Werewolf The Beast Among Us Online Subtitrat
Melanie Council
In this class we'll look at love stories old and new and try and tackle some big questions about happy ever after: How do stories shape our expectations and experiences of romantic love? What do our conventional love narratives suggest about gender, sexuality, and marriage? How do individual experiences of love deviate from these narratives--and why should we care? How have our love stories changed along with shifts in cultural attitudes about love and marriage?
This course offers an introduction to the skills of literary criticism. Our theme is mad science, a concept we explore by reading a handful of literary works, ancient, modern, and contemporary. Each of these works raises important questions about scientific knowledge and human culture. What are the relations between scientific knowledge and power? How should we understand scientific practice in realtion to the emotions? What are the consequences, both for humankind and for nonhumans, of scientific invention? We will examine critcism itself as a science or form of technical knowledge.
Readings include: excerpts from Aristotle's Poetics; Aeschylus' Prometheus Bound; Mary Shelley's Frankenstein; or the Modern Prometheus (1818); R.L. Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde (1886); and Kazuo Ishiguro's Never Let Me Go (2005). We will explore each of these texts in their critical, historical, and theoretical contexts, reading secondary sources that will help us to understand these texts and that serve as examples of literary criticism.
Why did a king kiss a werewolf-knight? Do men with canine heads go to heaven? How is a werewolf like a cyborg? If a human child lives among wolves, will she speak their language? In reading werewolf literature from the Middle Ages to the present day, we will explore how racial and sexual difference overlap with human-animal hybridity and metamorphosis in Western literature. We will also consider what werewolves can teach us about language, disability, childhood, indigeneity, and migration. Readings include Marie de France's Bisclavret, Shakespeare's Merchant of Venice, Barlow's Sharp Teeth, and Lai's When Fox is a Thousand.
What are some of the problems inherent in this commingling of genres based on fiction and fact? What are some of the ethical, formal and aesthetic concerns? How might we, as readers, writers and researchers, benefit from reading, learning about and practicing this genre?
In this section of English 100 we will study a selection of English literature from the late eighteenth and early nineteenth centuries: poetry by William Wordsworth and John Keats, as well as the novel Persuasion by Jane Austen. Since one purpose of the course is to introduce students to different critical approaches to literature, we will examine two scholarly essays on the assigned work of each author. In both the proposal for their research essay and the essay itself, students will be expected not only to offer their own interpretations of a literary text or texts, but also to cite, demonstrate their familiarity with, and above all respond to a minimum number of secondary sources. Ideally, then, this course will teach students the skills they need to write research essays in upper-level English courses.
In this class we'll look at love stories old and new and try and tackle some big questions about happy ever after: How do stories shape our expectations and experiences of romantic love? What do our conventional love narratives suggest about gender, sexuality, and marriage? How do individual experiences of love deviate from these narrative--and why should we care? How have our love stories changed along with shifts in cultural attitudes about love and marriage?
In this course we will be focusing on a selection of contemporary origin stories in different genres and on the complexities and ambiguities of 'English' in these contexts. We'll be considering questions like: how many Englishes make up contemporary Canada? what happens to traditional concepts of genre when the great divide between poetry and prose, 'reality' and 'imagination' is challenged? whose 'tradition' and whose ways of knowing prevail? Two novels --Eden Robinson's Monkey Beach and David Chariandy's Soucouyant-- are at the heart of the course together with a selection of poems, short stories, and an interactive website. Thanks to these writers, you'll never see Canada the same way again!
This course is an introduction to the study of narrative elements, or the art of storytelling, through Canadian fiction, drama, poetry, and film. Why are narratives important for organizing human experience? How and why do writers manipulate narrative time? How does the storyteller assert persuasive power? How does narrative represent the identities of individuals and groups?
These questions and others will be taken up in lectures, discussion groups, and readings in the core textbook on narrative by H. Porter Abbott, The Cambridge Introduction to Narrative, 2nd Edition. Creative writing optional assignments will also be provided.
Enriched study of selected works of literature from a number of critical perspectives. Open to students with a BC-equivalent mark of "A" in English 12 or "B+" in English Literature 12. Essays are required. This course is not eligible for Credit/D/Fail grading.
An enriched course in English studies meant for students with a passion for reading; it is particularly suited to students intending to pursue an Honours or Major degree in English. In weekly lectures and discussions, we will read literary and critical texts dealing with climate change and the environment from a variety of historical periods and geographical places. You will be encouraged to read deeply, to reflect on and practise a variety of critical approaches to the texts you read, and to extend your abilities as thinkers, speakers, and writers. Authors will include William Wordsworth, Henry David Thoreau, H. G. Wells, Margaret Atwood, Sigmund Freud, Jamaica Kincaid, Charles Dickens, John Ruskin, Jeff VanderMeer, and others.
Course Expectations: Regular attendance and participation in the activities of the class; a minimum of three essays, two to be written in class and one at home; and a final examination.
Through the study and application of the principles of university-level discourse and with emphasis on the specific genre of academic writing, this course will introduce students to critical reading and university-level writing. In lectures and discussions, instructors will focus on the rhetorical principles and strategies central to university-level discourse. Students will examine methods for discovering and arranging ideas, and they will consider ways in which style is determined by rhetorical situation and scholarly audiences. English 112 is not a remedial course. Students with serious deficiencies in their writing should seek early and expert tutorial help.
Note: This course is required of students who intend to enter the Faculties of Commerce and the Schools of Nursing and Physical Education. It is also recommended by a number of other faculties and schools. Students should check the current UBC Calendar for further information about the first-year English requirements for particular faculties and schools.
Course Prerequisite: In order to remain registered in this class, all students must fulfill the First-Year English Course Entry Requirement (LPI). For further details on the First-Year English Course Entry Requirement, please visit: -year-english/frequently-asked-questions-faq/#1.
Final Examination: All students in English 112 will write a 3-hour final examination at the end of the course. The examination will test critical reading and writing skills by asking students to write two clear, coherent, well-developed essays: one analysing a passage of university-level prose in a way that demonstrates the specific critical skills learned in class, and one writing a scholarly essay in response to specific critical readings studied in class.
Texts:Reading lists for individual sections of the course will be available in the Language and Literature section of the UBC Bookstore in mid-August for Term 1 courses and mid-November for Term 2 courses.
For the project, students will select one of the myths and will find a discussion of this myth in popular media (online, newspaper, etc.). They will read one or two of the supplemental readings concerning that myth and will use these readings as well as the material covered in class to argue for or against the point expressed in the popular source.
This version of the introductory course for English Honours students will concentrate on the development of the main literary genres since the Renaissance. Instead of proceeding in a straight chronological order, the course will match early and more modern variations of tragedy, comedy, the pastoral, the heroic and the prose fiction. This background will provide honours students with a greater understanding of how the main genres have formed a consistent basis for literary expression throughout the centuries while also allowing change and development. Opening with readings and discussion of theories of genres and the canon, including selections from Northrop Frye, Mikhail Bakhtin, Jacques Derrida, we will precede through a selection of works from the main genres from both early and recent periods, including works by Shakespeare, Stoppard, Wycherley, Wilde, Milton, Wordsworth, Walcott, Austen, and Achebe. Evaluation will be based on a combination of essays mid-terms and exam. In addition, students will be asked to lead one class, beginning with a seminar presentation.
In this course, we will investigate major texts and themes of medieval and early modern British literature, with a particular focus on how this literature--from Old English poetry to seventeenth-century drama--recuperates and repurposes the past in order to shape identity in the present. Students will learn to close-read, to turn a close reading into an argumentative essay, and to understand and use the tools of literary study. Major texts will include Beowulf, Chaucer's The Canterbury Tales, and Shakespeare's King Lear.
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