67 courses in the 1972–73 Undergraduate Calendar, read from the scanned original. The text comes from OCR, so check the scanned page before relying on a detail.
Department of English
J. Gold, B.A. (Birmingham), Ph.D. (Wisconsin)
J.C. Gray, B.A. (Washington State), M.A. (Connecticut), Ph.D. (Syracuse) G.R. Hibbard, B.A., M.A. (London)
K. Ledbetter, 4.2. (Central College, Mo.), M.A., Ph.D. (Illinois)
C.F. MacRae, B.A. (Western), M.A. (McMaster), Ph.D. (Toronto)
W.R. Martin, .A., D. litt. et Phil. (South Africa)
W.U. Ober, B.A. (Washington and Lee), Ph.D. (Indiana)
W.K. Thomas, .4., Ph.D. (Toronto)
A.I. Dust, M.A. Ph.D. (Illinois)
B.N. Honeyford, B.A., Ph.D. (Toronto)
H.E. Haworth (Mrs.) B.A. (Rollins), M.A., Ph.D. (Illinois)
N.C. Hultin, B.A. (Concordia), M.A. (Chicago), Ph.D. (Johns Hopkins) R.M. Levitsky (Mrs.), B.S.Ed. (Central Missouri S.C.), M.S.Ed. (Illinois Normal), Ph.D. (Missouri)
H.M. Logan, A.B. (Franklin and Marshall), Ph.D. (Pennsylvania)
P. Roland, BFA. (New Mexico), M.A. (Northern Illinois), Ph.D. (Southern Illinois)
JS. Stone, M.A. (British Columbia)
H. Tuyn, M.A. (Utrecht and Oxon.) Docteur de l'Université de Paris
R.R. Dubinski, B.A., 4A. (Western), Ph.D. (Toronto)
R.N. Gosselink, B.A. (Kansas), M.A., Ph.D. (Colorado)
C.S. Hedges, B.A. (Northeastern, Okla.), M.F.A. (Art Inst of Chicago) P.M. Hinchcliffe, B.A. (British Columbia), M.A., Ph.D. (Toronto) J. Hinchcliffe (Mrs.), B.A., M0A., Ph.D. (Toronto)
D.S. Keppel-Jones, B.A. (Natal), M.A., Ph.D. (Queen’s)
W.R. Macnaughton, B.A. (Toronto), M.A., Ph.D. (Wisconsin) J.S. North, B.4., M.A. (British Columbia), Ph.D. (Alberta)
Sister M. Leon, S.S.N.D., B.A. (Toronto), M.A. (Detroit)
D.R. Letson, B.A. (Waterloo), M.A. (McMaster), Ph.D. (Toronto) E.F. Shields (Miss), B.A. (Chestnut Hill), M.A, (Villanova), Ph.D. (Illinois)
G.E. Slethaug, B.A. (Pacific Lutheran), M.A., Ph.D. (Nebraska)
P.D. Beam, B.A. (Waterloo), M.A. (McMaster) L. Dorney, B.A., M.A. (Louisville)
M.J. Estok, B.A., M.A. (Saskatchewan)
M. Graham, 4.0.C.A. (Ontario College of Art) R. Lister (Mrs.), B.A., M.A. (Toronto)
E.P. McCormack, M.A. (Glasgow)
S.E. McMullin, B.4., M.A. (Carleton)
M.G. Thysell (Mrs.), 4, (Montana)
K.J.R. Wylie, B.A. (British Columbia)
P. Young, B.A. (Toronto)
For programmes and courses in Drama, see Department of English, Division of Drama.
First year
Upper years
Restrictions
Note 1
Note 2 Note 3 10 English as a Second Language
(a non credit course)
49* Principles and Practice of Effective Speech (for non-Arts students only)
Department of English
English Honours Programmes
For programmes in Honours English, Honours English (Drama), and dual Honours programmes involving English, see page 103.
English General Programme
To fulfill the requirements for a general degree in English, a student must take six courses in English consisting of: 101 or equivalent, 251, one full course equivalent from 270, 282*, 350, 362*, 363* (major figures); one full course equivalent from 261, 281*, 361*, 370, 373, 375, 380, 451 (Language and fields of Literature); two approved English credits.
English 101 and 102 are the recommended first-year courses. However, a first year student may—without formal permission from the Department —take courses from the following list instead of 101 and 102: English 105*, 108*, 190*, 211*-212*, and 230*-231*. All other English courses are open to first year students, but only with the permission of the Chairman of the English Department and the instructor of the course. Students may use only one full course equivalent in English from the 100-level to fulfill the minimum English requirements.
English 251 is strongly recommended for second year. With the consent of the Department upper year courses may be taken at any time during the upper years without regard to course number or “level.”
English 140*-141*, 335, and courses in theatre (designated ‘‘Drama”’ in the calendar) may not be included as approved English courses in fulfilling the minimum course requirements for an English Programme, but may be chosen as non-English electives.
W. K. Thomas’s Correct Form in Essay Writing is the official style sheet for all undergraduate English courses.
The “normal” number of lectures per week in each course is three; however, each instructor determines how often his particular class will meet.
In all English courses, emphasis will be placed on student essays written in connection with the reading.
The course will aim at the improvement of both written and spoken English to bring about ease and facility of expression in assignments and oral discussions through a detailed study of basic patterns in Grammar and Idiom and their practical application in writing commentaries, essays or summaries.
The course’s purpose is to increase understanding of, and facility with, language . . . especially oral presentation. Students’ attendance will be required for two hours per week. Each student will be required to give speeches, impromptu and otherwise, to participate in argument and in discussion, and to be prepared to give detailed analyses of others’ performances.
Each student will be asked to provide himself with a cassette tape. Required texts include Concise Oxford Dictionary and Methods and Means of Public Speaking, Smith & Canty (Bobbs-Merrill). Other texts will be announced.
Department of English
An examination of examples of the greatest literature in English and its relation to the periods of its origin. Figures such as Chaucer, Shakespeare, Milton, Swift, Blake, Keats, Tennyson, Dickens, and T. S. Eliot will be examined. The precise list of readings will depend upon the individual instructor. The basic text will be the one-volume Norton Anthology of English Literature.
A study of the forms that imaginative literature assumes. Examples of different kinds of literature will be explored in detail so as to discover how the shape of a literary work of art gives to its meaning. Students will for instance read ballad, lyric, and narrative poetry; classic tragedy and comedy and absurdist, existential and expressionist plays; novels and short stories.
Examples are the stories of Hemingway, Faulkner, James, D. H. Lawrence and modern Canadian writers.
108* Themes of Literature 108*A The Hero 108*B Utopia and Anti-Utopia 108*C Literature and Morality 108*D The Quest Theme in Literature 108*E Women in Literature
An exploration of the great variety of literature through thematic perspectives. Several of the following themes will be offered in the coming year.
A study of human excellence in thought and action, embodied in representative men and women, as seen through works of literature.
The purpose of this course will be to acquaint the student with various forms of the literary artist’s moral vision of man as it appears in “Utopian” writings. It will involve an examination of the role of the imagination in helping to inform and embody the cultural ideals of four periods: the Renaissance, the Eighteenth Century, the Romantic Age and the Modern Age.
Works in English literature from its beginnings are selected for their bearings on questions of morality. The relationships include: (1) the moral values assumed by the writer and his culture; (2) the means by which moral values and ideals are clarified and promoted; (3) the consideration of true and false moral principles; (4) images of reward, nemesis, guilt, and redemption. Some attention will be given to the traditional categories of morality, especially the Deadly Sins and the Cardinal Virtues.
The course wili examine the “Quest Theme” as it occurs in various genres of literature. Among other things it will discuss the significance of Odysseus and Moses as archetypal figures, the importance of quest in Romantic poetry, the psychological quest in drama, and the connection between the “Quest Theme” and the concern of the Western World with the idea of progress as a movement toward the realization of the Promised Land through technology. The course will be presented through a combination of lectures and seminars.
A study of the nature and role of women in British, Canadian, and American literature from Chaucer to the present. Works by both men and women writers will be studied in which women are seen in such forms as earth mothers, people, sex objects, and bitches.
Department of English
A study of various works of literature in which the protagonist is a rebel, a non-conformist to the standardized, existing norms of life and living. It will examine a number of rebel types and concepts, moral implications, final outcomes either in successful realization or in tragic defeat.
This course includes the study of a variety of works in literature centering on the theme of man in crisis, the stress being on the individual at variance with his inner self, his fellow man, his world. The inner struggle isolates him from society and alienates him from his fellow man. The course will discuss the process in which wisdom and maturity are gained as the ultimate product of suffering.
A view of the fabulous, fantastic, and enchanted in literature as embodied in fables, fairy tales, legends, science fiction, etc. Attention will be given to such authors as Malory, Grimm, Tolkien, Charles Williams, C. S. Lewis, Huxley, Ray Bradbury, and Arthur.Clarke.
The use and abuse of spoken and written English. The study and evaluation of language as it is used for various purposes (e.g. colloquial, scientific, legal, political, commercial, journalistic, literary) in order to increase critical awareness and help students to write clearly and effectively themselves.
A continuation of English 140*. The study of factual, emotive, scientific and imaginative writing; relevance, context; meaning, tone, feeling and intention. Prerequisite: English 140*.
English 140*-141* replaces English 240, The Use of English.
Several of Shakespeare’s Comedies, Histories, and Tragedies will be explored with the aim of introducing the student to something of the range of Shakespeare’s themes and techniques. No previous work in Shakespeare is required.
The study of the major themes, stories, myths, and characters of the Old and New Testaments of the King James Bible, and their influence on other English literature.
An introduction to the scope and aims of folklore, together with a survey of the major types of folklore in the English tradition from earliest times to the present and from the various nations of the English-speaking world. Topics such as the following will be discussed: Oral literature and traditional cultures of the English world; problems of the creation, transmission, and alteration in oral literature; myth, legend, tale, and marchen.
Similar to 203* but dealing with folk-drama, ballads, songs, riddles, chants, proverbs, and charms. Prerequisite: English 203* or consent of instructor.
Essays of current and recurrent interest will be read both for the ideas presented and for the artistry involved in the presentation.
Department of English
A study of the novel in English from its beginnings to the later 19th century.
212* The Novel 2
A study of the novel in English from the later 19th century to the present.
230* Poetry 1
A study of English poetry before 1800.
231* Poetry 2
English poetry after 1800.
This course, which deals chiefly with the moral implications of political thought, is designed both to stimulate controversy and to improve the student’s ability to express himself in a clear, organized fashion. Students are required to conduct seminars on such topics as political realism, human rights versus civil rights, the difference between rebellion and revolution.
Similar to 236*, but dealing with the moral implications of scientific and philosophical thought.
A study of the elements of criticism and their application to a variety of literary texts and contexts. Much of the work of this course consists of analysis and discussion of literary problems by the students themselves.
An introduction to the literature and language of ‘pre-conquest England. The principal literary methods, themes, and types of English literature up to the 12th century constitute the material of study in this course.
A study of Middle English literature with special emphasis on the works of Chaucer.
A study of the principal writers of prose and of lyric and narrative poetry in England during and immediately preceding the reign of Elizabeth 1. Native, classical, and Italianate influences are stressed in the erotic poetry of the period especially as manifested in the sonnet tradition and the mythological narrative poems of Marlowe and Shakespeare. Other writers represented are More, Wyatt, Surrey, Skelton, Gascoigne, Daniel, Lyly, Drayton, and Sidney.
A study of the rich and various literary achievements of the golden age of Elizabeth 1. Reserved for special attention is Spenser's epic poem glorifying Elizabeth | and England—The Faerie Queene. English 281* is recommended.
The meaning of America—the myth, the dream, and the reality—as experienced through its major literary works. Sin, guilt, madness, mysticism, and grace: the search for fulfilment and peace by such writers as Thoreau, Whitman, and Hemingway.
Approaches to reality amid the confusion and uncertainty of 20th Century America. Emphasis on such major writers as Faulkner, Miller, and Cummings. Prerequisite: English 290*.
A survey of Australian poetry and prose, with some consideration of the literatures, in English, from South Africa and the West Indies.
A study of Canadian prose and verse to 1920, with particular attention given to the poetry of the School of the Sixties and to the historical and idyllic novels of the 19th and early 20th centuries.
Poetry in Canada from E. J. Pratt and A. J. M Smith to Leonard Cohen.
The Canadian novel since the appearance of Morley Callaghan, with brief consideration of the essay, the short story, and drama during the period.
The mutations of prose style and form as seen in the “romance” writers such as Malory, Sidney, Bunyan, Swift; in the Novella and picaresque writers such as Nashe and Defoe; in the short story and novelette writers such as Poe, Conrad, and Faulkner. (Not offered in 1972-73).
The mutations of prose style and form as seen in writers of biography and autobiography such as Boswell, Fraklin, Strachey; letter writers such as Chesterfield, Keats, Dickinson; essayists such as Bacon, Burton, Ruskin, Orwell; and writers of scientific, historical, and philosophical prose such as Browne, Darwin, Macaulay, and Trevelyan. (Not offered in 1972-73).
Aimed at encouraging the student to develop his creative and critical potentials, the course consists of supervised practice, tutorials, and seminar discussions. Enrolment is limited and, in order to be accepted, an applicant must first submit a manuscript as evidence of his ability to profit from the course.
This course attempts to provide the student with an opportunity for exploring literature as a social phenomenon. Specific areas to be dealt with might include: 1) the relationship of the artist to his social structure; 2) the nature of the relationship of the work and its audience; 3) the attitudes toward the social structure implicit in the work of art. In general the course is viewed as an attempt to combine both the scientific approach and the humanistic approach to literature. Here literature is viewed as including both belles lettres and popular culture. The course will be taught by someone in sociology and someone in literature in dialogue method. Prerequisite: Sociology 101*/102* and a first year English course. (Not offered in 1972-73)
339* Contemporary British Literature
A study of the major trends in British literature from World War II to the present. The course will examine the rise of the angry generation and social protest, the renaissance in drama, the return to tradition and the reaction against experimentation, and other topics related to the literary emergence of a new England.
A testing of the “supreme fictions” of such major figures as Wallace Stevens, William Faulkner, Walt Whitman, Eugene O'Neill, and Flannery O’Connor. Prerequisite: English 290* or consent of instructor.
46*A Realistic and Naturalistic Fiction
353 Department of English
The Southern Myth: its origins in early literature, its flowering, testing, and shattering; as in the works of Twain, Faulkner, Grau, and O’Connor, as in the black literature of Wright, Ellison, Baldwin, and Jones. Prerequisite: English 290* or consent of instructor.
Special emphasis will be given to the works of Mark Twain, Henry James, and Stephen Crane. Prerequisite: English 290* or consent of instructor.
A study of American literature from World War 2 to the present. Prerequisite: English 290* or consent of instructor.
A study of the non-dramatic literature of the Jacobean, Caroline, and Interregnum periods, with special attention to Milton’s major works.
A study of the origins and development of English drama, with special concentration on 16th century non-Shakespearean drama.
A study of those plays of Shakespeare written up to 1600, including the early comedies, the histories, Romeo and Juliet and Julius Caesar.
363* Shakespeare 2
A study of those plays of Shakespeare written after 1600, including the late comedies and the major tragedies.
A study of the principal playwrights, plays, and movements in dramatic history from the re-opening of the theatres in 1660 to the present day.
Designed to provide a study in depth of problems and/or authors selected by the instructor. Students interested in initiating such courses are encouraged to do so by bringing their ideas to the attention of individual instructors. Prerequisite: consent of instructor.
An historical and critical study of the drama, poetry, novels, and other writings of the Restoration and 18th century.
The processes of linguistic change as exemplified in the development of the English language from its origins in Indo-European and Germanic through modern Canadian dialects and other forms of English in the twentieth century (British and American dialects, commonwealth dialects) forms the subject of this study. Traditional, structural and generative approaches to historical linguistics will be employed in this survey.
An interpretation of linguistics and its application in the English classroom to the study of grammar and language. The course will provide an introduction to descriptive and historical linguistics and the principles of linguistic analysis. It will include an evaluation of English grammars ranging from the traditional to the structural and transformational-generative.
An historical and critical study of the principles and practice of the English Romantic authors from Blake to Keats, with primary emphasis on poetry.
An historical and critical study with emphasis on the major poets (Browning, Tennyson, Arnold), novelists (Dickens, Thackeray, Eliot), and essayists (Newman, Ruskin, Mill, Huxley). Prominent topics are relative morality, the role of the artist, freedom of speech, the idea of a university, and the effect of economic and social reform upon the human condition. Provision will be made for students who wish to study other writers such as Hopkins, Swinburne, Carroll, Morris or Pater.
A literary and historical survey of Victorian England through authors and works that have major significance in both fields. The student will be encouraged to use several approaches and forms of evaluation of this material. He will be obliged to register in English 456 or History 456 and to direct and concentrate his studies accordingly. (Not offered in 1972-73)
A study of the major writers in British literature from 1890 to World War 2, with special emphasis on such writers as Shaw, Yeats, Eliot, Conrad, Joyce, and Lawrence.
A study in seminars of the literary criticism of the four great ancients and of English writers from the Elizabethans to the present day. (Not offered in 1972-73)
The following course is administered by St. Jerome’s College.
Designed for fourth-year students in the Honours English or Combined Honours English programs, this course provides a study of the major works in those periods of English literature in which students have not taken courses. It also provides a study in depth of selected authors and topics. Individual syllabi are prescribed for each student, and the course is conducted on a seminar basis.
The following courses are administered by Renison College.
The uses of literacy and the functions of language as acquired in the courses 240R or 140*/141*. These will be applied to the more advanced form of the literary and critical assignment essay, involving comparison, evaluation and exposition.
A study of such writers as Graham Greece, Evelyn Waugh, Aldous Huxley, Henry Green, Kingsley Amis, Irwin Shaw, John O'Hara, Edward Albee and Harold Pinter. An examination of the anti-hero and the stream of consciousness from the psychoanalytical novel to the theatre of the Absurd. Students may use either 385R or 339* and 347*A, but not both, to fulfill the minimum English course requirement.
Drama General Programme Requirements
First Year
Note
355 Department of English
Division of Drama and Theatre Arts
English 101, 361*, 362*, 363*, 364*; Drama 223*, 224*, 329, 429*, 430*; and nine other courses including the Faculty of Arts requirements, for a total of 15 courses.
English 101 and Drama 223* and 224* are the recommended first year courses. Students planning to major in drama should confer with the Undergraduate Adviser in Drama and Theatre Arts before registering.
The normal number of lectures per week in each course is three; however, each instructor determines how often his particular class will meet. Laboratory sessions and rehearsal periods may be added to any course at the discretion of the instructor.
The role of theatre as a major art. Contributions of playwright, actor, director, designer and technician to the theatrical production. Analysis and interpretation of selected plays. Class meets three hours per week.
An extension of the studies described in 223* above. Prerequisite: Drama 223*
An Introduction to the basic techniques of acting. Laboratory experience in movement, voice, improvisation, characterization, and scene study. Laboratory and production participation required. Class meets 4 hours per week. Prerequisite: Drama 223* and 224* and consent of instructor.
The aesthetics and creation of performance environment. Design as a theatrical medium. Class meets 3 hours per week with laboratory hours by arrangement. Prerequisite: Consent of instructor and Drama 223%, 224*
Analysis of production and performance problems from the director’s point of view. Planning the interpretative concept of a production. Study in the principles of stage direction. Laboratory and production participation required. Includes the direction of a production. Class meets 2 hours lecture and 4 hours lab per week. Prerequisite: Consent of instructor and Drama 223%, 224*
Production participation and the study of selected problems of theatrical production. Classes meet 3 hours per night, 5 nights per week for 8 weeks during production rehearsals. Prerequisite: Consent of Production Director for Fall term.
Production participation and the study of selected problems of theatrical production. Classes meet 3 hours per night, 5 nights per week for 8 weeks during production rehearsals. Prerequisite: Consent of Production Director for Winter term.
A survey of theatre history from ancient to modern times with attention to the development of theatre architecture and its relationship to the acting, directing, design, and literature growing out of the various periods and cultures. Class meets 3 hours per week. Prerequisite: Drama 223*, 224*
Design and practice in the construction of costume for the stage. Research into the historical styles of costumes from antiquity to the present and the adaptation of these styles to stage use. Laboratory and production participation required. Class meets 2 hours lecture and 4 hours lab per week. Prerequisite: Consent of instructor and Drama 223*, 224*
Different methods of staging in the various types of theatre styles and forms. Practical work in the theatre based on plays representative of various periods. Class meets 4 hours per week. Prerequisite: Consent of instructor and Drama 223*, 224*
A study of dramatic criticism from antiquity to the present. Class meets 3 hours per week. Prerequisite: Consent of instructor and Drama 223*, 224*
A study of the criticism of theatre production and performance. Class meets 3 hours per week. Prerequisite: Drama 429*
A study of and practice in the various aspects of the technology of the theatre: theatre architecture and equipment, scenery shop practice: methods and materials of construction and painting, furniture and properties; lighting: theory of light and theatre lighting, equipment and control systems, preparation of plots and production operation; sound: theatre acoustics, reinforcement systems, and preparation of effects. Production participation which involves 3 hours per night for 5 nights a week for 2 1/2 weeks in either the Fall or Winter term is required. Class meets 2 hours lecture and 3 hours lab per week. Prerequisite: Consent of instructor and Drama 223*, 224*
A seminar in special areas of drama and theatre. Prerequisite: Consent of instructor and Drama 223*-224*.
Adjunct Professors