Graduate Courses 2021-2022

This is a current list of Graduate courses on offer in 2021-2022. Full list to be finalized.

Fall 2021 Courses

Instructor: Faye Halpern

Description 

This course will begin by introducing an approach to literary texts called “narrative ethics.” We’ll spend the rest of the course focusing on a kind of narrative that presents a particularly rich field for this approach: unreliable narration. We’ll explore how unreliability works both in general and in particular texts. What kind of ethical relationships do these unreliable narratives establish between authors, narrators, characters, and readers? How does unreliability enable or limit an author’s ability to engage its audience in thinking about issues like class, gender, race, historical trauma, and disability? Does filmic unreliability present different ethical possibilities and challenges than literary unreliability? Along with the primary texts, we’ll read both literary theory and critical articles that analyze the particular texts we’ll be reading. We’ll use this theory and criticism not just as vehicles for particular views but as models for our own academic writing. Assignments will include blog posts, an analysis of a scholarly journal or a teaching essay, and a conference paper; everyone will also have the chance to lead the class in an active learning activity.

Instructor: Morgan Vanek

Description

In 1720, London witnessed its first major financial crash. The South Sea Bubble burst, the stock market plummeted, and the public sphere exploded with new writing – from periodical essays and plays to legislation – that aimed to expose and curtail the corruption, self-interest, and stock-jobbing many blamed for the crash. In this course, we’ll examine both the new literary genres and the many forms of economic and financial writing that flourished in the years just before and after this crash (1710-1725), with a focus on how these genres – from satire to the realistic novel to, as Mary Poovey has argued, money itself – taught their readers to think about the nature of the risks associated with credit, debt, and speculation. Keeping an eye on what the precarious economic conditions of the present have inherited from this moment when finance was new, we’ll trace both these forms and the wide range of metaphors for risk that the South Sea Bubble generated from its expansion through its collapse and afterlife – and then we’ll look forward, taking up the central questions of an emerging body of writing about the relationship between the Anthropocene and the logic of capital. If, as Jason Moore argues, the present climate crisis represents an “epochal…breakdown of the strategies and relations that have sustained capital accumulation through the past five centuries,” the forms of writing that produced and were produced by the South Sea Bubble represent a newly important archive, not just for what they reveal of the structures of thought underpinning the “strategies and relations” Moore describes here, but for the alternatives they represent. Of all the threats that this literature of the South Sea Bubble sought to expose and contain, we’ll ask, are there any we might want to awaken now?

 

Instructor: Rain Prud'homme Cranford

Description

In the age of social media, where racial, sexual, ecological, and economic social justice is often denoted through hashtags: #BlackLivesMatter, #ThisIsIndianLand, #SexualSovereignty, #EffYourBeautyStandards etc, the legacy of rhetorical agency as it manifests in creative production connects social media expressions with a history of on the ground  grassroots movements. From early colonial writers such as Phyllis Wheatly and Samson Occom, to musicians such as Buffy Saint Marie and Lizzo to modern writers such as Jesmyn Ward and Taté Walker, traditions of Red, Black, and Red/Black (or Blindian) rhetorics exist both in relation and contention to one another. Like the many peoples who result of survivals and alliances of Red and Black bodies, whose existences are historically in alliance and in contestation, so we must recognize that these relationships and resistances share histories of subjugation, complexities of oppressions, and borrowed resistance tactics from oppressors in efforts to subvert dominant discourses while blending with both Red/Black inherently rhetorical communal strategies, forging rich histories of resistance rhetorics that are decidedly Black, Native, Afro-Indian or Red/Black. This graduate course is designed to introduce students to themes, forms, histories, epistemologies, rhetorical strategies, and content in works by Black, Indigenous, and Blindian (African-Native), cultural perspectives from the colonial period to the common era. Students will be introduced to concepts, histories, authors, and major themes around race/racism, gender/sexuality, ecology/environmentalism, and body (aesthetics, health, disAbility) at the intersections of Black, Indigenous, and Blindian peoples towards social justice and equity in Canada, the US, and Latinidad/Caribbean

Instructor: Stefania Forlini

This course is designed to offer students new to graduate studies or new to the Department of English at the University of Calgary an introduction to a variety of scholarly and professional skills. The aim is to ensure that you have the training to help you succeed academically and professionally, particularly in your program here. To this end, guests with a range of expertise will meet with us most weeks to present their area of research or their research methodologies, to help you develop specific skills (grant writing for example, or advanced library research), or guide you through useful practices (such as proposal writing, conference presenting, career preparation, etc.). This course is required for all MA and PhD students.

Instructor: Aritha van Herk

Description

The Creative Nonfiction genre has gained considerable traction as a from investigating substantial intellectual questions in contemporary times. Although focused on narrative, it is less a genre in and of itself than a text instigated by voice and research, strong description, evocative images, and powerful revelations. While it relies on the author’s ability to recount or to springboard from actual events, it relies also on imagination and craft to relay important ideas: stories of experience, loss, coincidence, accident, and yes, events. Most of all, the successful work of nonfiction incites reflection on a crucial moment of recognition that the writer can offer the reader.   

This course will examine several contemporary works of creative non-fiction, including examples of autobiography, memoir, travel narrative, literary journalism and ficto-criticism as models to inspire and inform students’ own writing of a work of creative non-fiction. The aim of the course is to enable students to research and develop a powerful piece of writing that is both creative and critical, whether a lyric essay, a meditation, or a well-researched dive into an historical or place-based subject. 

This is NOT a course in writing critical essays, but a course that will seek to inspire students to stretch their notions of writing as a persuasive or informative incentive in order to create a narrative that will stretch beyond an expository essay. The class will function as a workshop of the whole and the work students write will be workshopped at least twice in the term.  

Winter 2022 Courses

Instructor: Pamela Banting

Description 

In this course we will study texts, films and artworks (including performance art) that engage in or with environmental activism with a view to analyzing the political and theoretical force of the arts, and creativity in general, in activist practices. How do activists work to create and disseminate a vision of a better future: what are some of the strategies for coaxing such a vision into being?  What are the temporal frames associated with actions and activism? How are the past, present and future invoked in activist planning? How do the arts mobilize people in ways distinct from those associated with supplying people with information or misinformation, science, data, graphs, and statistics? What are some of the ‘rhetorical’ gestures – both linguistic and corporeal rhetorics – deployed by activists? How does defamiliarization (or making strange the familiar) provoke people to see the crack where the light gets in (Leonard Cohen). Who is the subject as activist, the singular figure(s) who act on behalf of the plural or the collective? How are bodies deployed in actions (e.g., die-ins, painted faces, immobilizing bodies, t-shirts and other elements of clothing, etc.)? What role does transformation – transformation of consciousness, structures of feeling and practices – play in activism? How is creativity marshalled in countering corporate and governmental power? How can we deconstruct the widely-held notion of the individual who is essentially powerless in the face of neoliberal agendas and propaganda? 

Instructor: Aruna Srivastava

Description 

The course will examine theoretical work in critical studies in illness, dis/ability and health, focussing particularly on debates about how intersectionalities--especially race, gender, sexuality, indigeneity, and especially in Canada--function in and through individual, systemic, and ideological perceptions and expressions of illness. Students will select from a range of literary, digital, film and other "primary" texts of their own choosing and from theoretical and expressive work assigned. In particular, our emphasis will be on how academic, literary and cultural studies function institutionally both to erase and celebrate the chronically-ill body (for example, UofC's mental health strategy, and various policies, including legislation, pertaining to the "body chronic" will be examined, along with the differential ways that illness is perceived medically, institutionally, culturally, through the confusing intersections of race, gender, age, sexualities, and other identity formations). We will also engage with the pedaogical, curricular, community and ethical implications of this work, including those of disclosure and (dis)belief, discourses of accommodation, ethics, competition, secrecy, wellness, health, shame and pride. 

Instructor: Jim Ellis

Description:

Why does allegory seem so alien to our contemporary mindset? There have been no major allegories written in English since the seventeenth century, and this may have something to do with the emergence of forms of subjectivity associated with Cartesian individualism, and the attendant rise of psychological realism in literature. We can no longer accept that we are not fully autonomous beings, and that our meaning might come from elsewhere. Recent schools of theory grouped together under the label of posthumanism, including most centrally versions of ecocriticism, have challenged the way that Cartesian thinking denies our connection to bodies, animals, plants and things. Scholars of early modern literature have enthusiastically taken up these theories to explore the transitional zones of thinking where competing notions of embodiment, animism and vitality were in play. In this course, we will explore posthumanist theories in conjunction with Edmund Spenser’s allegorical romance epic, The Faerie Queene. Spenser’s epic is famous for its hybrid nature, a mix of epic, romance and allegory that make any straightforward readings of its characters, actors, objects and actants difficult. The poem teaches the reader to deploy multiple strategies to make sense of any particular episode, in the overall project of refashioning the reader. Using contemporary theory and theoretically-informed criticism we will explore the strange terrain of Faery Land, and the hybrid beings that inhabit it. We will look at such topics as Lucretian atomism, human/animal relations, talking plants, metal beings, vibrant matter, agent networks, and at the kinds of non-Cartesian thinking that allegory demands.

Instructor: Derritt Mason

Description

The Bildungsroman, a centuries-old genre that recounts the moral and physical development of young protagonists, spawned themes and conventions that persist in a number of contemporary forms. Today, we tend to translate Bildungsroman as the “coming-of-age” story, which is itself typically associated with a wildly popular contemporary genre: young adult literature (YA). As YA explodes in popularity, quintessential Bildungsroman themes and characters have continued to surface in a range of media, including—and most recently—video games. A consequence, it appears, is that we are witnessing not only a burgeoning proliferation of criticism, fiction, and memoir that use video games to narrate coming-of-age, but also video games that are themselves interested in revisiting adolescence.

As coming-of-age games and YA novels about coming-of-age alongside video games continue to surface, however, literary studies might offer useful tools for assessing how and to what end Bildungsroman conventions shape these texts and produce meaning. Compellingly, video games as interactive texts offer audiences opportunities to play with conventional coming-of-age themes: identity, death, trauma, sexuality, power, morality, and agency, among others. Moreover, as Katherine Isbister and Jesper Juul argue, video games operate in a different affective register than print literature; can games also make us feel differently as we engage with these enduring themes? 

This class puts contemporary scholarship on the Bildungsroman into conversation with video game theory, history, and literature—as well as games themselves—to determine what, in this context, video game studies might learn from literary studies and vice versa. 

Instructor: Larissa Lai

Description:

This is an advanced course in creative writing, designed to offer student with strong and longstanding poetry writing practice the opportunity to work on a book length project. Students are expected to already have a regular writing practice. This course will help deepen that practice. Students will receive instruction in the various ways that a coherent and cohesive poetry book can be assembled. Early in the course we will discuss both thematic and formal possibilities in relation to project you have proposed in your application. You will be given advice and guidance to refine these, and then you will produce the book you have mapped out— with plenty of room for deviation and reinvention, but with the goal of a complete manuscript by the end of the course. Since the course is for just one semester, students may bring a project-in-progress or a selection of  5-15 finished/well-drafted poems to use as the basis for their book if they wish. Project thematics are wide open. Form is also wide open: narrative poetry, lyric poetry, sound poetry, concrete poetry, interventionist poetry, language-based poetry, conceptual poetry or digital writing. Students are also invited to invent forms and will be given guidance in how to do so.

Application Requirements: To be considered for a place in this course, students must email an application form to larissa.lai@ucalgary.ca   by December 1, 2021.

IMPORTANT: Please put "English 593/693 Application Portfolio" in the subject line of the email. I receive a lot of email, and this is the only way I can be sure I'll be able to find your application when I'm looking for it.

How to Apply: Download application form

Spring 2022 Courses

Instructor: Stefania Forlini

Description

In this course, we examine what is at stake in current practices of mass-digitization and digital display of literary collections, and the roles of literary scholars in ensuring more responsible remediation of print-based collections. In particular, we will focus on the implicit (and often problematic) assumptions embedded in practices of digitization and digital display, and how these necessarily affect the kinds of research questions and approaches we develop as literary scholars. Exploring perspectives from book history, reception studies, literary studies, humanistic interface design, feminist data visualization, and human computer interaction (HCI), we will focus on how literary scholars can participate in decisions about—and design processes involved in—remediating print-based collections by drawing on a rich tradition of humanistic theory.
Our work entails both reading current digital design critically and imagining new ways of redesigning reading (close, distant, and otherwise) in digital environments that attend to the specific needs of humanistic inquiry. Working with the Bob Gibson anthologies of speculative fiction and other case studies, we will explore ways to combine content-related metadata and physical artifactual characteristics, in order to engage multiple sensory modalities and provoke critical and aesthetic engagement with digitized print collections. To assist in this work, students will visit Special Collections, TFDL’s Digitization Unit, and participate in an information visualization workshop led by an information visualization researcher. Assignments include a seminar presentation, a data design project of what one data designer calls "outsider data", and a final essay. Readings and experiential course components will also help us explore how the critical work of reading design and redesigning reading can participate in recent calls to
#transformDH (pushing the boundaries of the Digital Humanities toward scholarship that emphasizes “social justice, accessibility, and inclusion”) and to promote the humanities through the Digital Humanities (4Humanities.org).