Required
Texts:
(available at bookstore)
William
S. Burroughs, Naked Lunch
William Faulkner, Three Famous Short Novels
F. Scott Fitzgerald, The Great Gatsby
Ernest Hemingway, The Sun Also Rises
Adrienne Kennedy, Adrienne Kennedy in One Act
Thomas Pynchon, The Crying of Lot 49
Leslie Marmon Silko, Ceremony
John Steinbeck, The Grapes of Wrath
Strongly
Recommended:
MLA Handbook
for Writers of Research Papers, 5th ed., and
Abrams, A
Glossary of Literary Terms

About
the readings:
A hallmark of twentieth
century literature is the rise of the text as aesthetic object. Realistic
representation, attention to details of setting and character, moral or
ethical exhortation, romantic exploration of the personality, and the
grand master narratives favored by the nineteenth century recede along
with the old verities: faith in the continuity of Western civilization,
faith in a God-ordered universe, belief in a coherent, stable social order.
Taking their place are radical experiments in narrative, perspective,
symbol, and language, considered to be more appropriate to the disintegration
and fragmentation of contemporary life. Coupled with these changes are
divergent views as to the purpose of the literary text. For the modernists
(c. 1920-1950), the literary text gave a temporary, albeit unconventional,
ordering to the chaotic world; the artist was alienated from bourgeois
culture, standing above and to one side to create the work of art, and,
in the creation of art, free to see through empty conventions and present
us with a newer, more honest ordering of experience. For the postmodernists
(c. 1945- ) the literary text embraced the disintegration and fragmentation
feared by the modernists as a way of escaping totalitarianism, entropy,
elitism and cultural death. The postmodern text emphasized meaninglessness,
formlessness, and play. The postmodern artist does not lay claim to enough
personality to be alienated nor to a position outside the welter of events;
all is indeterminate.
This broad sketch
of 20th century literary movements is accurate, but perhaps obscures
the richness of 20th century American literature. Concurrent with, and
affected by, modern and postmodern aesthetics in America were numerous
literary-historical developments, including the social protest novel
of the 1930s, the Beat era in the 1950s, the Black Arts movement of
the 1960s and 70s and the renaissance in Native literatures beginning
in the 1970s. These and other literary movements would both draw from
and contribute to modern and postmodern conceptions of the literary
artifact.
We'll be reading
eight representative 20th century literary works this quarter. Some--particularly
the trinity of Fitzgerald, Faulkner and Hemingway--you will no doubt
have read before. Others will be less familiar. Whether the stories
are familiar to you or not, each repays careful rereading. Our focus
this quarter will be on each of the works as a formal artistic structure.
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Work:
- Reader's
Notes. For each day new readings are due, prepare a typed sheet
of reader's notes. These will include:
a. Correct MLA-style bibliographic citation for the
work
b. Brief, but specific description of setting (time, place,
milieu), focusing on its impact on the narrative
c. Brief description of major characters, focusing on salient
characteristics
d. Chapter outline or brief, but complete outline of major plot
events
e. Brief statement of what you think the theme of the
work is (25-50 words)
f. Two accurately copied and punctuated quotations from the
work which support your statement in e. Provide correct, MLA-style
parenthetical documentation for each.
These notes take the place of reading quizzes and are due on the first
day we discuss a work. Since it is imperative that we all complete
the reading on time, I will not accept reader's notes after the class
period in which they are due. Each set of Reader's Notes is worth
15 points, with 7 points reflecting correctness of bibliographic citation,
Notes format, and punctuation, documentation and transcription of
quotations. (20%)
- Short Essay.
Formal structural analysis of one or more course texts. Assignment
will be given later. (20%)
- Exams:
These will be straightforward objective exams covering lecture and
discussion material, as well as reading content and terminology. (@10%)
- Fourth-Hour
project. This brief project asks you to approach one of the course
texts from a more personal angle of interest. Possibilities include
summarizing and responding to a piece of published scholarship, preparing
lesson plans for a high school or middle school unit on one of the
texts, annotating a portion of a text, or surveying and evaluating
available internet resources on one or more of the authors or an author's
milieu. (20%)
- Discussion
group. I have set up a discussion group for this course which
you can access via email. This discussion group accounts for much
of your writing this quarter. You will want to use the group to converse
with your classmates about the course material, to note questions,
confusions or concerns, to argue points we can't always get around
to in class. I will occasionally post a discussion question, but you
may ignore it in favor of more burning issues. One useful approach
might be to quote a passage from one of the week's readings and frame
a discussion around it. This is YOUR forum. You will want to read
the postings regularly and post a substantial observation or response
to the group with some regularity. In order to receive a discussion
grade of C, you will need to make 6 postings, either raising an issue
for discussion or responding in depth to an on-going discussion. A
grade of B requires 7 postings, while a grade of A requires 8 (roughly
one for each text). Sometimes I will suggest a discussion topic. Mostly,
though, the group is your forum. Do not put your participation off
until the end of the quarter. I will count no more than three entries
in the final two weeks of the course, so if you want an A for the
discussion section of the course, you will need to post at least five
substantive messages during weeks one through eight. Start early and
post often! (20%)
- Attendance.
Although I have not specifically listed "Attendance" among
the requirements for this course, it can count in a negative way.
Since much of the real learning will happen in class discussion, and
the exam will largely cover in-class learning, your success will depend
significantly on your consistent attendance. However, I cannot compel
you to attend class, and, frankly, if you do not intend to come prepared
and participate fully, I, and the other members of the class, would
rather you stay away. Ordinarily I will neither recap class discussion
nor repeat assignments after a class meeting. If you notify me about
an unavoidable conflict prior to the missed class I will give a missed
assignment by phone or email, at my discretion. In the event of a
childcare emergency, your children are always welcome to come and
play quietly.
- Other policies.
Academic honesty is likewise essential to the fair and successful
conduct of class, and dishonesty will be punished. Dishonesty includes
various kinds of cheating, "plagiarism" (defined as the
use of the words or ideas of another as if they were your own), and
copying the work of another student in a test. Penalties for academic
dishonesty can be severe and I will impose them. Please refer to the
on-line student handbook for full details:
http://www.wright.edu/academics/fhandbook/acadconduct.html#student.
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Calendar:
(Reading must
be completed by date indicated. All due dates for written work are bold)
| Sept
13 |
Introductory
matters. Modernism in context. Fourth-Hour project assigned. |
Modernism between
the Wars
|
| Sept
18 |
Discuss:
Spotted Horses. Reader's Notes 1 due.
|
| Sept
20 |
Continue
Discussion: Spotted Horses.
Concepts: Faulkner, the South, the Snopeses, Southern Gothic,
Tall Tale, class, gender, narrative strategies.
|
| Sept
25 |
Discuss:
The Sun Also Rises. Reader's Notes 2 due.
|
| Sept
26 |
Continue
Discussion: The Sun Also Rises.
Concepts: Hemingway, World War I, the Armory Show, Lost Generation,
manliness, anti-Semitism, sexual frankness, alienation.
|
| Oct
2 |
Discuss:
The Great Gatsby. Reader's Notes 3 due. |
| Oct
4 |
Continue
Discussion: The Great Gatsby.
Concepts: Fitzgerald, Waste Land, class, gender, atonement,
chaos, the Midwestern bourgeois, perspective.
|
Modern Social Protest
- the Thirties
|
| Oct
9 |
Discuss:
The Grapes of Wrath. Reader's Notes 4 due. |
| Oct
11 |
Continue
Discussion: The Grapes of Wrath.
Concepts: Steinbeck, American left, dust bowl, proletarian novel,
hortatory mode |
| Oct
16 |
Exam.
|
| Oct
18 |
Postmodernism
in context. Fourth-Hour Project Due. Essay assigned |
Post-War Postmodernism
|
| Oct
23 |
Discuss:
Naked Lunch. Reader's Notes 5 due. |
| Oct 25 |
Continue Discussion:
Naked Lunch.
Concepts: Burroughs, information, cut-up, satire, allegory, censorship,
sexuality, narrative strategies, the routine. |
|
Oct 30
|
Discuss:
The Crying of Lot 49. Reader's Notes 6 due. |
| Nov
1 |
Continue
Discussion: The Crying of Lot 49.
Concepts: Pynchon, paranoia and anti-paranoia, entropy, chaos,
parody, pop. |
Postmodern Social
Protest - Voices from the Edge
|
| Nov
6 |
Discuss:
"Funnyhouse of a Negro," "The Owl Answers."
Reader's Notes 7 due (all four plays). |
| Nov 8 |
Continue Discussion:
"A Lesson in Dead Language," "A Movie Star Has to
Star in Black and White."
Concepts: Kennedy, Black Arts Movement, intertextuality, reflexivity,
gender, race, paranoia. |
| Nov
13 |
Discuss:
Ceremony. Reader's Notes 8 due. |
| Nov
15 |
Continue
Discussion: Ceremony.
Concepts: Silko, Native American renaissance, chaos, mystic
cycles, reparation, entropy.
|
| Nov
20 |
Essay
Due. |
| Nov
30 |
Exam,
1 p.m. |
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Reader's Notes Assignment
Use the following format, titling each section of your notes with a
bold heading as shown below. Be succinct in your summaries, but give
sufficient detail to cover important narrative events. 200-300 words
should suffice for the summary. For all sections, omit trivial details,
focusing on what is important to the novel's theme. Single-space each
section; double-space between sections as shown. Do not go longer than
1½ -2 pages.
Your Name
Reader's Notes #
English 356
Date
Text: give complete, correct, MLA-style bibliographic citation
for text
Setting:
briefly describe setting: time, place, milieu
Major Characters:
identify and describe the two or three major characters.
Summary:
Make an organized, brief presentation of major events. You might give
a bulleted chapter-by-chapter breakdown, one or two sentences per chapter,
or you might give a narrative summary. Whichever you choose, don't include
unnecessary details.
Theme: Here
you should write a brief (25-50 word) statement of the work's main idea,
as you understand it.
Supporting quotations:
Transcribe accurately two quotations from the work that clearly
support the theme you have identified. These will usually be fairly
lengthy quotations from the narrative. Be careful! Simple lines
of dialogue should usually be assumed to represent the character's point
of view, not necessarily the author/narrator's.
MLA format for
bibliographic citation.
1. Longer works:
Last,
First. Title of Longer Work Is Underlined, Proper Capitalization
and Spelling Are Observed. Year of first publication. City: Publisher,
Date of edition you use.
2. Shorter works
from collections or anthologies:
Last,
First. "Title of Short Work in Quotation Marks." Year of first
publication. Complete Title of Anthology or Collection Underlined.
Ed. Name of Editor. City: Publisher, Date of edition you use. Inclusive
page numbers
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