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Fall 2000 |
Reynolds |
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English 238 |
Office: Rice 26, (440) 775-8685 |
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-01: MWF, 9:00-9:50 |
Office hours: M,
10-12; |
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-02: MWF, 2:30-3:20 |
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Book list:
CLASS DESCRIPTIONS AND OBJECTIVES:
What do we mean by contemporary, by American, by fiction? What are the common ingredients in this period's large body of works--a dose of postmodernism, a dash of modernism, something borrowed, something blue? The governing assumption of most surveys of literature is that the works included on the syllabus are in some way representative: of the period, the culture, the genre, the highest caliber of artistic expression, and so on. (Although more mundane considerations also weigh heavily: are the works still available, can you read them in a reasonable amount of time, is there one neatly-packaged anthology, does the instructor really want to read this or that work again?) Because what we read is always marked by such considerations, this survey will set out to answer two questions. First, what are some works and authors which could stand in as representatives of the many fictions available in this period, in this country? We'll read certain texts closely, trying to tease out what it is that makes them great, or (post)modern, or American (or what-have-you). Second, what methods and models should we use to define and support the selection of these or other representative texts?
We'll begin by assessing our expectations for and experiences with three works; we'll examine how the interpretation of a mystery in each sheds some light on the mysteries of interpretation over the last fifty years. Then we'll test and refine these 'everyday' reading practices with (and against) certain 'expert' models. Using one novel as a case study, we'll read some general theories about contemporary literature and culture as well as particular analyses of that novel and its author. Next, we'll define (and evaluate) how the writing of certain history-minded fictions may indicate a history of recent changes in fiction. The semester will conclude with the selection, by each of you working in a small group, of a representative author/text. Each group will present to the class the theory shaping (or theories, tastes, ideas, ideals, and whims influencing) this choice, and each member of the group will write a longer paper defining (and/or illustrating) her or his individual critical approach to this particular work in the context of "contemporary American fiction." All participants will strengthen their analytical skills in close readings of each text, in order to develop general tactics and tools for academic argumentation (oral and written). The course is also intended as an introduction to the English major: focusing on the discipline's critical tools and research methodologies, and analyzing certain historical and cultural shifts in approaches to literature.
REQUIREMENTS:
-- Attendance: Is simply expected, and thus won't get any particular grade attention of its own. However, absences will greatly and adversely affect your ability to connect with course materials, and may derail class dynamics for all. (How can we have an energetic discussion if five people--even five different people--take every other class off?) Since everybody has the occasional bad day, connected to malaises both physical and psychological, you will be entitled to two absences, about which I won't question. Any greater number of days out, though, will interfere with your ability to participate and engage--and I reserve the right to penalize, at my discretion, your participation grade for greater numbers of absences. (For example, miss more than 5 classes and you will receive no credit for participation.) Emergencies, of course, will be considered outside these guidelines, given the proper notice and paperwork.
-- Participation (25% of final grade): A fuzzy criterion, I know--but a crucial, if abstract, component of any good class is the constant engagement of all members. Even more, such engagement is vital to the development of one's own ideas; for example, I often don't really know what I am thinking until I've wandered through a few confused public comments and listened to some critical responses from my peers. However you configure the way you participate, it's important that you are an active part of class interactions.
This engagement can, and should, take many forms: a constant and informed attention to assigned texts, the ability to articulate concerns and issues, a responsiveness to new ideas (from texts as well as your fellow class members). In general, I will keep track of class discussions (and, if you don't like public speaking, you can always chat more extensively with me in office hours or unload--constructively--on the listserv). You will also be assessed by the members of your smaller group; I will factor those reports in the final grade. At any point, you can check with me to tell me how you think you're doing (and to see if my evaluation matches yours).
-- Written materials (75% of final grade):
2 short response papers (2-3 pages)--each due upon discussion of any text, about your engagement with that text. Should be self-reflexive, insofar as you analyze how your responses indicate a particular kind of approach to the work; however, the range of what you could write about is quite wide. For example, you could address the formal qualities which shaped your response, or zero in on a theme which excited you, or sketch a rough theory to be revised later in the formal papers, or . . . your call. If you have questions, talk to me. This is a personal reaction paper, albeit with the expectations of some analytical oomph. Each will be worth 5%.
1 short formal paper (4-6 pages)--due on Mon. 10/2. In response to our first section of readings, and using specific and close textual analysis, define a theory of/ for/about contemporary fiction's meaning(s). This is expected to be a more formal academic paper, reliant on textual examples and support for cogent claims. 20%
1 short-answer essay exam--Mon. 12/4. The class will construct a set of questions based on our responses to and discussions of the third section of the course. Topics may include comparative analyses of specific texts, thematic overviews, theoretical questions, etc. 15%
In conjunction with your discussion group, 1 final paper on a chosen text (8-10 pages), to be included in a Casebook with your fellow group members' work--group presentations in class (12/6-12/13), written paper due on Mon. 12/18. 10% for presentation and group project as a whole, 20% for individual written work.
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Wed. |
9/6 |
Introduction |
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Fri. |
9/8 |
What is Contemporary Fiction? Definitions and expectations |
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Saunders story (handout) |
I. MYSTERY AND INTERPRETATION
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Mon. |
9/11 |
Capote (Pts. 1 & 2) |
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Wed. |
9/13 |
Capote (Pts. 3 & 4) |
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Thurs. |
9/14 |
Viewing of David Lynch's "Blue Velvet" |
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Fri. |
9/15 |
Formal considerations: fact, fiction, film, narrative |
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Mon. |
9/18 |
Comparisons: Capote's "novel" and Lynch's film |
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Wed. |
9/20 |
Morrison (Pt. 1) |
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Fri. |
9/22 |
Morrison (Pts. 2 & 3) |
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Mon. |
9/25 |
Morrison (& Capote & Lynch) |
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Wed. |
9/27 |
Defining our reading practices--generating theories |
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Fri. |
9/29 |
Some critics, some postmodernisms: |
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Introduction to Geyh/Leebron/Levy; Hassan; hooks |
II. CRITICAL/CULTURAL CONTEXTS
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Mon. |
10/2 |
Paper #1 Due |
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Essays: Jameson; Baudrillard--Technology, information, capitalism |
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Interview selections: DeCurtis; Begley--What the author says |
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Wed. |
10/4 |
DeLillo (Pts. 1 & 2) |
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Fri. |
10/6 |
DeLillo (Ch. 22-32)--discussion groups |
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Mon. |
10/9 |
Holiday--No Class |
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Wed. |
10/11 |
DeLillo (Ch. 33-end) |
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Selected essays--as assigned to discussion groups |
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Fri. |
10/13 |
Debating critical positions |
III. A HISTORY
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Mon. |
10/23 |
Realism, modernism, alienation, satire & black comedy |
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Heller (all due) |
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Wed. |
10/25 |
Library Workshop |
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Fri. |
10/27 |
Paranoia, politics, escape |
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Heller |
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Sun. |
10/29 |
Viewing of Spielberg's "Saving Private Ryan" |
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Mon. |
10/30 |
Sincerity, irony, genre |
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Spielberg; essay by Eco |
No Wed. Class: one-hour group meetings on Tues., Wed., or Thurs. (10/31, 11/1, 11/2) as assigned--determining your author/book for study
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Fri. |
11/3 |
What (kind of) story to tell?: intertextuality, metafiction |
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Vonnegut (all) |
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Mon. |
11/6 |
Deconstructing us & them |
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Vonnegut; essay by Cixous |
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(supplemental: Haraway) |
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Tues. |
11/7 |
Viewing of Verhoeven's "Starship Troopers" |
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Wed. |
11/8 |
Us/them in war stories: Vonnegut & Verhoeven |
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Desire, gender, the Other |
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Fri. |
11/10 |
Identity, culture, intertextuality - many stories, many histories |
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Silko (p. 1-82) |
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Mon. |
11/13 |
Dialogism, narrative |
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Silko (finish) |
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Tues. |
11/14 |
Viewing of Malick's "The Thin Red Line" |
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Wed. |
11/15 |
Fragmentation or multiplicity; individual or culture |
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Silko & Malick |
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Fri. |
11/17 |
Popular assimilations |
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Spiegelman, White, and/or Mason |
No Class meetings on Mon. or Wed. before Thanksgiving: one-hour group meetings, as assigned for the days preceding break (11/20, 11/21, 11/22), to discuss chosen book and critical approaches
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Mon. |
11/27 |
Pop culture: escapism, fantasy, redemption |
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Berube; Powers (through Ch. 13) |
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Wed. |
11/29 |
Performing history/culture--ethics and interpretation |
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Powers (all) |
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Fri. |
12/1 |
Class discussion--constructing questions |
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Mon. |
12/4 |
Short-answer exam |
Wed. 12/6; Fri. 12/8; Mon. 12/11; Wed. 12/13
Group presentations on casebooks
Final papers due by noon on Mon. 12/18