English 29: Issues in Literary Study

Fall 2013  MWF 2:45-3:50  Dante 213

Prof. Kathryn Koo E-mail: Office: Dante 316, x-8782 Office Hours: M 1:00-2:00,

W 4:00-5:00 and by appt.

This course will offer students the opportunity to develop a “toolbox” of methods and skills for the study of literature. We will examine a number of theoretical approaches, including New Criticism, feminist theory, post-structuralism, deconstruction, psychological theory, and historical/cultural theory. As we explore these approaches, we will practice the writing and research skills of the literary critic and engage with other critics whose views may or may not coincide with our own. In this course, we will also have the opportunity to evaluate the field of literary study itself. Why do we read what we read? What is the difference between high and low literature? And why should we be invested in defining one against the other? Our exploration of these issues will help us to understand the cultural values that inform our field and invite us to examine our own personal motivations as both readers and critics. This course will be essential to the development of a new critical voice in the field – yours.

READING LIST

A Course Reader

Hubbuch, Susan. Writing Research Papers Across the Curriculum. 5th ed. Boston: Wadsworth, 2005.

Kincaid, Jamaica. Annie John. New York:Farrar, Straus and Giroux, 1985.

Lynn, Steven. Texts and Contexts. 6th ed. New York: Pearson, 2011.

Shakespeare, William. The Tempest: A Case Study in Critical Controversy. Ed. Gerald Graff and

James Phelan. 2nd ed. Boston: Bedford/St. Martin’s, 2009.

Spiegelman, Art. Maus: A Survivor’s Tale. New York: Pantheon, 1986.

Tatar, Maria, ed. The Classic Fairy Tales. New York: Norton, 1999.

COURSE OBJECTIVES

English 29 is a writing-intensive course designed to introduce students to the discipline of literary study. We will use writing as a form of critical thinking and as a way to practice literary theory. Indeed, writing will be critical to our fulfillment of each of the course objectives below.

By the end of this course, students should be able to:

  1. Understand that there are many possible approaches to any text, including New Criticism and the theoretical responses to it, and that each of these has its own premises that focus reading and analysis in specific ways;
  2. Know that well-prepared critics can disagree about interpretations of a text;
  3. Be able to apply a variety of critical approaches to texts;
  4. Recognize that reading criticism requires not submission to an authoritative point of view but active engagement in an ongoing conversation;
  5. Identify their own interests and investments in interpreting literature;
  6. Understand the cultural and aesthetic values that lie behind critical approaches and canon formation;
  7. Be prepared to perform research in upper-division courses in English.

English 29 is also designed to support the learning outcomes of the Core Curriculum. In particular, this course will help students to 1) develop strong written and oral communication skills; and 2) evaluate information and perform research at the college level.

With increasing proficiency, students will:

  1. Recognize and compose readable prose, as characterized by clear and careful organization, coherent paragraphs, and well-constructed sentences that employ the conventions of standard written English and appropriate diction;
  2. Recognize and formulate effective written and oral communication, giving appropriate consideration to audience, context, and format;
  3. Analyze arguments so as to construct ones that are well supported, are well reasoned, and are controlled by a thesis or exploratory question;
  4. Use the processes of writing to enhance intellectual discovery and unravel complexities of thought;
  5. Develop search strategies and use library catalogs and databases to find relevant material;
  6. Critically evaluate sources;
  7. Integrate and cite evidence appropriately;
  8. Understand the concept of intellectual property and practice academic honesty.

REQUIREMENTS

Attendance and Participation (20%)

This course will be conducted as a writing workshop and discussion-based seminar. Your success will depend on your attendance, your attention to each text, and your participation in class activities and discussions. Participation will be evaluated on the nature and depth of your engagement. A student who faithfully attends class and consistently raises questions, offers interpretations, advances the conversation, and remains engaged in the entire discussion might receive an “A” in this area. A student who regularly attends class and who raises questions, offers interpretations, and advances the conversation on some days but not others might receive a “B” in this area. A student who attends class regularly but only occasionally raises questions or offers interpretations might receive a “C” in this area. A student who does not attend class regularly or is frequently late to class, and/or only rarely participates in the class discussion might receive a “D” or “F” in this area.

Please make every effort to arrive on time. A roll sheet will be distributed at the beginning of class. Those who arrive after the circulation of the roll sheet will be noted down as late. Students will be allowed three absences without penalty over the course of the semester. A fourth absence will result in the lowering of the student’s Attendance and Participation grade by one-third of a grade (for example, from a B to a B-). A fifth absence will result in a deduction of two-thirds of a grade, and so on. Repeated lateness will also negatively affect the student’s grade. Note: Class attendance is an essential requirement of this course. Missing more than three weeks of class (nine class meetings) will normally result in failure in the course.

Exploratory and Developmental Writing (20%)

In this course, writing will be a way to learn and practice different literary approaches. Writing will also be a way for you to reflect on your development as a reader and a critic. In advance of many class meetings, you will be asked to submit a brief, 1-2 page writing assignment to our Moodle course site. On some days, you will also be asked to bring a paper copy of the completed assignment to class for use during our discussion. Assignments will vary. You may be asked to write a brief textual analysis that employs a particular critical approach, a reflection on your motivations as a literary critic, or a comparative analysis of two essays. For these assignments, I will be looking for writing that shows engaged, active thinking and a willingness to take on the challenges and complexities of the text. Directions will be provided for all assignments. 1-2 page assignments will be worth 5 points; essay drafts will be worth 10 points. All assignments will be due by the beginning of class time on the dates listed on the syllabus. Late 5-point assignments will be eligible for partial credit (a maximum of 3 points). Late essay drafts will not be eligible for partial credit. A total of 160 points may be earned. At the end of the semester, points earned by the student will be converted to a letter grade based on a standard breakdown of percentages.

On the 5-point scale, a score of “5” means that the work meets the required length and exceeds my expectations for engagement with and exploration of the text. A score of “4” means that the work meets the required length and meets my expectations for engagement with and exploration of the text. A score of “3” means that either a) the work does meet the required length but does not adequately engage with or explore the text, or b) the work does not meet the required length but does sufficiently engage with or explore the text. A score of “2” or “1” means that the work is too short and/or fails to engage with or explore the text.

On the 10-point scale, a score of “10” means that the draft meets the required length, fulfills all the requirements of the assignment, and exceeds my expectations in terms of quality of thought and attention to textual detail. A score of “9” or “8” means that the draft meets the required length, fulfills all the requirements of the assignment, and meets my expectations in terms of quality of thought and attention to textual detail. A score of “7” or “6” means that a) the draft meets the required length, but does not fulfill all the requirements of the assignment or does not meet my expectations, or b) the draft does not meet the required length but does fulfill the requirements and/or my expectations. A score of “5” or below means that the draft is seriously deficient in either length or quality.

Three Essays (60%)

Three formal essays will be assigned. The first essay will be a 3-4 page essay that employs New Criticism. The second essay will be a 4-6 page essay that applies a psychological or feminist approach to the text. The third essay will be a 4-6 page essay that examines a critical debate about Shakespeare’s The Tempest and offers its own argument in response to that debate. Each essay will be preceded by a series of writing assignments that will help you to develop and refine your ideas over time. Proper use of the MLA style will be expected in all essays. Because the Saint Mary’s Composition Program Grading Standard is particularly well suited for the evaluation of literary essays, I will use this standard when grading essays. Copies of the standard will be provided at the beginning of the semester.

GRADING

Attendance and Participation 20%

Exploratory and Developmental Writing20%

Essays First Essay - 10%60%

Second Essay - 20%

Third Essay - 30%

______

100%

Note: You must maintain a satisfactory attendance record and submit all three essays in order to receive a passing grade in this class.

STUDENT DISABILITY SERVICES

Student Disability Services extends reasonable and appropriate accommodations that take into account the context of the course and its essential elements for individuals with qualifying disabilities. Students with disabilities are encouraged to contact the Student Disability Services Office at(925) o arrange a confidential appointment to discuss accommodation guidelines and available services. Additional information regarding the services available may be found at the following address on the Saint Mary’s website:

CENTER FOR WRITING ACROSS THE CURRICULUM (CWAC)

Writers of all disciplines and levels are invited to drop in or make appointments for one-on-one sessions with Writing Advisers. CWAC is located in Dante 202 and is open on Sundays, 5-8 p.m., Mondays, 12-7 p.m., and Tuesdays-Thursdays, 12-8 p.m. Phone: (925) 631-4684.Website: Writers should bring their assignments, texts, and notes.

LIBRARY ASSISTANCE

Reference/Information assistance is available at the Reference Desk, by phone (925) 631-4624, text message or IM.Check theLibrary’s “Ask Us” link for details: assistance by appointment is also available. Please contact Sharon Walters, the subject librarian for English, for such appointments. She may be reached by phone at x-4267 or by email at .

ACADEMIC HONOR CODE

Saint Mary’s College expects every member of its community to abide by the AcademicHonorCode.According to theCode, “Academic dishonesty is a serious violation of College policy because, among other things, it undermines the bonds of trust and honesty between members of the community.”Violations of theCodeinclude but are not limited to acts of plagiarism.For more information, please consult theStudent Handbookat

ACADEMIC CONDUCT

Students in this course will be expected to abide by the standards of academic conduct described below. We will be dealing with challenging questions and controversial issues throughout the term. All class participants will be asked to uphold these standards in order to ensure that we maintain an open and respectful environment in the classroom. Some of these guidelines have been adapted from Prof. Patrizia Longo’s guidelines for Academic Conduct.

  • Please come to class fully prepared to engage in classroom activities for the next 65 minutes. Be sure to bring the correct text(s), any required homework, and the necessary note-taking supplies to class. Students who do not bring these materials to class will be considered unprepared and will be downgraded in the area of Participation.
  • Except in the case of an emergency, please do not leave the room during classtime, as your departure and re-entry will distract our attention from classroom activities. Use the building’s facilities before or after class, not during class time. Students who disregard this rule will also be downgraded in the area of Participation.
  • You may bring a drink to class, but please, no food. Also, please be sure to turn off cell phones and other electronic devices when you come to class.
  • During discussions, please listen carefully to your classmates. Treat their opinions, beliefs, and perspectives with respect. Only one person should be talking at a time; no one should engage in private or side conversations.
  • Try to frame your contributions to classroom discussionin ways that will not intentionally offend others. You are welcome to have strong opinions and beliefs, but please don’t present them as the final word on the matter.
  • Don’t withdraw from the discussion when you hear things you disagree with. Instead, pose a thoughtful question or ask for clarification. And be sure to question and analyze your own assumptions in the process.
  • Be sensitive to signs that others want to speak, and encourage those who want to speak to do so. Try at all times to foster a respectful and courteous exchange of ideas in the classroom.
  • Last but not least, if you are uncomfortable with any aspect of the course or the classroom discussion, please bring your concerns immediately to the professor. I cannot address your concerns if I do not know about them, so please do not wait to report them to me.

SCHEDULE

Please complete the assigned readings by the day they are listed on the schedule.

T&C = Texts and Contexts CFT = Classic Fairy Tales

Week 1Sept. 4Introduction to the Course

UNIT 1: NEW CRITICISM

Sept. 6 Reading: T&C, Ch. 1 and Ch. 3, pp. 37-55, 60-61

Gilman, “The Yellow Wall-Paper” (reader)

Assignment: Review Lynn’s terms and checklist for New Criticism before you read the story and mark up the text. Bring your ideas and your notes for a New Critical reading of the story to class.

Week 2Sept. 9Reading: Dickinson, Poems #340, #407, #446, #591, #764 (reader)

Plath, “Blackberrying,” “The Arrival of the Bee Box,” “Stings,”

“The Swarm,” “Wintering” (reader)

Assignment: Choose one poem as the subject of your first essay. Review Lynn’s terms and checklist for New Criticism. Then write 1-2 pages of notes about the poem and post it on Moodle.

(5 points)

Sept. 11Reading: T.S. Eliot, “Tradition and the Individual Talent” (reader)

Wimsatt and Beardsley, “The Intentional Fallacy” (reader)

Assignment: How do Eliot’s and Wimsatt and Beardsley’s essays contribute to your understanding of New Criticism? Which specific parts of the essays help to explain the role of the New Critic? Bring your ideas and your notes to class.

With the help of the notes that you wrote on your poem, develop a 1-2 page essay proposal. What specific argument will you make about the poem in question? And how will you support it? Post your proposal on Moodle and bring three paper copies to class.

(5 points)

Sept. 13Peer Review Workshop: The First Draft

Assignment: Draft your essay and post it on Moodle. Be sure to reach the minimum word count. Bring two copies to class for the Peer Review Workshop. (10 points)

UNIT 2: READER RESPONSE CRITICISM

Week 3Sept. 16Reading: T&C, Ch. 4, pp. 65-91

Fish, Is There a Text in This Class? (reader)

Assignment: Fish argues that poetry is made “through interpretive strategies that are finally not our own but have their source in a publicly available system of intelligibility” (332). Is your chosen poem a poem because of the “system of intelligibility” that precedes it? Bring your ideas and your notes to class.

UNIT 3: STRUCTURALISM, POST-STRUCTURALISM, AND DECONSTRUCTION

Sept. 18 Reading: T&C, Ch. 5

Assignment: With the help of Lynn’s terms and checklist for deconstruction, write a 1-2 page analysis of the advertisement on p. 130. Post your analysis on Moodle and bring a paper copy to class. (5 points)

Sept. 20 Reading: Doyle, “Charles Augustus Milverton” (reader)

Belsey, “Deconstructing the Text: Sherlock Holmes” (reader)

Note: Please be sure to complete the writing assignment before you read Belsey’s “Deconstructing the Text”!!

Assignment: With the help of Lynn’s terms and checklist for deconstruction, write a 1-2 page deconstructionist analysis of Doyle’s “Charles Augustus Milverton.” Post it on Moodle and bring a paper copy to class. (5 points)

Due: Essay #1 (Post it on Moodle and bring a paper copy to class.)

UNIT 4: FAIRY TALES AS CASE STUDY -

PSYCHOLOGICAL, FEMINIST, and MARXIST CRITICISM

Week 4 Sept. 23Reading: T&C, Ch. 7

Versions of Little Red Riding Hood (CFT pp. 10-24)

Assignment: What common elements of the various versions might lend themselves to a psychological analysis of this enduring tale? In your 1-2 page analysis, be sure to explain how these elements could contribute to such a critical reading. Post your analysis on Moodle and bring a paper copy to class. (5 points)

Sept. 25Reading: Brothers Grimm, “Hansel and Gretel” (CFT pp. 184-190)

Bettelheim, “The Struggle for Meaning” and “Hansel and Gretel”

(CFT pp. 269-280)

Assignment: Write a 1-2 page response to Bettelheim’s use of psychological criticism. Does his symbolic reading of the family in “Hansel and Gretel” open up new avenues of research and new ways of thinking about this fairy tale? Or does it limit the interpretive possibilities of the text? Post your response on Moodle and bring a copy to class. (5 points)

Sept. 27 Reading: T&C, Ch. 8

Brothers Grimm, “Snow White” (CFTpp. 83-89)

Stone, “Feminist Approaches . . . ” (reader)

Assignment: Write a 1-2 page feminist analysis of “Snow White.” Be sure to refer to Lynn’s terms and checklist as you write. Post your analysis on Moodle and bring a paper copy to class. (5 points)

Week 5 Sept. 30 Reading: T&C, “Marxist Criticism,” pp. 150-155

Brothers Grimm, “Cinderella”(CFT pp. 117-122)

Zipes, “Breaking the Disney Spell” (CFT pp. 332-352)

Assignment: Write a 1-2 page evaluation of Zipes’s essay. Are you persuaded by his argument that Disney uses the fairy tale as a vehicle for promoting his own politics? Why or why not? Post your