Rail yard background, from the Library of Congress

Connections

A Hypertext Resource for Literature

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Fall 2013

Friday, August 30

First day: Introductions and course outline


Monday, September 2

  • Read the fiction section of Connections, following external links if and when you want to. Come to class prepared to apply the reading to a story.

Also, please go to the class discussion board and write a solid paragraph or two introducing yourself to the class. Aside from the obvious introductory function of this assignment, it also ensures that we flush out any technical problems before moving farther into the term.

Bring your copy of Dubliners to class.

We will do an in-class assignment designed to familiarize you with the terminology of fiction writing.


Wednesday, September 4

  • Emily Brontë, Wuthering Heights, Introduction and opening, 3-37

    • You'll find good , bad , and outdated information alike from Mitsuharu Matsuoka's Brontë Sisters Web, but it's still the best starting point on the Web.

Group 1 response: On the basis of the first pages of the novel, discuss images that strike you as interesting or potentially important. What patterns of images, in other words, would you suggest we follow as we read more of the novel? If you want a definition of literary imagery, look here.

Note: here and throughout this syllabus, the first (less indented) reading or link is required, while the second (more indented) reading or link is supplemental and optional. Here, for example, the reading from Wuthering Heights is required, whereas exploring the website is optional.


Friday, September 6

  • Wuthering Heights, 37-80

Group 2 response: Use the last set of responses as the basis for these, either by following up on someone's suggestion or by pointing out a new development that you would like to follow.


Monday, September 9

  • Wuthering Heights, 80-138

  • Robert Dale Parker, "New Criticism," from How to Interpret Literature

We will discuss close reading and New Criticism in class.

Group 3 response: Using a short quotation from the Parker chapter as a starting point, write a post about some specific element of Wuthering Heights in light of New Criticism. What would a New Critical approach help you see in the text, and what would it obscure?


Wednesday, September 11

  • Wuthering Heights, 138-208

Group 4 response: open response following the method of the close reading handout. Discuss how the close reading process affected your reading and response.


Friday, September 13

  • Wuthering Heights, 208-288

In class today, we will construct a list of key issues to follow as we read criticism of the novel.

Group 5 response: open response.


Monday, September 16

  • Wuthering Heights criticism, 333-347

Assignment for everyone: do the reading of the history of criticism and send me an email containing two items: first, a specific point in the readings you would like to talk or ask about in today's discussion; and second, your preliminary sense of what you might end up writing a paper about. This assignment is for reflective purposes; we will not yet meet about your topics, and they may change or develop as we do the critical readings. I just want you to go through a preliminary phase of considering topics.


Wednesday, September 18

  • Five Ways of Looking at a Thesis (handout)

Come to class with a draft thesis for your paper. We will do an in-class exercise about thesis construction, at the end of which you will reflect on your own draft thesis.


Friday, September 20

  • Parker, "Historicism and Cultural Studies"

  • Nancy Armstrong, "Imperialist Nostalgia and Wuthering Heights," pp. 430-450 of the Bedford edition

Everyone: Note that the paper prospectus is due Monday.

Group 1 response: Discuss a point in the article that you consider especially instructive or, on the contrary, to be a misreading of Wuthering Heights. You can talk about more general applications of the day's theory if you like, but every response should start by discussing a specific moment in the day's article.


Monday, September 23

  • Parker, "Marxism"

  • Terry Eagleton, "Myths of Power: A Marxist Study on Wuthering Heights," pp. 394-410 of the Bedford edition
  • FICTION ANALYSIS PAPER PROSPECTUS DUE IN CLASS

Group 2 response: Discuss a point in the article that you consider especially instructive or, on the contrary, to be a misreading of Wuthering Heights. You can talk about more general applications of the day's theory if you like, but every response should start by discussing a specific moment in the day's article.


Wednesday, September 25

  • Joyce, "The Boarding House" and "A Painful Case" from Dubliners

  • James Wood, from How Fiction Works on narration and realism
    • Dictionary of Literary Biography (subscription only): Joyce as novelist and short-fiction writer

    • The Modern World, which produces excellent author pages, has an extensive one devoted to Joyce.

    • Edward J. Maloney and David F. Fanning of Ohio State maintain the James Joyce Resource Center, with a bibliography of books, a timeline, and "casebooks" of references to Joyce scholarship grouped by critical approach.

Group 3 response: open response connecting Wood's ideas to one or both of the Joyce stories.


Friday, September 27

Group 4 response: open response.


Monday, September 30

  • Jones, "Marie"

  • Parker, "Postcolonial and Race Studies"

Group 5 response: Write a response in which you discuss some specific way in which you found the Parker chapter helpful or unhelpful for interpreting a specific aspect of the story.


Wednesday, October 2

Group 1 response: open response, perhaps applying one or more of the critical perspectives to the story.


Thursday, October 3

FICTION ANALYSIS PAPER DUE
OUTSIDE MY OFFICE DOOR BY 4:00


Friday, October 4
  • Read the sonnet section of Connections and make notes that will prepare you to analyze the technique of sonnets in class.

Come to class prepared to apply the reading to a sonnet.


Monday, October 7

Come to class prepared to apply the readings to "My Last Duchess."


Wednesday, October 9

  • Read the blank verse section of Connections and make notes that will prepare you to analyze the technique of blank verse in class.

Come to class prepared to apply the readings to a poem in blank verse.


Friday, October 11

  • Read the ballad section of Connections and make notes that will prepare you to analyze the technique of ballads in class.

  • Joseph Williams, Style, Lessons One through Four

We will discuss the ballad readings and work with sentences (about ballads!) to illustrate the principles of the Williams book.


Monday, October 14

Come to class prepared to discuss Bergvall's poem in the context of free verse. Prepare especially to consider the differences among the ways of encountering Bergvall's poem in the assigned readings.


Wednesday, October 16

Group 2 response: open response using the manifesto from the first link and one of the poems.


Friday, October 18

  • Research day! We will talk about the annotated bibliography assignment and related resources.

Come to class with some preliminary ideas about the kinds of things you might research for your fiction or poetry paper.


FALL BREAK

Monday, October 28

Welcome back from break. Review Williams's Style (Lessons One through Four) and read Lesson Five in preparation for an in-class exercise based on the book.

Everyone: Note that the paper prospectus is due Wednesday.


Wednesday, October 30

POETRY PAPER PROSPECTUS DUE IN CLASS

Group 4 response: open response. Our discussion may focus mainly on "American Sonnet" and its relation to our earlier discussions of sonnets.


Friday, November 1

  • Joyce Kilmer, "Trees," with Brooks and Warren's commentary (Pweb)

  • Jerome McGann on "Trees" (Pweb)

  • Alan Bigelow, "This Is Not a Poem"

Group 5 response: Write a response comparing any two ways of looking at Kilmer's "Trees" represented in today's readings.


Monday, November 4

  • Timothy Corrigan, A Short Guide to Writing about Film, Chapter 2

Come to class prepared to apply the Corrigan chapter to a film scene.


Tuesday, November 5

POETRY PAPER DUE
UNDER MY OFFICE DOOR
by 3:00.


Wednesday, November 6

  • Orson Welles, Citizen Kane (1941)

    • The standard resource: IMDB's page

    • Filmsite.org's page on the film has a lot of interesting information, especially about the Kane-Hearst parallel.

    • Roger Ebert's very good viewer's guide

    • Reviews from MRQE

Group 1 response: Write a response based on any element of the film that you would not experience by reading a transcription of the film's spoken words.


Friday, November 8

  • Corrigan, Short Guide, chapter 3

Come to class prepared to apply chapter 3 to a scene from Citizen Kane.


Monday, November 11
  • Complete the Treasure Hunt of the MIND (handout) and bring your findings to the library for class.

Library day!


Wednesday, November 13

  • Alfred Hitchcock, Vertigo (1958)

Group 2 response: Write a response based on any element of the film that you would not experience by reading a transcription of the film's spoken words.


Friday, November 15

  • Leland Poague, "Engendering Vertigo"

  • Parker, "Feminism"

Group 3 response: discuss a specific moment or scene in the film that you read differently after reading the texts for today.


Monday, November 18

Writing day: we will do an in-class exercise on transitions and organization.


Wednesday, November 20

  • John Huston, The Maltese Falcon (1941)

  • Paul Schrader, "Notes on Film Noir"

Group 4 response: Write a response based on any element of the film that you would not experience by reading a transcription of the film's spoken words.


Friday, November 22

  • William Luhr, "Tracking the Maltese Falcon"

    Everyone: Note that the paper prospectus is due Monday.

We will do an in-class exercise based on Luhr's piece.


Monday, November 25

FILM ANALYSIS PAPER PROSPECTUS DUE IN CLASS

  • Bryan Singer, The Usual Suspects (1995)

Group 5 response: Refer back to our discussions of The Maltese Falcon to comment on what The Usual Suspects does and does not have in common with the Film Noir tradition.


Wednesday, November 27

Class will not meet today. We will devote class time to individual conferences about your prospectuses and the end of the semester.


Monday, December 2

  • J. P. Telotte, "Rounding up 'The Usual Suspects': The Comforts of Character and Neo-Noir"

Group 1 response: open response.


Tuesday, December 3

FILM ANALYSIS PAPER DUE
OUTSIDE MY OFFICE DOOR BY 4:00


Wednesday, December 4

MOCK WORKSHOP OF ANNOTATED BIBLIOGRAPHY ENTRIES: I will provide some annotated bibliography entries for you to evaluate as a way of solidifying expectations for this assignment.


Friday, December 6

PEER REVIEW OF SKELETON PAPERS: Bring to class THREE COPIES of a current version of one of your papers that removes the body paragraphs except for the first sentence of each one. Your version should have a title, first paragraph, transition sentences, last paragraph, and Works Cited list. In class, you will share this skeletal paper with a group and work through a set of questions to evaluate it.


Monday, December 9

PEER REVIEW OF RESEARCH PRODUCTS: Bring to class THREE COPIES of a) two full entries for your annotated bibliography and b) two paragraphs taken from current versions of your papers in which you quote an external source.


Wednesday, December 11

PEER REVIEW OF SKELETON PAPERS: Bring to class THREE COPIES of a current version of one of your papers that removes the body paragraphs except for the first sentence of each one. Your version should have a title, first paragraph, transition sentences, last paragraph, and Works Cited list. In class, you will share this skeletal paper with a group and work through a set of questions to evaluate it.


Friday, December 13

  • Last day of class: wrapping up, questions about the final portfolio.


Tuesday, December 17

FINAL PORTFOLIO DUE BY 5:00 P.M.
OUTSIDE MY OFFICE DOOR

Note: anyone taking the extension for the portfolio by the normal procedure will have a deadline of 5:00 p.m. on Thursday.

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