ENGL 1000 Introduction to Literature in English Fall Semester (2016-2017) Instructor Room No Office Hours Email Telephone Secretary/TA TA Office Hours Dr Saeed Ghazi Room No 129, Department of Humanities and Social Sciences, Academic Block Thursday and Friday 5:00 6:30 pm saeedg@lumsedupk 8045 2115 TBA Course URL (if any) Course Basics Credit Hours 4 Lecture(s) Recitation/Lab (per week) Tutorial (per week) Course Distribution Nbr of Lec(s) Per Week Nbr of Lec(s) Per Week Nbr of Lec(s) Per Week 2 Duration 1 Hour 50 Minutes -- Duration -- TBA Duration TBA
Core Yes (English major / English minor) Elective Open for Student Category Closed for Student Category Free Elective First Year Students, Sophomores Juniors and Seniors COURSE DESCRIPTION This four credit introductory course does not assume that students have a prior knowledge of Literature The course is designed to ensure that students with no acquaintance with Literature as well as those who have received some exposure to the discipline in high school feel at home It seeks to introduce students to the distinguishing features of the principal genres of poetry, the novel, and drama through a close and sustained engagement with poems, plays, novels, and short stories drawn from a wide range of historical periods within the field of English studies Non-fictional genres like biographies, autobiographies, letters, diaries, speeches, and documents will also receive some attention This course will also attempt to provide a broad overview of the discipline of English Studies, including Literary and Historical periods, Literary Movements, and Literary Theories We will grapple with questions like the relationship of literary form to content and what, if anything is particularly and peculiarly literary about literary works Notable among the questions that will come up for consideration is the tangled issue of canon formation and the politics surrounding canon formations COURSE PREREQUISITE(S) There are no pre-requisites for this course COURSE OBJECTIVES A) To equip students with the critical skills and interpretive tools necessary to pursue more advanced courses in Literature
B) To develop in students a heightened sensitivity to and a deeper appreciation of the literariness manifest in literary works Learning Outcomes Students who successfully complete ENGL 1000 should A) B) C) D) Manifest a degree of familiarity with the distinctive characteristics of the discipline of literary studies the object ; of literary study, the aims and objectives, and the methodology Register awareness of and sensitivity to some of the distinctive features and unique properties and uses of literary language Exhibit broad familiarity with the characteristics of the paradigmatic genres the narrative, the lyric, and the dramatic, as well as sub-genres, dominant literary forms, and significant literary movements Display familiarity with distinctive approaches to Literature formalist, mimetic, rhetorical, and biographical, as well as a broad acquaintance with important literary theories like New Criticism, Russian Formalism, Structuralism, Deconstruction, Psychoanalysis, New Historicism, and Feminism Grading Breakup and Policy 1 Response Papers/Tests: 25% 2 Midterm Examination: 35% 3 Final Examination: 40% Examination Detail Midterm Exam Yes Combine Separate: N/A Duration: 110 Minutes Preferred Date: First Session of the week (Monday/Tuesday) Exam Specifications: Closed Book/Closed Notes
Final Exam Yes Combine Separate: N/A Duration: 110 Minutes Exam Specifications: Closed Book/Closed Notes COURSE OVERVIEW Lecture Author/ Topic Primary Text /s Secondary Text /s 1 Introduction to the Course; Overview of the Discipline; Literary and Historical Periods 2 The Literary Canon; Introduction to Literary Genres: the Narrative, the Lyric and the Dramatic M H Abrams (B1916), Orientation of Critical Theories I Introduction to Fiction Reading Fiction Kate Chopin (1851-1904), The Story of an Hour (1894) Jonathan Culler, What is Literature and Does it Matter? 3 Elements of Fiction John Updike (1932-2009), A&P (1961) Harold Bloom (B 1930), Why Read Milan Kundera (B 1929), from The Art of the Novel 4 Plot Types of Plot, Story and Plot, Fabula and Syuzhet Style, Tone, and Irony William Faulkner (1897-1962), A Rose for Emily (1931) Ernest Hemingway (1899-1961), Hills Like EM Forster (1979-1970), from Aspects of the Novel (1927) J Arthur Honeywell, Plot in the Modern
White Elephants (1927) Novel 5 Point of View Third Person Narrator, First Person Narrator Narrator and Focalizer Anton Chekhov (1860-1904), The Lady with the Dog (1899) PunyakanteWijenaike (B 1933), Anoma (1996) Wayne C Booth (1921-2005), Distance and Point of View: An Essay in Classification (1983) Characterization Herman Melville (1819-1891), Bartleby the Scrivener (1853) 6 Saadat Hasan Manto (1912-1955), The Dutiful Daughter Daniyal Mueenuddin (B 1963), Saleema 7 Setting James Joyce (1882-1941), The Dead (1914) 8 Theme Leo Tolstoy (1828-1910), The Death of Ivan Ilych (1886) 9 Symbolism Franz Kafka (1883-1924), The Metamorphosis (1915) 10 Wayne Booth (1921-
The Novel F Scott Fitzgerald (1896-1940), The Great Gatsby (1925) 2005), from The Rhetoric of Fiction (1983) F Scott Fitzgerald (1896-1940), The Great Gatsby (1925) 11 12 II Introduction to Poetry Reading and Responding to Poetry Tone, Speaker, Situation, and Setting/Word Choice, and Word Order Marianne Moore (1887-1972), Poetry (1921) Robert Frost (1874-1963), Stopping by Woods on a Snowy Evening (1923) Denotation and Connotation; Alliteration, Assonance, and Onomatopoeia Acquainted with the Night (1928) The Road Not Taken (1916) 13 Tropes/Figures of Thought/Figures of Speech Moniza Alvi, How the World Split in Two Terry Eagleton, from How to Read a Poem (2007) Sylvia Plath (1932-1963),
Metaphors ( John Keats (1795-1821), On First Looking into Chapman s Homer (1816) Percy Bysshe Shelley (1792-1822), Ozymandias (1818) John Donne (1572-1631), A Valediction Forbidding Mourning (1611) Andrew Marvell (1621-1678), To His Coy Mistress (1681) Images and Imagery Ezra Pound (1885-1972), In a Station of the Metro (1913) 14 William Carlos Williams (1883-1963), Poem (1934) Matthew Arnold (1822-1888), Dover Beach (1867) TS Eliot (1888-1965), Preludes John Keats (1795-1821), To Autumn
15 No Class Mid Term Exam Symbol, Allegory, and Irony Edwin Arlington Robinson (1869-1935), Richard Cory (1897) 16 William Butler Yeats (1865-1939), The Second Coming (1921) Robert Browning (1812-1889), My Last Duchess (1842) The Sounds of Poetry Adrienne Rich (1929-2012), Power (1974) Robert Browning (1812-1889), How they brought the Good News from Aix to Ghent (1838) 17 Lord Byron (1788-1824), The Destruction of Sennacherib (1815) Gerard Manley Hopkins (1844-1889), God s Grandeur (1877) Alexander Pope (1688-1744), from An Essay on Criticism (1711) 18
Patterns of Rhythm; Principles of Meter Iambic, Trochaic, Anapestic, Dactylic, Spondee, Blank Verse 19 Poetic Forms/Open Forms i) Sonnet a) Italian sonnet, Petrarchan sonnet b) English or Shakespearean sonnet William Wordsworth (1770-1850), London 1802 (1564-1616), Shall I Compare thee to a Summer s Day (1609) Octave, sestet, caesura, volta Poetic Forms/Open Forms ii) Ballad Sir Patrick Spens 20 a) Popular or Traditional Ballad b) Literary Ballad iii) Ode a) Pindaric ode b) Horatian or homostrophic ode c) Irregular Ode John Keats (1795-1821), Ode to a Nightingale (1819) 21 Poetic Forms (Contd) Seamus Heaney (B 1939), Mid-term Break
iv)elegy v) Villanelle vi) Sestina vii)haiku viii)parody (1966) Dylan Thomas (1914-1953), Do Not Go Gentle into that Good Night (1952) Elizabeth Bishop (1911-1979), Sestina (1965) Matsuo Basho (1644-1694), Under Cherry Trees Anthony Hecht (B 1923) The Dover Bitch (1967) 22 Writing About Literature The Critical Essay From The Craft of Research (2003) 23 III Introduction to Drama Elements of Drama John Millington Synge (1871-1909), Riders to the Sea (1904) John Styan, from The Elements of Drama Aristotle, from Poetics 24 Introduction to Greek Theater; The Elizabethan Theatre Life in Elizabethan England (1564-1616), Othello (c1601) Jasper Ridley, from A Brief History of the Tudor Age (2002)
25 (1564-1616), Othello (c1601) Maynard Mack, from Everybody s Shakespeare, (1993) 26 27 (1564-1616), Othello (c1604) (1564-1616), Othello (c1604) Alexander Leggatt, from : Shakespeare s Tragedies: Violation and Identity (2005) 28 (1564-1616), Othello (c1604) Textbook(s)/Supplementary Readings