of identity. Students taking it must also register in in anth 0:003, and geog 80:00.

9 Instructor R. Stephenson This course looks at the representation of epidemics, plagues, and other health disasters in a range of modern literary genres, including fiction, poetry, and drama. Readings, lectures, writing assignments, and group work will address a collection of related issues, including the gendered definitions of health and disease, the politics behind epidemics, the role of modern corporations in defining health and disease, and the problems inherent in scientific and technological progress. Stephenson, ed Coursepack for 02 Matheson I Am Legend Ibsen An Enemy of the People Atwood Oryx and Crake Atwood The Year of the Flood 005 [488] Tues/Thur, 0:30am-2:30pm David Lam 006 [5033] Tues/Thur, 2:30-2:30pm David Lam

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11 Reading Fiction Reading Fiction (English 06) emphasizes the close reading of novels and short stories. Texts for the course will cover at least three different kinds of fiction, for example, realist and naturalist, fantasy and science fiction, romance, mystery. 0 6

12 Instructor J. Henry If we define modern fiction as that which emerged at the close of the nineteenth century, then its birth was attended by a fierce debate over point of view in fiction. This semester in 06 we will begin with representative works by Henry James and H.G. Wells, who each took different sides in this debate. Following this, we will look at one particular stream of modern fiction, that is, stories written within the limits imposed by particular genres that flourished in the wake of the debate: science fiction, detective tales, and the western. We will close with a novel that self-consciously tries to experiment with point of view. James Wells Hammett Wister Haddon Daisy Miller History of Mr Polly Maltese Falcon The Virginian Curious Story of the Dog in the Nightime 00 [2237] Mon/Wed, 2:30-4:30pm New West 050 [2325] Wednesday, 6:30-9:30pm New West 0 6 Instructor N. Phillips In 06 this semester we will study texts that explore the line between the human and the monster, and between how we think of ourselves and what is really inside us. The works we will read all present human hybrids that inspire fear and sometimes wonder, not simply because of their monstrosity but because of their similarity to normal humans. Ultimately, these kinds of stories force us to consider what does it mean to be a human? Can we ever lose our humanity? Who is a monster, and why? How does the human body itself conceal or reveal truth about ourselves? Stoker le Fanu Stevenson Marion Hoffman Marshall Dracula Carmilla The Strange Case of Dr. Jekyll & Mr. Hyde Warm Bodies The Sandman Sanditon 04 [5042] Tue/Thur, 2:30-2:30pm New West

13 Instructor D. Fong One is not born, but one becomes, a woman, argued French feminist writer, Simone de Beauvoir. While it is generally accepted that women are formed more by society than by biology, men are not so universally thought to be made by social expectations. In this section of Reading Fiction, we will consider the gender roles taught to both men These sections of 06 can and women by our culture. We will read count towards an Associate of Arts specialization in which women are shaped by being taught short stories and novels to analyse the ways in Gender Relations. to wait for knights in shining armour, and men to try to fit themselves into those inflexible suits. We will consider if and how women and men are Stiffed (to use Susan Faludi s term), or stifled by the very limited roles society allows. Please be aware that we will be exploring viewpoints and ideas which may be difficult and sensitive. Remember that education and critical thinking require your dealing with potentially disquieting matters; keep an open mind, but also realise that if you are unwilling or unable to accept exploring these issues, this may not be a suitable class for you. Fong, ed. Laurence Macleod Austen Doyle Fictions of Gender (Coursepack) A Bird in the House No Great Mischief Pride and Prejudice The Van 002 [2238] Tues/Thur, 8:30-0:30am New West 003 [2373] Tues/Thur, 0:30am-2:30pm New West 0 6

14 0 6 Instructor W. Emilsson This course focuses on some of the key writers of the nineteenth and twentieth centuries, for example, Poe, Maupassant, Chekhov, Conrad, Wilde, Joyce, Woolf, and Hemingway. Particular attention will be paid to the techniques of close reading, which will be linked to the way aesthetic experience enhances life, and how art helps us gain a better understanding of ourselves and the world. Bausch & Cassell, eds. The Norton Anthology of Short Fiction, Shorter 7ed Christie Evil Under the Sun Orwell Nineteen Eighty-Four 005 [265] Mon/Wed, 2:30-2:30pm David Lam 005 [3653] Mon/Wed, 2:30-4:30pm David Lam Instructor I. Cikes This class will focus on fiction from the Western canon of the late nineteenth century to the twentieth century, examining major forms (short story, novella, novel) and several genres (fantasy, gothic science fiction, horror, suspense) through the theme of that which we fear. Although not all works will fall into the category of horror fiction, each piece will present an element of fear, some aspect of human experience that make us (or others) cringe. Through this lens, we will examine larger themes: gender; race; psychology; isolation; and the question of what constitutes civilization. What do the tales tell us about what our society deems fearful, and what does this fear tell us what we think of ourselves, others, and our world? Poe Instructor handouts Stoker Dracula Wells The Invisible Man Jackson The Haunting of Hill House Matheson I Am Legend Carter Instructor handouts 006 [4838] Tues/Thur, 8:30-0:30am David Lam 007 [4839] Tues/Thur, 0:30am-2:30pm David Lam

15 Instructor R. Miller This section of English 06 draws its readings from three genres: horror, romance, and science/speculative fiction. Using these literary works, we will work to recognize and understand a variety of literary devices and textual elements. Our discussions will involve such myriad topics as identity, the complexities of desire, and the dangers of unchecked science and corporate power. Miller, ed Coursepack for 06 Jackson The Haunting of Hill House Aciman Call Me by Your Name Atwood Oryx and Crake 008 [4840] Tues/Thur, 2:30-4:30pm David Lam 0 [4947] Wednesday, 2:30-3:30pm David Lam Instructor J. Bourget In this course, we will examine the relationship between cyberpunk, a subgenre of science fiction that developed in the early 980s, and a number of related genres, such as horror, fantasy, and dystopian fiction. In particular, we will focus on how political ideology informs cyberpunk and its various precursors and derivatives. We will discuss, among other things, the implicit and explicit ideological assumptions of the stories we study and examine how such assumptions enable the characters to make sense of the moral complexity of the technologically (or magically) saturated worlds they inhabit. Dick Do Androids Dream of Electric Sheep? Doctorow Down & Out in the Magic Kingdom Gibson Neuromancer Orwell Nineteen Eighty-Four Stross The Concrete Jungle 009 [4896] Tuesday, 2:30-4:30pm David Lam 00 [4933] Thursday, 2:30-4:30pm David Lam Sections 009 & 00 offer a hybrid 06, with two hours each week in class, and the remainder on-line.

16 Instructor J. Hoekstra Over the centuries, novels indeed, canonical fiction in general have for the most part These sections of 06 can been written by white, upper- and count towards an Associate of Arts specialization in middle-class men. This section of 06 has Gender Relations. as its focus women s contemporary literature, specifically, works from writers who site themselves outside the mainstream. During the semester, we will use these texts to examine the ways in which women writers explore their divergent identities, cultures, perspectives, and ideologies. Morrison Stockett Kagawa Robinson Basran Ward, ed. Beloved The Help Obasan Monkey Beach Everything was Goodbye Great Short Stories by American Women 02 [5040] Friday, 8:30am-:30am David Lam 03 [504] Friday, 2:30-3:30pm David Lam

17 Studies in Fiction, Poetry & Drama English 09 concentrates on the close reading of three genres fiction, poetry, and drama and examines their defining features. It includes assignments and exercises designed to help students master these skills and to practise them with examples from all three genres. 0 9

18 Instructor Nancy Earle In this section of Engl. 09, we will study short fiction, poetry, and drama, examining works from a range of time periods and cultural contexts, including our own. The course will emphasize the development of vocabulary and skills for reading, analyzing, and writing about literature. Students will have the opportunity to see and review live performances of two plays (including Thompson s Lion in the Streets) performed by the Douglas College theatre program. McMahan et al, eds., Thompson Literature & the Writing Process Lion in the Streets 00 [329] Wed/Fri, 8:30am-0:30am David Lam 002 [330] Wed/Fri, 0:30am-2:30pm David Lam 0 9

19 Reading Poetry English 4 emphasizes the close reading of poetry, including the study of poetic forms, and poetic uses of language, the tools used by poets. Students will study a variety of poets, as well as multiple works of selected poets. 4

20 4 Instructor K. Trainor In this class we will learn how to read poems and fall in love with poetry. Along the way we will study some amazing poems: free verse, constraint-driven poems, the sonnet, the ode, erotic biblical poetry, the blues. We ll read Allen Ginsberg s Howl and Adrienne Rich s The Dream of a Common Language. We ll watch two films about poets: Bright Star and Howl. We ll study these poems from the perspective of working poets: as if we were writing them. Trainor, ed. Coursepack for 4 Hirsch How to Read a Poem & Fall in Love with Poetry Rich The Dream of a Common Language Ginsberg Howl & Other Poems 004 [4846] Mon/Wed, 2:30-4:30pm New West 005 [5790] Mon/Wed, 4:30-6:30pm New West Instructor T. Matson From the masterful voice of John Donne to the lyricism of Sarah McLachlan, poetry is what poet Rita Dove has called language at its most distilled. Whether playful, argumentative, uplifting or tragic, poetry gives voice to the full, rich range of human emotion, thought and experience. This course is designed to enrich your appreciation and understanding of poetic language. To this end, we will engage in the careful reading of numerous English-language poems (and some songs), primarily from the twentieth century, developing reading and analytical skills while exploring some of the key poets, poems and themes of the modern era. In addition, we will spend some time focused on the American poet, E.E. Cummings. Kelly, ed The Seagull Reader: Poems, 3ed. 003 [4845] Thursday, 3:30-6:30pm David Lam

21 Reading Plays This course introduces students to the close reading of plays as literature, including discussion of the elements of stagecraft and performance. Plays studied may emphasize a variety of genres (tragedy, comedy, the dramatic monologue), and reflect significant developments in the history of theatre, from its beginnings to the present. 5

22 Instructor J. Allwork Plays are one of the most obviously social and political of the literary forms. Traditionally written for stage performance, they benefit from a live and engaged audience who collectively experience the power of drama to reflect and shape public opinion. The plays we study this term explore the struggles of individuals within communities whose dominant culture and ideology challenge their own. At the root of the challenge are issues of gender, race, power, social hierarchies, definitions of success and conceptions of truth. We explore these issues as they play out in Elizabethan tragedy, nineteenth and twentieth century European and American dramas, and two contemporary Canadian texts, examining the plays on our list as literature, as blueprints for performance and as social commentary of the kind drama does best. Allwork, ed Coursepack for 5 Shakespeare Othello MacDonald Goodnight Desdemona (Good Morning Juliet) Ibsen An Enemy of the People Miller All My Sons Verdecchia Fronteras Americanas 050 [3655] Thursday, 6:30-9:30pm New West 5

23 SECOND YEAR COURSES Admission to second-year English courses is open to all students of Douglas College who can meet certain prerequisites. To take a second-year course, you must have a Grade Point Average (gpa) of.67 either in any two university-transfer first-year English courses, or a gpa of.67 in one university-transfer first-year English course and one university-transfer Creative Writing course or academic writing course (English 30). Many of the concerns and methods introduced in first-year courses are examined in greater detail in second year. While no specific first-year course is a pre-requisite for any specific second-year course, students are advised that they may benefit from the following sequences of courses. English 06 or 02 will prepare students for the fiction component of 239; poetry in English 4 will prepare you for the demanding poetry requirements of 236 and 237; and English 5 will prepare you for the drama component of 236.

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25 2 British Literature 8th-20th centuries English 27 surveys major representative works of the eighteenth to twentieth centuries. It begins with the literature of the Enlightenment, covers Romantic and Victorian literature, finally moving to the Modernism of the early twentieth century. A substantial proportion of the works studied will be poetry, though typically, the course also often includes representative fiction and drama. 7

26 2 Instructor D. Stiles The content of English 27 will fascinate anyone interested in understanding the development of Western culture, as traced through British literature. English 27 is a survey of representative works primarily poetry by major British writers of the late seventeenth through the early twentieth centuries, from the Restoration through theage of Enlightenment, the Romantic and Victorian periods, and World War One. Our main focus through these necessarily diverse readings will be the shifting attitudes of British culture towards the irrational. These attitudes emerge in the context of issues such as the construction of the literary canon, social justice, Nature vs. Culture, Englishness and Empire, faith vs. secularism, war, and the woman question. Anthology tba 050 [4848] Tuesday, 6:30-9:30pm New West 7

27 THIRD-YEAR COURSES Third-year literature courses are for students looking for a focussed, in-depth study of a particular historical era, genre, or writer. They are available to students completing diplomas, Associate of Arts degrees, or Bachelor s degrees, and open to students who meet the pre-requisites, whether they are potential English majors, or students in other disciplines who require upper-division general arts electives. For admission to third-year courses, students must meet the pre-requisites for second-year courses, as well as having successfully completed 45 credit hours. Experience in at least one second-year English course (numbered 2300) is strongly recommended.

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29 3 Shakespeare s Plays In this course, students will read six to seven of Shakespeare s plays, drawn from at least three subgenres (comedy, tragedy, history, romance, or problem play). Close textual analysis will be complemented by study of relevant features of the Elizabethan contexts of Shakespeare s work, with the aim of developing understanding of Shakespeare s poetic and dramatic techniques, partly by exploring the relationship between the text as literature and as a blueprint for a performance. (Students may be required to attend and critique a performance of a play.) 2

30 3 Instructor N. Phillips For this course, we will be exploring the less-popularized, perhaps less romantic, side of Shakespeare as we read plays that present what original audiences would have seen as strange bodies the deformed, the mutilated, the gender nonconforming, the inhuman. How do these foreign, repellant, unusual, or unpredictable bodies intersect with power in Shakespeare s plays? Who has the power and why? Who is trapped and marginalized? Who is normal and who is not and how do we tell? And finally does so-called normality necessarily entail moral goodness? Given our current sociopolitical climate of asking what lives matter (Black? Red? Blue? All?) and recognizing racial and sexual inequalities, we may find some familiar ground in Shakespeare s plays, many of which use various non-white, non-able-bodied characters for particular purposes. How does Shakespeare tell us what kinds of lives what bodies and genders matter? The Winter s Tale Twelfth Night Richard III Othello Titus Andronicus The Tempest 050 [5435] Wednesday, 6:30-9:30pm New West 2

31 WOMEN S STUDIES THIS SPRING! In conjunction with Women s Studies, this Fall, instructors from the English Department will be teaching two sections of Women s Studies/Gender Relations 00 Introduction to Women s Studies.

32 W S G R Instructor T. Matson This class will focus on gender representations in contemporary Hollywood cinema specifically, we will examine the female hero as she appears in some major Hollywood films of the last decade. Making use of a selection of feminist and queer theory, film theory and cinematic history, we will examine how these heroes and their stories contribute to and comment on our evolving cultural understandings of and responses to gender codes and norms, including how gender representations intersect with issues of class, sexualities and race. Students will be required to watch films in preparation for class. This course provides a foundation for students subsequently enrolling in further Women s Studies and Gender Relations courses. Matson, ed. Coursepack for wsgr 00 Jenkins Wonder Woman Ross The Hunger Games Wright Hanna Miller Mad Max: Fury Road Granik Winter s Bone Fincher The Girl With the Dragon Tattoo Feig The Heat 00 [5459] Tuesday, 3:30-6:30pm David Lam 0 0 Please recycle this booklet don t send it to the landfill.