My Overloads and Wait Lists Policy

OVERLOADS

I don’t take overloads. I don’t add extra students beyond the enrolment cap numbers determined by the Faculty of Arts and the English Department for specific classes.

The caps on enrolment are there for various reasons; I respect and support those reasons. They help to ensure student access to instructors, interactivity in the classroom setting, and careful evaluation of assigned work with comments explaining the grade given.

The assumption with a classroom course is that there is some interactivity: this can take the form of question period, general discussion, small group discussion, and individual or group presentation. The larger the class, the more difficult this interactivity becomes, and people miss out on valuable chances to participate.

Even if I were to choose just to lecture, there is still the matter of assigned work to be evaluated, and even if I do have teaching assistants (this happens rarely in my courses), there are specific and necessary restrictions on the amount of work I can ask of them.

Instructors are discouraged from taking overloads so that departments can legitimately argue for reasonable class enrolment sizes. As for online courses, because they too require the instructor to monitor ongoing interactive participation and to provide detailed feedback in evaluating assignments, their enrolments are capped as well.

NOTE RE: RESTRICTED SPACES – This is why if you see unclaimed restricted spaces I won’t force anyone into them. If I do so, the unclaimed restricted spaces still exist, and if eligible students decide to claim them, I end up with an overload.

WAIT LISTS

I don’t keep a formal wait list. I’ve tried to do so and have mostly found people change their minds and enrol in other courses and then don’t tell me. What I do is keep your email message on file, in a special folder for enquiries concerning the class you are interested in joining.

YOUR ENQUIRY MESSAGE should be brief. Tell me your degree program, your major (and minor if relevant), and year, and supply your full name and student number (useful because email addresses are often mystifying). Briefly provide some indication of why you want to take this course.

MY REPLY MESSAGE will also be brief. It will tell you I will keep your message on file. It will urge you to check the registrar’s list often (daily! more than once a day!), in case a space opens up for which you can register. It will also urge you to look into alternate courses and have at least one lined up that you know you can take, and that meets your degree requirements and fits your schedule (though be as accommodating as possible about your schedule: sometimes that class at 9 a.m. or 4 p.m. might be the best course you’ll ever take, with a wonderful instructor!).

CONTACTING ME DOES NOT GUARANTEE YOU A SPACE IN THE CLASS. This is why having an alternative is vital.

MAKE SURE YOU ARE ELIGIBLE TO TAKE THE COURSE BEFORE CONTACTING ME. My 300 and 400-level courses require six credits of First Year English or equivalent (e.g. Arts One, ASTU) and third year status in order to register.

FIRST YEAR COURSES ARE ALL REGISTERED THROUGH THE FIRST YEAR OFFICE IN THE ENGLISH DEPARTMENT. I cannot sign students into or out of my sections.

UNDERSTAND YOUR REQUIREMENTS. You rarely need a specific course; what you need tends more to be a combination of area, genre, and period, e.g. a senior course in contemporary literature, or a senior Arts elective.

If you have any questions, please email me (Gisele.Baxter@ubc.ca).

© Gisèle M. Baxter. Not to be copied, used, or revised without explicit written permission from the copyright owner.

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ENGL 110/013 September 2104

English 110/013 Approaches to Literature

(note: lectures will take place Tuesdays from 11am-12:50pm in SWNG 122; tutorial groups will meet Thursdays 11am-noon: check the SSC once registered as then you will know your group number.)

General Description:

Through the study of selected examples of poetry, fiction, and drama, this course will introduce you to the fundamentals of the university-level literary study, and furnish you with the skills to think and write critically about literature. Through lectures and discussions, you will learn the basic concepts of genre and form in literature, and methods of literary analysis, to enable you to pursue more specialized English courses at the second year or beyond. The skills developed this term in critical reading and writing will serve you well in your pursuit of a variety of academic courses (not just English). Moreover, they’ll serve you well in your everyday engagement with various forms of cultural expression: novels, movies, songs, television series, etc.

This Section: Ambition and Desire

“Everyone gets everything he wants” – Willard in Apocalypse Now

“We would often be sorry if our wishes were gratified” – Aesop, “The Old Man and Death”

You’ve likely heard the expression “be careful what you wish for.” From Shakespeare’s bloody “Scottish play,” to Wilde’s Victorian Gothic novel, to Atwood’s post-apocalyptic cautionary tale, we will explore drama and fiction representing characters whose desires are certainly ambitious: to gain a throne whoever stands in the way, to pursue any sensational experience without fear of consequence, to destroy in order to remake human life on earth.

We’ll also examine many possibilities of poetic form and expression, mostly keeping our focus on representations of desire and ambition. A core list of poems will be set at the start of term but you’re encouraged to read widely in the anthology, and your tutorial leaders are encouraged to introduce poems they particularly love that aren’t on that core list.

You will need a Campus Wide Login (http://www.cwl.ubc.ca) username and password to access the Connect site (http://elearning.ubc.ca) for this course. All assignments and handouts for this course will be distributed electronically: emailed to you as document attachments and posted on the course’s Connect site. As well, the Connect site can be used to extend discussion and provide links to various resources.

Texts:

Ebook editions of any of the texts (where available) are acceptable.

  • Lisa Chalykoff et al, eds., The Broadview Introduction to Literature: Poetry.
  • William Shakespeare, Macbeth. Penguin Classics.
  • Oscar Wilde, The Picture of Dorian Gray. Broadview.
  • Margaret Atwood, Oryx and Crake. Vintage Canada.
  • The Canadian Writer’s Handbook: Essentials Edition. Oxford.
  • Recommended for issues especially concerned with writing about literature: Janet Gardner’s Reading and Writing about Literature 3rd ed. Bedford.

Course Requirements:

  • Participation (preparation for and contribution to discussion; completion and submission on time of all assignments; attendance): 10%
  • Two in-class essays (1st: 15%; 2nd: 20%)
  • Term paper (25%)
  • Final examination (30%) In order to receive a passing final grade of 50% or greater, you must write and pass the final examination

Course Prerequisite: LPI level 5 or approved LPI exemption required to remain registered in this class. For further details on the LPI requirement, please visit http://www.english.ubc.ca/ugrad/1styear/faq.htm#1

© Gisèle M. Baxter. Not to be copied, used, or revised without explicit written permission from the copyright owner.

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ENGL 468A/99A September 2014

English 468A/99A: Children’s Literature (online version)

Instructor: Dr. Gisèle M. Baxter

“You are always in danger in the forest, where no people are.” – Angela Carter, “The Company of Wolves”

This course provides an introduction to the scholarly study of literature written for children.

The precursors of and influences on what we now consider children’s literature are numerous and date back centuries, ranging from scholastic dialogues, to hymnals and primers, to transcriptions from oral traditions of folklore, myth, legend and romance. From John Newbery’s 18th century publishing revolution through to the Harry Potter phenomenon and beyond, children’s literature has been the focus of both fascination and controversy, and in recent decades it has increasingly earned academic attention. In this course, we will study a broad selection of texts produced over the last 150 years. We will approach them as cultural and literary productions, exploring their (sometimes) evolving generic features and audience assumptions, in terms of age, gender, content, and perceived boundaries. Students will be introduced to relevant theoretical material and encouraged to develop independent critical responses to the texts. Participation in online discussions as well as group activities is an integral component of this course.

Course Requirements:

  • Critical Response 1: Week 4: 15%
  • Critical Response 2: Week 7: 15%
  • Term Paper: Week 13: 35% (an informal email proposal will be required by the end of Week 11)
  • Participation (ongoing: based both on contribution to open discussions and the private journal): 10%
  • Final Examination (invigilated): 25% Even with submission of all assignments, you must write and pass the final exam in order to pass this course.

Note: 468A/99A is the online version of a classroom course. As in a classroom course, there are weekly readings and the equivalent of attendance is met by online contribution to general discussion and a response journal via the Connect online blackboard system (http://elearning.ubc.ca). Your interaction will be at least as much with your classmates as with me. You will spend roughly the same amount of time weekly on this course as on any three-credit course in winter term, and will need daily access to a computer with a current operating system and browser, and a reliable high-speed internet connection. The university sets the final exam date, and if it conflicts with travel plans, I cannot schedule an exam ahead of that date.

Text List for September 2014:

Except for Folk & Fairy Tales and the Custom Course Materials, any editions (print or e-book) are acceptable as long as they are complete. You may want the Broadview editions of Treasure Island or Anne of Green Gables for the scholarly material: very useful for writing assignments! (The recommended books have not been ordered through the bookstore. If the library has them I will try to put them on reserve.)

  • Hallett and Karasek, eds. Folk & Fairy Tales. Broadview. 4th ed.
  • Robert Louis Stevenson, Treasure Island
  • Lucy Maud Montgomery, Anne of Green Gables
  • C.S. Lewis, The Lion, The Witch, and The Wardrobe
  • Salman Rushdie, Haroun and the Sea of Stories
  • Jillian Tamaki and Mariko Tamaki, Skim
  • S.E. Hinton, The Outsiders
  • Lois Lowry, Number the Stars
  • Custom Course Materials package
  • Recommended if you have little/no experience writing literary analysis: Janet Gardner’s Reading and Writing about Literature 3rd ed or Robert Dale Parker’s How to Interpret Literature 2nd ed
  • Recommended for general writing issues: The Canadian Writer’s Handbook: Essentials Edition

Readings from Folk & Fairy Tales will be announced shortly before term starts in September; you will gain online access to the course on the first day of term.

Note: This senior undergraduate course is concerned with the literary study of texts, and not whether the texts are “good” for young readers or with how to introduce texts to them. The texts represent no specific hierarchy or cross section; many others will come up in discussion. If you chose this section because of one specific text, please find out about all the others, so you can bring the same attention and enthusiasm to each of them.

You will need a Campus Wide Login (http://www.cwl.ubc.ca) username and password to access the Connect site (http://elearning.ubc.ca) for this course.

6 credits of first-year English, or the 18-credit Arts One Program, or the 6-credit ASTU 100A in CAP, or 3 credits of first-year ENGL plus one of ASTU 100B or ASTU 150 and third-year standing are prerequisite to all English courses numbered 343 and above.

© Gisèle M. Baxter. Not to be copied, used, or revised without explicit written permission from the copyright owner.

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ENGL 100/001 September 2014

English 100/001: Reading and Writing About Literature

Instructor: Dr. Gisèle M. Baxter

 

Strange Creatures

“Have you ever retired a human by mistake?” – Rachael to Deckard, Blade Runner

Description: From V for Vendetta to The Hunger Games to The Walking Dead, the near-future landscapes of literary and popular culture are terrifying places. In this course, we will consider dystopian speculations that reflect on the present and recent past, especially concerning the threats of mass surveillance, profit-motivated technology, and environmental crisis. We will focus on two novels and a film (though you will be encouraged to introduce other relevant texts).

As well, through readings in criticism and theory, we will examine the academic discussion of texts in literary and cultural studies, and their relationship to other academic disciplines (such as history, psychology, and sociology). We will also consider the difficulty, if not impossibility, of reaching a “fixed” or consensus reading of any text.

You will need a Campus Wide Login (http://www.cwl.ubc.ca) username and password to access the Connect site (http://elearning.ubc.ca) for this course, which will provide resources and useful links, and where you will contribute to discussion forums and an ongoing journal. All assignments and handouts will be distributed electronically: emailed to you as document attachments and posted on the course’s Connect site.

Note: This course is recommended for students planning a major, minor, or honours degree in English studies, and meets the three-credit UBC Faculty of Arts writing requirement. Prerequisite:  LPI level 5 or approved exemption: http://www.english.ubc.ca/ugrad/1styear/faq.htm#1

Tentative Core Text List:

Options for viewing Blade Runner will be provided at the start of term.

  • Margaret Atwood, Oryx and Crake
  • Kazuo Ishiguro, Never Let Me Go
  • Blade Runner (dir. Ridley Scott; Director’s Cut or Final Cut version)
  • Robert Dale Parker, How to Interpret Literature: Critical Theory for Literary and Cultural Studies 2nd ed.
  • The Canadian Writer’s Handbook: Essentials Edition

Course Requirements:

  • participation (based on regular contribution to in-class and online discussion, and maintenance of an online reading journal: 10%)
  • two in-class essays (15% each)
  • in-class presentation: introduction of an academic journal article (10%: your presentation script/notes will be submitted)
  • term paper (20%); an informal proposal will be required
  • final examination (30%): Even with submission of all assigned work, in order to receive a passing final grade of 50% or greater in this course, you must write and pass the final examination.

© Gisèle M. Baxter. Not to be copied, used, or revised without explicit written permission from the copyright owner.

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ENGL 468A/001 September 2014

English 468A/001: Children’s Literature

Instructor: Dr. Gisèle M. Baxter

“And all the time she went further and further into the wood” – the Brothers Grimm, “Little Red Riding Hood”

Description: Children’s literature has long invited both fascination and controversy. Despite crossover texts appropriated by unintended audiences, and the emergence of daring and diverse material, the folk/fairy tale retold as a life lesson and the “girls’ books”/”boys’ books” dichotomy continue to influence publishing and reading, popular culture, and constructions of gender. Starting with a selection from Philip Pullman’s recent collection of tales by the Brothers Grimm, we will examine the evolving boundaries and assumptions of children’s/YA literature, through a literary/cultural studies lens. Then we will stray from the path and look at texts that challenge or subvert its conventions, considering the forms and extents of danger represented where a mostly young readership is assumed.

Note: This senior undergraduate course is concerned with the literary study of texts, and not whether the texts are “good” for young readers or how to introduce texts to them. The texts represent no specific hierarchy or cross section; many others will come up in discussion. If you chose this section because of one specific text, please find out about all the others, so you can bring the same attention and enthusiasm to each of them.

You will need a Campus Wide Login (http://www.cwl.ubc.ca) username and password to access the Connect site (http://elearning.ubc.ca) for this course, which will provide resources and useful links, and where you will contribute to discussion forums and an ongoing journal. All assignments and handouts will be distributed electronically: emailed to you as document attachments and posted on the course’s Connect site.

6 credits of first-year English, or the 18-credit Arts One Program, or the 6-credit ASTU 100A in CAP, or 3 credits of first-year ENGL plus one of ASTU 100B or ASTU 150 and third-year standing are prerequisite to all English courses numbered 343 and above.

Tentative Core Text List:

Except for Tales from the Brothers Grimm, any print or e-book editions of the texts are fine as long as they are complete. (The recommended resource books will not be ordered through the bookstore.)

  • Philip Pullman, Tales from the Brothers Grimm: A New English Version
  • Alan Garner, The Owl Service
  • Roald Dahl, The Witches
  • Stephenie Meyer, New Moon
  • Joanne Harris, Runemarks (pending availability)
  • Mark Haddon, The Curious Incident of the Dog in the Night-time
  • Recommended if you have little/no experience writing literary analysis: Janet Gardner’s Reading and Writing about Literature 3rd ed or Robert Dale Parker’s How to Interpret Literature 2nd ed
  • Recommended for general writing issues: The Canadian Writer’s Handbook: Essentials Edition

Course Requirements:

  • focused textual analysis (in class; worth 15%)
  • focused analysis of a text using an academic article (15%)
  • in-class presentation (10%; script/notes must be submitted)
  • term paper (25%): an email topic proposal will be required
  • participation (10%; based on contribution to in-class and online discussion, and completion of at least one online exercise)
  • final examination (essay based; 25%) Even with submission of all assignments, you must write and pass the final exam in order to pass this course.

© Gisèle M. Baxter. Not to be copied, used, or revised without explicit written permission from the copyright owner.

 

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