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ENGL 238 is a literature course designed to help students develop an appreciation of the literary value of novels and short stories and connect them to other forms of narrative. To facilitate the development of that appreciation, we will be close-reading a selection of texts that, among other things, demonstrate the various types of journeys that both characters and the reader embark upon, including physical, emotional, spiritual and intellectual journeys. We will also consider the ways in which race, class, and gender influence these journeys. The course will stress the importance of close-reading texts, and students will demonstrate their ability to close-read texts for literary meaning in class discussions and a variety of formal assignments completed in and outside the classroom, including two essays, two exams, homework, and a variety of in-class assignments.
Required Texts – available at Von’s Bookstore
Course Policies
Class Participation and Discussions
While I will occasionally deliver short lectures, most of this class will involve a mixture of class discussion and group work. That means that for each class period, you will need to come to class prepared to actively discuss the assigned readings for each day. I welcome raucous conversations about the texts we will be reading in the classroom. Our class discussions, however, should remain professional and respect the many different viewpoints represented in the classroom. Harassment of any kind will not be tolerated. I expect professionalism both in class and in the assignments you will turn in.
Attendance
In–class participation is critical to your own success and to the success of the course, since the more people there are in a room, the more opportunities we will have for stimulating discussions. You are allowed four absences for the semester, the equivalent of more than an entire week of class, with no questions asked. For each absence over four, your final grade will be lowered by 5 percentage points. I will take attendance at the beginning of each class period by having students sign an attendance sheet; it is your responsibility to sign the sheet for each class session, even if you arrive late. It is also your responsibility to find out what you missed while absent. In-class assignments cannot be made up, and I do not accept any late work without penalty. Only in extenuating circumstances will I accept papers/projects late, but there will be a one-letter-grade penalty for each day (including weekends and holidays) that it is late.
Disabilities
Students with disabilities must be registered with Adaptive Programs in the Office of the Dean of Students before classroom accommodations can be provided. If you are eligible for academic accommodations because you have a documented disability that will impact your work in this class, please schedule an appointment with me as soon as possible to discuss your needs.
Intellectual Property
The work you submit for this course must be your own, and you must cite any sources you reference in any version of your class projects. Submitting another person’s work as your own or failing to cite sources constitute plagiarism, and submitting work you’ve done for another class is academic dishonesty. Being found guilty of any of these activities will result in failure of the course, and could result in suspension or expulsion from the University. Please familiarize yourself with Purdue’s policies on plagiarism and academic dishonesty on the web at: http://www.purdue.edu/odos/osrr/integrity.htm. If you have any questions about using and acknowledging a source, please contact me or the Writing Lab.
Assignments and Grades
Both papers must be typed with a 12-point, Times New Roman font and double–spaced with one-inch margins (default on most computers). All papers should adhere to MLA guidelines for formatting and citation.
Short Essay: The first formal essay will give you several options to choose from, including comparing works we have read.
Midterm and Final Exams: Both the midterm and final exam will test your ability to close-read texts. Exams will include both objective and subjective sections, including short answer and long essay questions.
Final Essay: At the end of the semester, you will write one formal essay (5-6 pages) that will demonstrate your ability to analyze and closely read two of the texts we have read and discussed throughout the semester. This essay will need to adhere to MLA guidelines.
Your final grade will be determined as follows, out of 500 points total:
Quizzes, Participation and In-class Writing: 125 points (25%)
Short Essay: 50 points (10%)
Midterm Exam: 75 points (15%)
Final Essay: 125 points (25%)
Final Exam: 125 points (25%)
All course handouts, guides, and readings can be found here.
First Section: pp. 3-59
*What events does Sethe describe on pp.19-21? What impact have these events had on her, even now, 18 years in the future?
*What is happening at the bottom of p.21, and why does it make Denver smile?
*What does it mean that Halle "gave her freedom when it didn't mean a thing?" (28).
*What is the "blessing" Sethe refers to on p.28?
*This section identifies several key events that will come up again in the narrative. What seem to be the significant moments recounted or mentioned in this section?
*How would you describe Denver's secret refuge? What does this place do for Denver?
*What does Denver see happening inside her house on p. 35? What does this symbolize?
*What narrative is Denver obsessed with hearing, and why?
*Why is the word "plans" important to this section?
*How do these characters feel about the past? What is the best way to deal with the past?
*What does this section tell us about love and relationships among former slaves? What about the identity of the slaves themselves?
*How would you describe the changes these characters have undergone, just in the first four chapters? What sort of tone does the section end on? Why?
Second Section: pp. 60-100
*Now that you have finished this section, who do you think the new character, Beloved, is?
*Find some textual evidence to support your interpretation. If you think this new character somehow corresponds to the baby ghost with "Beloved" on her tombstone, why? In what way? Pull out some evidence in the text for your interpretation, other than the obvious name correspondence. This section is full of possibilities (and mysteries).
*Go back and look at Sethe's physical reaction to seeing this woman sitting near her house (on p.61). What happens, and what could this symbolize?
*How do Denver, Sethe, and Paul D respond to this stranger's arrival? Why is Denver "shaking" but wanting more on p. 63? Why is Paul D so disturbed by her?
*What do the other characters notice about Beloved? (in terms of physical appearance, dress, personality, etc.)
*Why is Sethe more apt to tell her stories and explain her memories to Beloved than she had been with Denver?
*What do we find out about Sethe's mother? And the circumstances surrounding Sethe's birth? How does this connect to Sethe's maternal identity and sense of self?
*What do we discover about the past history of 124? What purpose did it serve?
*What does Paul D tell Sethe in this section that upsets her so greatly? What is Sethe's reaction to the news?
*The issue of plans arises again in this section. Why is planning such an important issue for Sethe and the other characters?
*What else do we discover about Paul D's past? Who is Mister, and what does he signify for Paul D? How does this connect with Sethe's identity and sense of self?
*On p. 86 Paul D thinks about a tobacco tin. What does this tin symbolize for him?
*We discover more information about Denver's birth at the end of this section - or do we? Look again closely at the paragraph preceding the jump back into the past.
Third Section: pp. 101-158
*What is the Clearing, and what does it symbolize for the community?
*What was Baby Suggs's role in the community, before and just after Sethe's arrival?
*Why does Sethe go to the Clearing? What happens there? (Who did it?) And what decision does Sethe reach while there?
*How does Denver react to this event in the Clearing, and why?
*What do we discover about Denver's past in one of her memories? Why did she stop going there?
*On p. 123 we hear two questions Denver was asked. What do you think they mean?
*Describe what we learn about Paul D's past in this section. How would you characterize what he lived through?
*On p. 129, Paul remembers having screamed, but then he says that "it may have been somebody else." What does this thought symbolize about Paul D?
*Explain how the theme of community is raised in this section about Paul D.
*How do trees enter into the section, and what do they symbolize?
*Why is Paul D slowly moving away from the bedroom he shared with Sethe?
*What happens on p. 136-8?
*Describe how Paul D feels about masculinity and what it takes to be a "true man." What changes do his emotions undergo in this section?
*If you had to choose a protagonist for the entire novel at this point, whom would you choose? Why? What conflict is going on in the novel?
Fourth Section: pp. 159 - top of 222
*On p. 159 it states that "It was Stamp Paid who started it." What did he start, how, and what were the results of what he started?
*Why did the community get so angry? Because of this anger, what did they fail to do for those at 124?
*What does this failure say about the black community?
*Names and naming are an important issue in this section. What do we find out about the origin of both Baby Suggs's and Stamp Paid's names? What themes do these tie into, and why are they important to the novel?
*The Garners and their slave operations are brought up again. We raised the issue of "benevolent slavery" in class - what is being discussed on p. 172, and how do you see the Garners and their position as slave owners now?
*We finally discover the reasons behind the crawling-already? girl's death in the short chapter on p. 174-180. What was your reaction to this narrative? Did you have any idea this would be the case?
*What is Baby Suggs's judgment about this event and Sethe? Does she feel she was wrong or right in her decision? Do you agree with Baby Suggs's judgment?
*What do the "four horsemen" symbolize? Have you heard of this phrase or description before?
*How do you feel about Stamp Paid's decision to share this story with Paul D, and Paul D's decision to leave the house? Do you feel each of them were right in their decisions? Why or why not?
*How does Sethe explain her motivations to Paul D? Have your feelings and judgments about Sethe changed after this has been revealed?
*Why do the three women go skating, and what happens afterwards? How does this event change Sethe's mind about Beloved?
*Where has Paul D gone, and why do Stamp and Ella disagree about the community's treatment of Paul D and those still at 124?
Fifth Section: pp. 222-277
*Why doesn't Sethe wait to purchase food like everyone else in her community? What does this tell us about her?
*The entire section from p.222-234 consists of Sethe talking to whom? What is she trying to tell or explain to this person?
*What do we discover schoolteacher was doing with the slaves in this first chapter of volume II? Why is Sethe deeply troubled by this? What greater themes do these actions connect with?
*What causes the Sweet Home men and Sethe to plan their escape?
*We read a conversation between Sethe and Halle discussing the Garner's type of slavery vs. that of schoolteacher. What does each character believe about the two parties? Why?
*What happened to Paul A and Sixo during the attempted escape?
*On p. 234-5, Stamp Paid thinks about the parties involved with slavery. What does he conclude? Are slaves the only ones affected by slavery? Why or why not?
*The next 4 chapters are written in what is called in literary studies a "stream of consciousness" narrative, in which the thoughts of a character are expressed as they are thought. Look for connections and similar themes expressed across these 4 chapters. Who is speaking in each one? To whom is this person speaking? And what are they trying to explain or describe? In other words, what is the motivation for the existence of these chapters?
*Why is the third chapter in this series written so differently than the first two? Watch for patterns of imagery and symbolism in this chapter.
*Who is speaking in the fourth chapter of this series?
*The last 2 chapters of this section return us to Paul D's memories and his current situation. What does he remember this time about his time at Sweet Home (Garners vs. schoolteacher), the escape plan, and the results?
*What does this chapter have to say about "price" and "value"?
*How does Stamp Paid feel about Sethe's decision to try and kill her children?
*What else do we discover about Stamp's decision to rename himself, and what does this suggest about his identity or way of dealing with trauma?
Sixth Section: pp. 281-324
*The first sentence of volume III is "124 was quiet." Why - what has changed?
*How would you describe the changing relationships between Sethe, Beloved, and Denver in this section? (especially compared to the "unspoken thoughts" from the 4 chapters in the last section). Why and how have things changed for these three women?
*How are their household roles changing? What is Sethe acting like, and Beloved? Because of these changes, how does Denver's role change?
*What physical changes do the women undergo?
*What does Denver decide to do, and what does this symbolize?
*What do the "gifts of food" (p. 293) symbolize for the community and those at 124?
*On p. 297, Denver hears Lord Nelson's words "as though it were what language was made for." What impact do his words have on Denver, and how does this quote connect to what we have been discussing about the theme of language in this novel?
*Who becomes the leader of the "rescue" of 124? Why do you think Morrison chose this particular character instead of say, Paul D, Stamp Paid, or the Bodwins?
*What does this character think about Sethe's actions, and also the past and present in general?
*What happens at the end of the chapter on pages 304-9? What does the arrival of these characters represent, what memory and motivation causes Sethe's violent reaction, and what are the results?
*Why didn't she try to kill her child under the threat of "schoolteacher" this time? What was different?
*On p. 322, Paul D thinks that "He wants to put his story next to hers." What does this one short sentence symbolize for the characters of Beloved?
*What is the last chapter saying? What were the results the disappearance?
*Why does it say "This is not a story to pass on" ? What is ironic about that statement?
*Now that you have finished the novel, who or what do you think Beloved was? Do you think she was in fact the embodied spirit of the crawling-already? girl, or was she something more? Either way, think about how you would go about proving your answer with the text itself.
Below are some major themes and motifs to consider while reading the novel as a whole:
Trauma and Memories of Trauma
What influence can trauma and the memories of traumatic experiences hold over the present? Can these be erased, or "gotten over" so to speak? Who has these types of memories, and how do the memories impact their present lives or opportunities for the future?
Slavery
What is the novel telling us about slavery, and its impact on those that live through it? Consider not only the slaves themselves, but also other characters who are involved with slavery in some way.
Community
How does the community function in Beloved? What are some moments when it is torn apart, and why? What are some moments when it is brought together, and why? Who play the key roles in establishing, maintaining, and/or destroying a sense of community?
This is just a partial list - be on the lookout for other symbols and additional themes/motifs that may arise.
Here are the study questions for Persuasion:
Class Issues
We've seen a lot of characters in the novel interested in (or obsessed with) issues pertaining to class. What class-related issues have been raised by the novel? What are some of the characters' visions of how the class structure is supposed to operate, and what problems or conflicts do these visions cause when they conflict with reality?
The Gentleman
An off-shoot of the class issue is the changing definition of a "gentleman" in Jane Austen's lifetime. Formerly restricted to the landed classes, the opportunity of becoming a gentleman was expanding into other classes and professions during this time. Who are some of the characters challenging this ideal in the novel, and how are they doing so? What impact does their rise in class status have on the narrative?
Persuasion
The issue of persuasion has arisen not only in the history between Anne and Frederick, but in many other instances throughout the novel. What points do the different characters make about persuasion? How do you think the narrator feels about the act of persuasion and the influence it can have over people's actions - is the narrator making a strong case for an either positive or negative association with persuasion? Why or why not?
Interior versus Exterior
This theme can apply to many elements within the novel, many of which we have discussed in class. One of the most important ideas within this overall theme is the value Anne places on her interior life. What evidence do we see of this throughout the text, and how is she compared or contrasted to other characters in the novel?
Journeys
The theme for our course this semester is journeys. Focusing on one character, identify one or more journeys that s/he has undergone throughout the course of the novel (keeping in mind that journeys can be physical, emotional, intellectual, spiritual, etc.). Discuss how class and/or gender impacted either the beginning (motivation for undertaking the journey), middle, or end (result) of the journey. Also explain how this particular journey impacted not only this one character but also those around him/her.
Walking
One of the major motifs (look back to your notes on literary terms for the definition) of the novel is walking. Why are the characters so often walking in the text, and what are some events, actions, or thoughts that often occur while they are walking?
Beginning
Now that you have completed the novel, look back upon the first couple of chapters. Why do you think Austen chose to begin her novel with these particular characters and scenes? Do they establish any themes, and if so, how are these themes then further analyzed in the rest of the novel?
Connections
Closely analyze the scenes in the chapter on pp. 215-231. (I'm trying not to include any spoilers here!). Why do you think Austen chose to connect these two characters in this method, and through these means? Why the particular topic of discussion on pp. 218-221 before this important event happens? And why was this event accomplished through the act of writing?
Ending
We learned that Jane Austen revised the last 2 chapters of Persuasion while her health was failing. Why do you think she chose to end the novel in this fashion? Is it more positive or more negative? What do you think the last sentence means to suggest?
Instead of specific study questions for each day's reading, I here post some overall themes and issues to look for throughout the collection of short stories:
*Titles of the stories. What do they mean? Why did he choose to name each story the way he did? What larger themes to the titles point toward?
*Humor. When do you find Alexie funny? How do you think he is using humor in these stories?
*Stereotypical representations of Native Americans. He notes in his introduction that he has been "villified" for portraying the alcoholism, fighting, etc. that goes on in Indian reservations. Why do you think he includes these issues (and so often) in his stories?
*Fiction/Autobiography/Truth/Memoir/Bias/Exaggerations. What are the differences among these different types of literature and storytelling, and how are they represented in this book?
*What does Alexie mean by "reservation realism"?
*At the end of his introduction, he identifies the overarching theme of this collection to be that "the sons in this book really love and hate their fathers." Do you agree that this is the major thems? Why or why not? What other themes do you find prevalent?
*Contemporary Indians and their relationships to: one another, the traditions of the past, the white community.
*Watch for changing styles from story to story. Why are some told in a first person POV, others in third person?
*Storytelling. What purpose does it serve in this collection? Who enjoys it, who detests it, and why?
*Food, alcohol, Diet Pepsi. Why are these items so prevalent?
First Section pp.3-46
*Don’t read the Introduction (there are major plot spoilers), but read the Preface (p. 3-4). Why is this here? What purpose does it serve?
*Watch for the various details of setting as we are introduced to the characters. What do the settings add to our knowledge of the characters?
*Try to start getting a grasp on the characters’ motivations and pleasures. Keep an eye out for influence, persuasion, seduction. Compare the different elements you witness to those we saw in Persuasion.
Second Section pp.47-107
*Two very significant events in Dorian's life occur in this section. What are Dorian's motivations for the Sibyl situation? What draws him to her so rapidly? And more importantly, what tears him away just as suddenly?
*How does he respond intellectually and emotionally to the results of this situation with Sibyl? What does this tell us about the changes he is going through?
*What does this section have to say about the theatre? What do the different characters think about the theatre, acting, and performance?
*What does the Sibyl section have to say about matters of class?
*What is going on with the portrait, and what does it symbolize?
Third Section pp.108-173
*We enter a new setting within Dorian's house. How would you describe this setting, and what does it symbolize?
*On p. 125 Dorian begins to read a book sent by Lord Henry. What is the plot of this book, and what sort of influence does it begin to have over Dorian? Why?
*In chapter 11 (p.127-145), we read about Dorian's intellectual pursuits over a period of time. How would you characterize his psychological state during this time? What do these pursuits suggest about his state of mind and what gives him pleasure?
*What else do we find out that Dorian has been pursuing? How does society react to the rumors circulating about him? What does this say about the status/definition of the gentleman during this period?
*On p. 168, Dorian says that "he [Basil] had more to do with the making or the marring of it [my life] than poor Harry has had. He may not have intended it, but the result was the same." What does this quote mean, and do you agree with this statement?
*On p. 169, Dorian blackmails Alan Campbell to perform a task for him. What do you think the subject of the secret note was?
Fourth Section pp.174-221
*On p.182, Dorian opens a Chinese box and looks at the opium he has on hand in his own house. Yet he immediately leaves to obtain the drug elsewhere. Where does he go, and what does this decision tell us about him at this point in the narrative?
*Dorian becomes obsessed with Lord Henry's statement "To cure the soul by means of the senses, and the senses by means of the soul" (183). What does this statement mean for Dorian, and does he attempt to accomplish both of these tasks? If so, how? Is he successful?
*Consider how the setting(s) Dorian travels to in the second chapter of this section are described. Pay attention to the literal sights and sounds being described, but also think about their symbolic meanings for Dorian. How do these spaces advance some of the themes of the text?
*Is James Vane a flat or round character? Why? What role does he play in the narrative?
*What (possible) change of heart does Dorian undergo in this section, and why? What are the results of his new outlook on life and his new promise to himself?
*Dorian lists several reasons for a new change in the portrait on p. 219. Do you see one reason as being more true or possible than the others? Are none of them true, or perhaps all of them?
*Describe Dorian's psychological state on the last 2 pages of the novel. Why does he decide to do what he does? Should/could he have foreseen the end results?
*Why does the novel end in this fashion? Does anything seem to be missing? Are you satisfied with the ending?
*Think about connections between the novel and the Victorian & Modernist periods as discussed in the background information I provided on another page of this website. What is Victorian about this novel? What is Modernist?
*How would you characterize the novel's message about the purpose and meaning of art? What about persuasion and influence? The search for beauty and knowledge? The importance of youth?
Here are some questions and themes/issues to think about while reading The Picture of Dorian Gray:
Art and Aestheticism
Art is a prevailing discussion topic throughout the novel. Why is this so important to the characters, and what do they have to say about art? What is the difference between Victorian society's thoughts on the purpose of art, and the realm of aestheticism?
Appearance vs. Reality
As with Persuasion, the appearance of things will sometimes be quite different than the reality. What instances do you recognize when this happens, and are these events and/or characters who are "not all they appear to be" important to the narrative?
The Gentleman
Again, like in the last novel, Wilde has a lot to say about the definition of a gentleman in his society. What does it take to be a true gentleman in this world?
Homoeroticism
This novel was strongly criticized when it was first published for containing discussions and referrals to "gross indecency," or representations of homosexual thoughts, language, and acts. Although our current version was toned down by Oscar Wilde, it still contains these homoerotic undertones. Why are these elements important to the text, and what do they tell us about Victorian society?
Motivations
What are the characters after in this novel? What do they want out of life, and how do they go about trying to get it? Consider the motiviations of the major characters and what this says about society.
Comparisons to Persuasion
Now that we have finished one novel, we will have the opportunity to make comparisons between that and our new text. Think about how the issue of persuasion works in both texts: is it operating in a similar fashion here? Why or why not? Also, in what ways are the settings different, and how does this impact the characters and events?
The Title
Why is the title of this novel significant? Why wasn't it named after an important issue in the text, like Persuasion, or named simply "Dorian Gray"?
Identity and Self-Discovery
What is the novel saying about finding one's identity? How important is truly knowing oneself?
The Gothic
There are several gothic elements within the novel. Some general elements of the gothic include dark, enclosed, fear-filled spaces and/or people; violent deaths and hideous corpses; and the machinery of experiment and torture (taken from the introduction). Where and when do we see gothic elements in this novel, and how do they play into the narrative?
Relevant Background Information on The Picture of Dorian Gray and Oscar Wilde
The Picture of Dorian Gray was first published in 1890 and a revised version was published in 1891. The decade of the 1890s was right on the cusp of two important historical periods. The Victorian Age was just beginning to wrap up (Queen Victoria, for whom the period is named, died in 1901), and the Age of Modernism was just about to begin. This book nicely straddles the two time periods and the themes and conventions of both eras.
The Victorian period (1837-1901) is known mostly for its conservative ways – and the literature reflected this. Most Victorian novels highlighted social realism and the exterior world through omniscient narrators (although Persuasion is technically part of an earlier period, you can see it emphasizing domestic, social realities of everyday life), while Modernist novels (roughly 1900-1940) came to inhabit the world of the mind (interiority) more readily through the use of first-person narrators and stream-of-conscious narration (like Faulkner). Victorians emphasized traditional religious belief systems, although religious principles were first challenged during this period when science began taking on a more important role, while Modernists highlighted new and different belief systems that were replacing the old ways. Victorians are commonly considered to be asexual or sexually repressed, while Modernists are credited with liberating the sexual nature of humans.
Watch for how conventions of both eras play out in The Picture of Dorian Gray.
Oscar Wilde (1854-1900) was born in Ireland but moved to England at age 24, spending most of his time in London. He married in 1884 and had two children. Wilde became famous for his involvement in the aestheticism movement and his love of art and his talent for using language. Dorian Gray was his only novel, but he also wrote plays and poetry. Besides Dorian Gray he is best known for his play The Importance of Being Earnest, his wit, and for the extreme controversy surrounding his sexuality. In 1895 he was put on trial and his work and private life were examined; The Picture of Dorian Gray was utilized by prosecutors as evidence of his opinions and homoerotic activities. He was eventually convicted of “gross indecency” and sentenced to 2 years of hard labor, following which he assumed a different name and wandered about in Europe, enjoying a similar lifestyle to that of his past. Wilde died of cerebral meningitis three years after his release from prison. Today his only novel is considered a classic and is studied in most survey courses of Victorian literature.
Follow the links at the bottom of this page for a schedule of assignments for each week this semester. Within each week, you will find daily listings of assignments. Each bullet point for the day is a different task for you to complete. Unless specifically noted otherwise, all assignments are to be completed before class on the day listed.
This course calendar may be updated throughout the semester. I'll notify you about any major changes, but you are still responsible for keeping up with the current schedule.
IMPORTANT: You must visit all of the links provided within the course calendar. There are many links to follow and read. Make sure you visit all of them. Some links provide easy access to other parts of the class site which will help you in your assignments. Some links are to required readings. Others provide you with detailed instructions on completing the assignments. Eventually, you may come to know the instructions which supplement assignments that are repeated throughout the course, but it's still a good idea to continue to revisit the instructions to make sure that you are satisfying all of the requirements.
Week 1: Monday, January 7th Introduction to the course
Wednesday, January 9th Literary Terms powerpoint
Friday, January 11th Finish discussing literary terms; intro to Persuasion
Week 2: Monday, January 14th Persuasion pp.5-30
Wednesday, January 16th Persuasion pp.31-75
Friday, January 18th Persuasion pp.76-135
Week 3: Monday, January 21st NO CLASS: Martin Luther King, Jr. Day
Wednesday, January 23rd Persuasion pp. 136-180
Friday, January 25th Persuasion pp. 181-236
Week 4: Monday, January 28th The Picture of Dorian Gray pp. 3-46
Wednesday, January 30th The Picture of Dorian Gray pp.47-107
Friday, February 1st The Picture of Dorian Gray pp.108-173
Week 5: Monday, February 4th The Picture of Dorian Gray pp.174-221
Wednesday, February 6th Open Class; Essay #1 Guidelines
Friday, February 8th Beloved pp. 3-59
Week 6: Monday, February 11th Beloved pp.60-100
Wednesday, February 13th Beloved pp.101-158
Friday, February 15th Beloved pp.159-top of 222
Week 7: Monday, February 18th Beloved pp.222-277
Wednesday, February 20th Beloved pp.281-324
Friday, February 22nd Open Class
Week 8: Monday, February 25th The Lone Ranger and Tonto Fistfight in Heaven – Introduction (xi-xxii), stories TBA
Wednesday, February 27th The Lone Ranger and Tonto Fistfight in Heaven - stories TBA
Friday, February 29th Midterm Exam
Week 9: Monday, March 3rd The Lone Ranger and Tonto Fistfight in Heaven - stories TBA
Wednesday, March 5th The Lone Ranger and Tonto Fistfight in Heaven – stories TBA
Friday, March 7th Essay # 1 Due
Smoke Signals; Intro to Home (no reading due)
NO CLASS – Spring Break
Week 11: Monday, March 17th
Home pp. 3-50
Wednesday, March 19th Home pp. 51-111
Friday, March 21st Home pp. 112-180
Week 12: Monday, March 24th Home pp.181-230
Wednesday, March 26th Home pp.231-279
Friday, March 28th Home pp.280-317
Week 13: Monday, March 31st Open Class
Wednesday, April 2nd Fahrenheit 451 pp.1-68
Friday, April 4th Fahrenheit 451 pp.69-110
Week 14: Monday, April 7th Fahrenheit 451 pp.111-165
Wednesday, April 9th Fahrenheit 451 pp.167-190 (Afterword, Coda, and Conversation with Ray Bradbury)
Friday, April 11th A Model World – From Part 1: “S ANGEL”, “A Model World” and “Smoke”
Week 15: Monday, April 14th A Model World – From Part 2: “The Little Knife,” “More Than Human,” and “Admirals”
Tuesday, April 15th Michael Chabon’s reading & talk – 8 pm at Loeb Playhouse, Stewart Center
Wednesday, April 16th A Model World – From Part 2: “The Halloween Party” and “The Lost World”
Friday, April 18th DUE: Final Essay
Begin screening Big Fish
Week 16: Monday, April 21st Big Fish
Wednesday, April 23rd Big Fish
Friday, April 25th Discuss Big Fish
Class evaluations and wrap-up
Date TBA
Final Exam
Short Essay: The first formal essay will give you several options to choose from, including comparing works we have read.
Midterm and Final Exams: Both the midterm and final exam will test your ability to close-read texts. Exams will include both objective and subjective sections, including short answer and long essay questions.
Final Essay: At the end of the semester, you will write one formal essay (5-6 pages) that will demonstrate your ability to analyze and closely read two of the texts we have read and discussed throughout the semester. This essay will need to adhere to MLA guidelines.