D-level courses provide opportunities for more sophisticated study and are founded on discussion-based learning, and they require some independent work on the part of the student. These courses are generally restricted in enrolment and focus on seminar discussion.
If you are pursuing an English Specialist or Major, you will need to take one or more D-level courses to graduate. You shouldn't necessarily wait until your fourth year of study to embark on a D-level -- you might be ready earlier, especially if you have taken a C-level course in a similar topic or thread.
Most D-level seminars are "topics" or "studies" courses, meaning that the focus, approach, and texts may change significantly from year to year. Below you will find the current descriptions of this year's D-level courses, including the specific area(s) of focus. You should always double-check the Registrar's Calendar for information about pre-requisites or recommended preparation. We also encourage you to talk to professors about D-level options and expectations.
(Click HERE for Fall 2019 Courses)
Instructor: Karina Vernon (Winter)
In this course we consider the possibilities opened up by literature for thinking about the historical and ongoing relations between Indigenous and non-Indigenous people on the northern part of Turtle Island (the Iroquois, Anishinabek and Lenape name for North America). How does literature written by both diasporic and Indigenous writers call upon readers to act, identify, empathize and become responsible to history, to relating, and to what effect? Students will have the opportunity to consider how literature can help address histories of colonial violence by helping us to think differently about questions about land, justice, memory, community, the environment, and the future of living together, in greater balance, on Turtle Island.
Instructor: Urvashi Chakravarty (Winter)
An in-depth study of sixteenth- and seventeenth-century literature together with intensive study of the theoretical and critical perspectives that have transformed our understanding of this literature.
Note: Pre-1900 course
Instructor: Kara Gaston (Winter)
Advanced study of Chaucer’s early writings, from The Book of the Duchess to Troilus and Criseyde. Consisting of dream visions, fantastic journeys, and historical fictions, these works all push beyond the boundaries of everyday experience, depicting everything from the lifestyles of ancient Trojans to a flight through the stars. This course will explore the forms and literary genres that Chaucer uses to mediate between the everyday and the extraordinary. We will also consider related problems in literary theory and criticism, considering how scholars bridge the gap between our own time and the medieval past.
Note: Pre-1900 course
Instructor: Sonja Nikkila (Winter)
In this seminar we will be diving into Charlotte Brontë's most famous novel, and then pushing it through the looking-glass as we investigate how different adaptations offer us different reflections on the themes, questions, and problems contained in the original 1847 text. We will explore how Jane Eyre has been translated into television and film, and also how other authors have responded to the "poor, plain, obscure and little" governess in their own works. The seminar format will encourage students to develop, discuss, and ultimately present their own ideas about how to "read" and "re-read" Jane Eyre.
Readings: Jane Eyre, alongside a selection of 20th century and contemporary re-visions, including the Gothic Rebecca (by Du Maurier / Hitchcock), Jasper Fforde's madcap alternate reality detective novel The Eyre Affair, Patricia Park's Re Jane (the tale of a biracial Korean-American growing up in Queens in the 1980s), a neo-Victorian riff on British Imperial identity and Sikh culture in Jane Steele (by Lindsday Faye), and Sharon Shinn's full-fledged off-planet science fiction retelling, Jenna Starborn.
Note: Pre-1900 course
Instructor: Neal Dolan (Winter)
This seminar course will usually provide advanced intensive study of a selected American prose-writer each term, following the development of the author's work over the course of his or her entire career. It may also focus on a small group of thematically or historically related prose-writers.
Instructor: Garry Leonard (Winter)
An exploration of Avant-Garde cinema from the earliest experiments of German Expressionism and Surrealism to our own time. The emphasis will be on cinema as an art form aware of its own uniqueness, and determined to discover new ways to exploit the full potential of the “cinematic."
Instructor: SJ Sindu (Sinduja Sathiyaseelan) (Winter)
A practical introduction to the tools, skills and knowledge-base required to publish in the digital age and to sustain a professional creative writing career. Topics include: the publishing landscape, pitching creative work, and employment avenues for creative writers. Will also include a workshop component (open to all genres).
Instructor: Ryan Fitzpatrick (Fall)
Topic: Poetics as Research
What is the relationship between poetry and research? Working in the university, we often have to negotiate a weird separation between creative and academic work. It’s easy to convince a prof to read your essay about a poem, but what about a poem that’s an essay? Or a data set? Or an archival investigation? Can poetry do research? The short answer is an unqualified YES! Poetry has a long history as an investigative tool or method. In this class, we will read a constellation of poets who use research as a compositional strategy. For these poets, poetry provides a set of formal tools that allow them to do research in ways different than journalistic or academic prose. Poetry allows a different kind of material attention to historical narratives, to archival documents, to local spaces, to personal experience, and to the materiality of language itself. In other words, poetry does research otherwise.
Each week we will think through an investigative stance that is exemplified by the book we’ll read together. These stances all constitute tendencies within 20th and 21st century avant-garde and experimental poetics in North America and, together, we’ll build an understanding of the histories of those tendencies – the discussions and debates, the flare-ups and flame wars. The tendencies we’ll dig into include documentary poetry, site-specificity, auto-poetry, conceptual writing, critical theory, treating language as information, activist poetics, and lots more.
Readings include Muriel Rukeyser, Charles Olson, Bernadette Mayer, Theresa Hak Kyung Cha, Erín Moure, M. Nourbese Philip, Jordan Abel, Mark Nowak, Claudia Rankine, Cheena Marie Lo, and Jordan Scott.
Instructor: Yulia Ryzhik (Fall)
Topic: Shakespeare and Satire
We will read several of Shakespeare's plays in the context of early modern satirical traditions, their sources, influences, and afterlives. To what extent did Shakespeare engage with contemporary debates over the form and function of satire--particularly the fashionable formal verse satire, with its cultivated harshness and obscenity? How do his plays compare with the more overtly satirical dramas of his contemporaries and rivals? We will consider satire from a theoretical perspective, especially in relation to hierarchies of class, race, and gender, and will interrogate the ability (or inability) of satire to address social injustice. Through plays such as As You Like It, Troilus and Cressida, Othello, King Lear, and Timon of Athens, we will see how Shakespeare puts diverse satirical modes into conversation and develops his own satirical strategies.
Note: Pre-1900 course
Instructor: Alyx Dellamonica (Fall)
This multi-genre creative writing course, designed around a specific theme or topic, will encourage interdisciplinary practice, experiential adventuring, and rigorous theoretical reflection through readings, exercises, field trips, projects, etc. Admission by portfolio.
Note: Please be sure to check the Calendar for enrollment limits and requirements.
Instructor: Sara Saljoughi (Fall)
An exploration of multicultural perspectives on issues of power, perception, and identity as revealed in representations of imperialism and colonialism from the early twentieth century to the present.
Instructor: SJ Sindu (Sinduja Sathiyaseelan) (Fall)
An analysis of features of Canadian writing at the end of the twentieth and the beginning of the twenty-first century. This course will consider such topics as changing themes and sensibilities, canonical challenges, and millennial and apocalyptic themes associated with the end of the twentieth century.
The three creative writing independent study courses are taught by creative writing faculty — please see the Calendar for enrollment requirements and procedures.
Instructor: Sonja Nikkila (Fall-Winter)
An intensive year-long seminar that supports students in the development of a major independent scholarly project. Drawing on workshops and peer review, bi-monthly seminar meetings will introduce students to advanced research methodologies in English and will provide an important framework for students as they develop their individual senior essays.
Note: Depending on the subject area of the senior essay, this course can be counted towards the Pre-1900 requirement. Also, please see the Calendar for enrollment requirements and procedures.