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Spring 2001 | |
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ENGLISH 258 |
King 139c, (440) 775-8615 |
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E-mail: anne.trubek@oberlin.edu |
Course Description
One might argue that American culture at the turn of this century was "born" at the turn of the last: in the late 19th century, Americans witnessed the rise of consumer culture, new technologies and diverse voices into mainstream culture. Realism both responded to and helped create these new social conditions, and today, realism remains our dominant aesthetic mode of representation. In this course, we will consider realism formally and historically, and we will focus on three major themes: (1) the definition of the "real" (how does literature represent material reality and why would we it want to)? (2) the distinction between popular and elite cultural forms (what's the difference between "high" and "low" literature and art?) and the influence of a burgeoning visual culture, and (3) the relationship between history and literature (to what extent can we understand history through literary texts and vice versa?). We will incorporate contemporary theoretical readings addressing these issues into discussions of literary and non-literary texts.
Texts
Course Requirements
Readings: You should complete all the readings for the course by Tuesday's class session. Some weeks the reading load is heavier than others, so try to pace yourself.
Projects: You will complete four projects during the course of the semester. These projects ask you to approach literary study using various methods and forms. Individual projects will not be graded; instead, I will give you holistic comments. At mid-term and once you have completed four projects, you will resubmit a portfolio with the versions I commented upon initially, and I will grade that portfolio, keeping an eye on your progress over the course of the term.
There are six projects assigned; you need only complete four of these. At least two must be completed by mid-term. There are no length requirements for projects. All projects should be posted to CourseInfo (http://cinfo.oberlin.edu) submitted in hard copy to me by classtime. (To post, logon to the site, click on "Communications" and then on "Discussion Board. Add a thread to the appropriate forum. Add your file as an attachment. You must save your file with ".doc" at the end of the filename for the document to be readable. )
Project 1: CLOSE READING: TEXT TO THEORY. Adopt a very focused lens to get at a larger idea. Choose one minor character, scene, language convention, setting or passage (no longer than 3 paragraphs) from one of the works we have read so far. By reading this part of the work very closely you will be able to make claims about a larger critical issues (the definition of realism, interpretation, depictions of women, etc). Due February 23.
Project 2: CRITICAL ANALYSIS: THEORY TO TEXT. Here, you will reverse the method of the first project. Begin with a large concept that helps us understand a specific text. Write an essay that summarizes one of the critical terms we have read thus far and relates that term to one of the novels we have read. Your paper should contain both abstract discussion of the term and specific reading of a text (many of the essays in Critical Terms for Literary Study are organized this way, and you might look to them as models). Due March 9.
Project 3: MATERIAL CULTURE: WHAT IS A BOOK? This project asks you to consider the relationship between the material form of a book and its contents. Research web resources and/or Special Collections material on one text we've read so far. What constitutes the actual, "real" text? How do variant editions, manuscripts, web-based images, electronic texts, book covers, etc. alter the novel itself? How does experience examining these documents alter your understanding of how literature is constructed? Your project could take the form of an essay, a web page or other fomat you deem appropriate. You might consider how the physical or electronic nature of your project might be incorporated into the project itself. Due March 23.
Project 4: IMITATION. Imitate one of the texts in the class. That is, instead of writing about Riis, write with him. Explore, analyze and interpret the work by trying to do your own version of it. You should not slavishly copy the work but instead interpret it. For example, you might attempt your own Riis-ian photo-essay of whatever you decide is the "other half" of Oberlin College. For the project to be successful, you need to both thoroughly understand the formal features of the text you are imitating and make some sort of implicit commentary about it through your own. Append a short, informal explanation of the project. Due April 5.
Project 5: CULTURAL STUDY. Bellamy predicted what our world would be like, and he was both wrong and right, of course. Clearly, though, new forms of expression that developed in the 1890s or so are still with us today -- Bellamy was right that the late 20th century is still in the wake of the transformations of the late 19th century. Consider the legacy of contemporary literature, visual culture, popular culture, social expose, etc. Choose one contemporary phenomena and interpret it as you would any literary text (i.e. reality tv, Michael Moore, video games, etc.). You should spend some time discussing the similarities between the 19th and 20th century phenomena (formal, cultural, political), but your focus should be on interpreting one aspect of contemporary culture based upon what you've learned through this course thus far. Due April 19.
Project 6: METHODS OF LITERARY STUDY. Throughout the semester we have read essays elucidating various critical terms for literary study. For this project, develop an essay on another critical term, perhaps one that we have been discussing in class or one that you have familiarity with from other English courses or courses in other disciplines. You needn't research this term, although you might find that helpful. Instead, develop a definition of it on your own, and explain that term through a reading of one of the texts we have studied thus far. Due May 3.
Group Presentation: You will collaborate with other class members on a group presentation. Your group will be responsible for leading one day of class discussion. You are encouraged to post something to Courseinfo by Wednesday evening that will prepare the class for your presentation. Successful presentations will provide the class with interesting issues and questions to think about as well as initiate large group discussion.
Final Essay: You will complete a final critical essay (8-12 pages) or project (hypertext, visual analysis, production or reception history, etc.), due at the end of the semester. This essay may well be an expansion of one of your projects.
Course Policies and Procedures
Attendance: You may miss two classes without explanation or penalty. If you miss three classes without just cause, your grade will be lowered. After five absences, you will "No Entry" the course.
Participation: Consistent, constructive participation is vital to the success of the course and to your success in it. Therefore, participation is mandatory and comprises a significant portion of your grade. While it is normal to feel uneasy about speaking in front of thirty-odd people, by enrolling in this course you are signing on to do just that. I am happy to talk with you about developing your oral communication skills.
Late Papers: You have the option of choosing which dates you will turn in projects. Therefore, no late projects will be accepted.
SYLLABUS
UNIT 1: WHAT IS REALISM?
Week 1
Week 2
Week 3
Week 4
Week 5
UNIT 2: VISUAL AND VERBAL, HIGH AND LOW
Week 6
Week 7
SPRING BREAK
Week 8
Week 9
UNIT 3: WHAT IS HISTORY?
Week 10
Week 11
Week 12
Week 13