ENGLISH 2360 Introduction to Literary Studies 3 CREDITS TR 1:00-2:15 UC 242

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1 Instructor Info: ENGLISH 2360 Introduction to Literary Studies 3 CREDITS TR 1:00-2:15 UC 242 Dr. Douglas Eli Julien Doug.Julien@tamut.edu Office: UC 234 Phone: Office Hours: Mondays: 10:00-11:00 Tuesdays: 2:30-4:00 Wednesdays: 10:00-11:00 Thursdays: 2:30-4:00 And by appointment Course Description: This course is an examination of the fundamental principles of literary study, with special attention to critical approaches to language and literature, bibliography and research, and writing in the discipline. As an introduction to literary study designed for English majors, this course stresses proper literary terminology, literary theory, and analytical writing the tools of the successful English major. English majors fulfill the Humanities Component Area of the Core Curriculum by taking ENGL 2332 World Literature I and thus should take this course instead of ENGL Required Texts: The Norton Introduction to Literature. 10 th Edition. Booth, Alison and Kelly J. Mays (Norton, 2010). ISBN: The Critical Tradition: Classic Texts and Contemporary Trends. 3 rd Edition. Ed. David H. Richter (Bedford/St.Martins 2007). ISBN: Student Learner Outcomes: By the end of the semester, students who successfully complete English 2360 will be able to 1. Define literary terminology 2. Classify and evaluate classical and contemporary literary theory. 3. Construct critical oral and written responses to works of literature. 1. Three in-class exams 2. Participation in class sessions 3. Two analytical papers Assessment

2 Course Requirements and Methods of Evaluation: 1. In-class exams (3) A. There are three in-class exams that must be completed during the semester. Each exam will consist of questions related to literary terms, author and title identification, short-answer questions based on interpretation and terms, and essay questions. Students will answer in as much detail as possible by supporting their answers with the material presented in the course. The final exam is comprehensive. B. Each exam is worth 200 points for a total of 600 points. 2. Participation in class sessions A. You will need a healthy stack of 3 X 5 notecards. At the end of each class, you will be evaluating the day that was and have this as a venue to ask questions that you were afraid to ask, critique what just happened, tell me how wonderful or dismal I am they basically become your ballots on the course. More on this when it comes time to vote. This will be your participation score, so things like no comment and I hate these notecards will not garner you participation points. B. Each notecard is worth 5 points and there are 28 class sessions with cards for a total of 140 points. 3. Analytic Papers A. Students will prepare two analytic papers that apply fundamental principles of literary study. A specific rubric will be given at the time of the assignments; however, generally the text should provide an application of a text of literary criticism to a work of literature utilizing literary terminology and will be at least 5 pages long. B. The first paper is worth 200 points and the second paper is worth 400 points for a total of 600 points. Grading Scale: A = 90% 100% B = 80% 89% C= 70% -- 79% D = 60% -- 69% F = 0% -- 59% Class Schedule As with all class schedules you receive this week, this schedule is subject to change. Week #1: Introductions 8/28 Introduction to the Me and the Course 8/30 Norton: Introduction 1-49 Richter: Introduction 1-22

3 Week #2: Introduction to Criticism & Literature, Plot, and Russian Formalism 9/4 Norton: Plot Norton: Margaret Atwood Happy Endings Richter: Russian Formalism 749ish Richter: Vladimir Propp Fairy Tale Transformations /6 No class Week #3: Narration and Point of View, New Criticism, and Neo-Aristotelianism 9/11 Norton: Narration and point of view Norton: Alice Munro Boys and Girls Richter: New Criticism 749ish Richter: I.A. Richards Principles of Literary Criticism /13 -- Norton: John Updike A&P Richter: Neo-Aristotelianism 749ish Richter: W.K. Wimsatt and Monroe C. Beardsley The Intentional Fallacy PAPER #1 ASSIGNED Week #4: Character and Structuralism 9/18 Norton: Character Norton: Theodore Roethke My Papa s Waltz Richter: Structuralism 819ish Richter: Ferdinand de Saussure Nature of the Linguistic Sign /20 Norton: William Faulkner Barn Burning Richter: Claude Levi-Strauss The Structural Study of Myth Week #5 : Setting and Deconstruction 9/25 Norton: Setting Norton: Amy Tan A Pair of Tickets Richter: Deconstruction 819ish Richter: Roland Barthes The Death of the Author /27 Norton: Philip Larkin Church Going Richter: Jacques Derrida Differance Week #6: Symbols and Figurative Language and Reader-Response 10/2 Norton: Symbol and Figurative Language Norton: A.S. Byatt The Thing in the Forest Richter: Reader-Response Theory Richter: Norman N. Holland The Question: Who Reads What How? 10/4 -- Norton: John Donne The Flea 929 Richter: Stanley Fish How to Recognize a Poem When You See One

4 Week #7: EXAM, Theme(s)?, and Psychoanalysis 10/9 -- EXAM #1 10/11 Norton: Theme Norton: Gabriel Garcia Marquez A Very Old Man with Enormous Wings Richter: Psychoanalytic Theory and Criticism Richter: Jacques Lacan The Mirror Stage Week #8: Theme and Tone and Psychoanalysis Continued 10/16 Norton: Theme and Tone Includes poems Marge Piercy Barbie Doll, W.D. Snodgrass Leaving the Motel, Thom Gunn In The Time of Plague, Etheridge Knight Hard Rock Returns from the Hospital for the Criminal Insane, William Blake London, Maxine Kumin Woodchucks, and Adrienne Rich Aunt Jennifer s Tigers. Richter: Laura Mulvey Visual Pleasure and Narrative Cinema /18 Richter: Slavoj Zizek Courtly Love, or, Woman as Thing PAPER #1 DUE AND PAPER #2 ASSIGNED Week #9: Speaker and Marxism 10/23 Norton: Speaker: Whose Voice Do We Hear? Includes poems Thomas Hardy The Ruined Maid, X.J. Kennedy In a Prominent Bar in Secaucus One Day, Margaret Atwood Death of a Young Son by Drowning, Robert Browning Soliloquy of the Spanish Cloister, Dorothy Parker A Certain Lady, William Wordsworth She Dwelt among the Untrodden Ways, Audre Lorde Hanging Fire, Robert Burns To a Louse, Gwendolyn Brooks We Real Cool, Walt Whitman [I celebrate myself and sing myself, and Yusef Komunyakaa Tu So Street. Richter: Marxist Criticism Richter: Raymond Williams Marxism and Literature /25 Richter: Terry Eagleton Categories for a Materialist Criticism Week #10: Situation and New Historicism and Cultural Studies 10/30 Norton: Situation and Setting: What Happens? Where? When? Includes poems Rita Dove Daystar, Linda Pastan To a Daughter Leaving Home, John Milton On the Late Massacre in Piedmont, Matthew Arnold Dover Beach, John Betjeman In Westminster Abbey, William Shakespeare [Full many a glorious morning have I seen], John Donne The Good-Morrow, Sylvia Plath Morning Song, Billy Collins Morning, August Kleinzahler Aubade on East 12 th Street, Jonathan Swift A Description of the Morning, James Dickey Cherrylog Road, John Donne The Flea, Andrew Marvell To His Coy Mistress, Emily Bronte The Night-Wind, Sylvia Plath Point Shirley, Mary Jo Salter Welcome to Hiroshima, Joshua Clover The Nevada Glassworks, Derek Walcott Midsummer, Mary Oliver Singapore, and Earle Birney Irapuato

5 Richter: New Historicism and Cultural Studies Richter: Clifford Geertz Thick Description /1 Richter: Stuart Hall Cultural Studies: Two Paradigms Week #11: Language and Feminism 11/6 Norton: Language Includes poems Sarah Cleghorn [The golf links lie so near the mill], Anne Finch There s No To-morrow, Charles Bernstein Of Time and the Line, Walter de la Mare Slim Cunning Hands, Sharon Olds Sex without Love, Yvor Winters At the San Francisco Airport, Martha Collins Lies, Emily Dickinson [I dwell in Possibility--], William Carlos Williams The Red Wheelbarrow and This Is Just to Say, Gerard Manley Hopkins Pied Beauty, E.E. Cummings [In Just- -], Bob Perelman The Masque of Rhyme, Li-Young Lee Persimmons, Barbara Hamby Ode to American English, Jean Marie Beaumont Rorschach, Oscar Wilde Symphony in Yellow, Richard Wilbur The Beautiful Changes, James Merrill body, Andrew Marvell On a Drop of Dew, Lynn Powell Kind of Blue, William Shakespeare [That time of year thou mayest in me behold], Linda Pastan Marks, Robert Burns A Red, Red Rose, William Shakespeare [Shall I compare thee to s a summer s day?], Anonymous The Twenty-third Psalm, John Donne [Batter my heart, three-personed God] and The Canonization, David Ferry At the Hospital, Wilfred Owen Dulce et Decorum Est, Harryette Mullen Wipe That Simile Off You Aphasia, James Dickey The Leap, Edmund Waller Song, D.H. Lawrence I Am Like a Rose, Dorothy Parker One Perfect Rose, William Blake The Sick Rose, Sharon Olds Leningrad Cemetery, Winter of 1941, Robert Frost Fireflies in the Garden, Stephen Dunn Dancing with God, Adrienne Rich Diving into the Wreck, Roo Borson After a Death, and Denise Levertov Wedding-Ring Richter: Feminist Literary Criticism Richter: Julia Kristeva Women s Time /8 Richter: Jonathan Culler Reading as a Woman Week #12: Sounds, Gender Studies, and Queer Theory 11/13 Norton: The Sounds of Poetry includes poems Helen Chasin IThe Word Plum, Mona Van Duyn What the Motorcycle Said, Kenneth Fearing Dirge, Alexander Pope Sound and Sense, Samuel Taylor Coleridge Meterical Feet, Anonymous [There was a young girl from St. Paul], Alfred, Lord Tennyson From The Charge of the Light Brigade, Sir John Suckling Song, John Dryden To the Memory of Mr. Oldham, Edgar Allan Poe The Raven, William Shakespeare [Like as the waves make towards the pebbled shore] James Merrill Watching the Dance, Gerard Manley Hopkins Spring and Fall, Lee Ann Brown Foolproof Loofah, Emily Dickinson [A narrow Fellow in the Grass], and Catherine Bowman Mr. X Richter: Gender Studies and Queer Theory Richter: Helene Cixous The Laugh of the Medusa

6 11/15 Richter: Eve Sedgwick Epistemology of the Closet Richter: Judith Butler Imitation and Gender Subordination Week #13: Exam, Drama, and Postcolonialism 11/20 -- EXAM 2 11/22 Turkey Day Week #14: Drama and More Postcolonialism 11/77 -- Norton: Elements of Drama--Character Norton: Wole Soyinka Death and the King s Horseman Richter: Postcolonialism Richter: Edward Said Orientalism /29 Norton: Elements of Drama Plot and Structure Richter: Dialogue Between Frederic Jameson and Aijaz Ahmad Week #15: Drama and Ethnic Studies 12/4 Norton: Elements of Drama Stages, Sets, and Setting Norton: August Wilson The Piano Lesson Richter: Ethnic Studies Richter: Henry Louis Gates Writing, Race, and the Difference It Makes /6 Norton: Elements of Drama Tone, Language, and Theme Richter: Dialogue Between Henry Louis Gates and Houston A. Baker Jr Week #16: Finals 12/11 PAPER #2 DUE Final Exam Student Participation: There is no attendance policy for the course. My job is to teach you each class, make it interesting and vital to you whenever I can, and make coming to class, at the very least, seem necessary. Your job is to come or keep up when unable. Three caveats. The first caveat I would add is that I will work as hard as I possibly can to make sure that if you re not attending class regularly, it will be very difficult to do well that is also my job. The second is that I m not interested in trying to repeat a day, week, or month of what happened in my office class is unrepeatable. The final caveat is that there is a participation component to your grade, and it is difficult to participate if you are not here Disability Accommodations: Students with disabilities may request reasonable accommodations through the A&M- Texarkana Disability Services Office by calling

7 Academic Integrity: Academic honesty is expected of students enrolled in this course. Cheating on examinations, unauthorized collaboration, falsification of research data, plagiarism, and undocumented use of materials from any source constitute academic dishonesty and may be grounds for a grade of F in the course and/or disciplinary actions. For additional information, see the university catalog. Statement on usage: Upon application to Texas A&M University-Texarkana an individual will be assigned an A&M- Texarkana account. This account will be used to deliver official university correspondence. Each individual is responsible for information sent and received via the university account and is expected to check the official A&M-Texarkana account on a frequent and consistent basis. Faculty and students are required to utilize the university account when communicating about coursework. University Drop Policy: To drop this course after the 12 th class day, a student must complete the Drop/Withdrawal Request Form, located on the University website ( or obtained in the Registrar s Office. The student must submit the signed and completed form to the instructor of each course indicated on the form to be dropped for his/her signature. The signature is not an approval to drop, but rather confirmation that the student has discussed the drop/withdrawal with the faculty member. The form must be submitted to the Registrar s office for processing in person, (Registrar@tamut.edu), mail (P. O. Box 5518, Texarkana, TX 75505) or fax ( ). Drop/withdraw forms missing any of the required information will not be accepted by the Registrar s Office for processing. It is the student s responsibility to ensure that the form is completed properly before submission. If a student stops participating in class (attending and submitting assignments) but does not complete and submit the drop/withdrawal form, a final grade based on work completed as outlined in the syllabus will be assigned.