ENG 108‐001: Literature of the Holocaust Fall 2011 Monroe Community College (Hall of the Names, Yad Vashem – Jerusalem) ENG 108‐001: Literature of the Holocaust Table of Contents Course Information 3‐22 Course Information Sheet Course Calendar MLA Formatting 3‐10 11‐13 14‐22 Written Response Assignments 23‐33 23 24 25 26 27 28 29 30 31 32 33 Written Responses #1: How a Perpetrator Is Born #2: Hatching a Plan from Hell #3: The Abnormality of Normal Ghetto Life #4: The Living Dead #5: If This Is a Memoir #6: The Power of Pajamas #7: How Is One to Tell a Tale #8: Ironic Incidents #9: To Forgive or Not to Forgive #10: The Aftermath Paper #1 Assignment 34‐35 36‐38 Paper #2 Assignment 2
ENG 108: Literature of the Holocaust Fall 2011 Section #001: Instructor: Phone: Office: E‐mail: Web: T/Th, 11am‐12:20pm Regina Fabbro 292‐3464 5‐539 [email protected] http://web.monroecc.edu/rfabbro Office Hours: T/Th, 2‐3pm Mailbox: English/Phil. Office (5‐532) Course Description “A study of the Holocaust through a variety of genres, including poetry, novels, short stories, plays, memoirs, and children’s literature, in order to gain a better understanding of the ideas presented by the Holocaust as a significant event in world history. Students will study the origins and development of the Holocaust and its political, cultural, economic, and social implications through the lens of a variety of writers.” ‐‐ MCC Catalog & Student Handbook How does literature impact our understanding of the Holocaust? Is it ever actually possible to know this event? Can a memory of an event and a factual accounting of it contradict one another? What do our choices as audiences of Holocaust literature say about us? And how might literature help us to understand the individual choices that led to the Holocaust? In an attempt to respond to these questions and others, we will read, discuss, and write about a number of literary works from different genres (memoir, graphic novel, poetry, drama, legend, short story, and novel) and periods (from those written before the Holocaust to those written during the event and after). Through discussion, group work, and brief lectures, we’ll investigate both traditional and more unconventional methods of approaching literature. Terminology common in literary analysis will be discussed and used and we’ll consider the treatment of several themes present in Holocaust literature. Course Outcomes Successful completion of this course will reflect your ability to:  Demonstrate an understanding of the political, cultural, economic, and social implications of the Holocaust as a significant event in world history.  Articulate ideas concerning oppression, evil, violence, and righteousness and apply these perspectives in the contemporary world.  Demonstrate comprehension of historical aspects of the Holocaust. 3
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Critically evaluate ideas from diverse literary genres such as the short story, poetry, novel, and drama that deal with various aspects of the Holocaust experience. Produce 1 paper (approximately 1000 words) and written assignments (totaling approximately 2500 words) that focus on 1) the use of literary devices – such as symbolism, metaphor, and tone – and the specific scholarly concerns related to different genres and writing styles, such as memoir, drama, and fiction, among others, 2) the ways in which literature highlights and comments on the individual choices that led to the Holocaust, and 3) the effectiveness and appropriateness of literature when retelling the varying experiences of those who experienced the Holocaust. Produce written assignments that respond to the arguments of Holocaust survivors and Holocaust literature scholars. Produce written assignments that consider multiple meanings in and approaches to Holocaust literature. Produce 1 paper (approximately 2500 words) that offers a thesis‐driven analysis, in which several class texts, questions, and themes are connected and examined. This requirement applies if you do not select the “HGHRP Option” (see below). Required Texts Boyne, John. The Boy in the Striped Pajamas. Hacker, Diana. A Pocket Style Manual. (5th edition w/2009 MLA update) Levi, Primo. Survival in Auschwitz. Miller, Arthur. Incident at Vichy. Ozick, Cynthia. The Shawl. Spiegelman, Art. Maus II: A Survivor’s Tale: And Here My Troubles Began. Wiesel, Elie. Night. Required Materials 
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Notebook/paper for in‐class notes and writings Folder to store handouts A college dictionary and thesaurus Blue or black pens—work in pencil is not accepted A working MCC e‐mail address that is checked at least twice per week & a willingness to help classmates who e‐mail you with questions about the class Access to the web (Brighton Campus, 11‐106 or Damon Campus, 4‐071) 4
Course & College Policies Course Readings:  Buy all of the books for our class immediately. The bookstore will begin sending books back to publishers before our course ends, and you are always expected to bring assigned texts with you to class.  Since our classes will involve lots of discussion and reflection on the assigned readings, it’s very important that you come to each class having read the material.  Read actively! Make lists of characters and their dominant traits & attitudes, summarize chapters, and jot down questions you have about the plot as you make your way through a book or story.  Critical texts, or “secondary” pieces, will require several readings in order to fully understand the specific arguments offered in each. Plan ahead and make time to read these actively and as often as necessary for you to feel comfortable with them.  While I certainly don’t mind if you save a few bucks and find used or cheap copies of class texts, make sure that you’re getting a full, unabridged (un‐shortened) version of each. You can also borrow copies from your local public library, but keep in mind that you’ll need these books for several weeks at a time and should feel comfortable writing and underlining in the copy you use (librarians hate this kind of thing).  Do not plan on returning any of the course texts before the last day of class (this is a great rule of thumb for all courses). E‐Mail: Assignments, papers, or other attached documents will not be accepted via e‐mail. While I will happily respond to any e‐mails you send within a reasonable amount of time, don’t plan on sending your work to me this way. It is your responsibility to check your MCC e‐mail account at least twice per week – no exceptions. I often send class information this way, including extra credit opportunities and helpful links, and you may receive e‐mails from classmates with questions you can answer. Remember that becoming part of this class means accepting that classmates may contact you for help. You may check your e‐mail while on campus, too (11‐106). If you experience problems with your account, contact the help desk at 292‐2555. Readings: Some assigned readings listed on the course calendar are located in Angel in pdf format. You can access these readings from any computer with an Internet connection and a copy of Adobe Acrobat Reader (visit http://get.adobe.com/reader for a free copy if necessary). Be sure to print a copy of each reading to bring to class! Late Work: For all assignments and papers, an item is late the moment our class has ended. Some assignments are accepted late with a penalty, while others are not. It is your responsibility to carefully and thoroughly read this course pack to familiarize yourself with the specific late policy for each assignment. Attendance: Be here. Without regular class attendance, it will be impossible for you to do well in this course. There will plenty of information from brief lectures, which you’ll need to do well on assignments and papers, and there may be changes made to the course calendar and assigned 5
readings—be sure to bring a notebook for class notes and review it often! Keep in mind the following policies regarding attendance:  MCC mandates that attendance be taken to keep track of those students with financial aid. I’ll pass around an attendance sheet at some point during class. It is always your responsibility to sign in; failing to do so means you will be counted as absent.  If you miss classes you will almost certainly miss in‐class assignments or quizzes, too. These cannot be made up and count toward 25% of your final grade.  Late arrivals are unacceptable, since they interrupt the work of the class. If you arrive and the door to our class is closed, do not enter. No matter what the reason for your tardiness, one individual’s issues never take priority over our class community. You’ll have to take an absence for the day.  I teach each class one time and one time only. If you miss class, don’t plan on calling or e‐
mailing me to ask, “What did I miss?” You won’t get much information. Instead, refer to the class contact list handed out at the beginning of the semester; it lists each classmate’s MCC e‐mail address. You’ll need to be willing and able to both ask others for help and give classmates information when they contact you for it. Should you miss class and need to get handouts, check the folder outside my office door. Handouts from class will be stored there for 2 weeks, depending on the number of handouts. Withdrawing: The last day to withdraw is listed on the course calendar. While I never enjoy losing students, I do strongly urge you to drop or withdraw from the class if you miss four or more classes. If you stop attending altogether, it is still your responsibility to withdraw formally through the Office of Records & Registration. I reserve the right to withdraw any student who misses four or more classes, though you may also simply receive a failing grade. If you don’t want to take the chance of receiving a failing grade, be sure to withdraw yourself. Similarly, if you miss four or more classes and don’t want to be withdrawn, get in touch with me as soon as possible or know that I’ll decide your fate in our class without you. Paper & Response Formatting Guidelines: Papers and written responses must 1) be typed or word‐
processed, 2) be double‐spaced, 3) have equal 1” margins on all sides, 4) use only black ink and white 8½” x 11” paper, 5) use a standard font, such as Times New Roman, in 12 pt. size, 6) follow all MLA standard guidelines (required for papers only), and 7) be spell‐checked and edited properly for grammar and punctuation. Plagiarism: Plagiarism is the use of another author’s words or original meaning without properly crediting that author. This can be done through 1) outright cheating, in which a person knowingly steals another’s work (through borrowing, purchasing, etc.) and submits it under his or her own name, 2) non attribution, in which a person uses passages copied directly from the work of another without providing quotation marks, a bibliographic reference, and parenthetical entry, or 3) patchwriting, in which passages are borrowed from another author—passages are not copied exactly; instead, the meaning is borrowed and the author is unacknowledged through both bibliographic reference and parenthetical citation. All suspected cases of plagiarism will result in a private conference with me and a failing grade in the course. 6
Online Book Summaries, Reviews, & Analyses: If you spend just a few minutes searching, you’ll know doubt come upon many sites (SparkNotes, Cliff’s Notes) that offer information about several of our class texts. These barely scratch the surface, of course (they’re meant to be used by everyone from an 8th grader to a college student, after all), so you will be expected to move far beyond the analysis provided by such an online resource. Additionally, keep in mind that if you’ve located an online resource, it’s likely that I have, too. Review the section above on plagiarism and be sure you fully understand the expectations regarding use of any source’s ideas. Above all else, remember that I am looking for your ideas about our class texts! Make good use of each opportunity to prove that you’re fully engaged with course material. Learning Centers: MCC has a number of Learning Centers at Brighton (e.g., Accounting, Math, Psychology, Writing, the Electronic Learning Center, etc.) and at Damon (e.g., the Integrated Learning Center, Electronic Learning Center, etc.). Learning centers are staffed with instructional personnel and may be equipped with computers and software to assist students. MCC recommends that students use the Learning Centers to get additional help with concepts learned in the classroom and with their homework. Emergency Closings & Class Cancellations: If the College is closed due to inclement weather or some other emergency, all Rochester area radio and television stations will be notified no later than 5:30 a.m. In addition, the homepage on the MCC website (www.monroecc.edu) will display a message indicating the College is closed. Please do not call the College to avoid overloading the telephone lines. Class cancellation information is available daily on the web or through the telephone. Simply go to the MCC website (www.monroecc.edu) and under the “Quick Links” window on the homepage, click on “Class Cancellations.” Class cancellation information is also available by dialing 292‐2066; press “1” for the Brighton Campus and “2” for the Damon Campus. If possible, please use the web as there could be delays in the voice recordings based on the number of cancellations. Additionally, your MCC e‐mail account will receive a message if I should cancel class in an emergency situation. Grading Policy Assignments: Throughout the semester, there may be a variety of in‐class writing opportunities, group work assignments, quizzes, and/or homework assignments (including the written responses listed on the course calendar) based on the course readings and class discussions. Each assignment or quiz will be graded on a 10‐point scale; when combined, they are worth 30% of your final grade. All homework must comply with the paper formatting guidelines listed above. These assignments may occur during the first fifteen minutes of class; since late arrivals are unacceptable (see “Attendance” above), if you’re late, you may miss these opportunities, which cannot be made up. Keep in mind that quizzes may be unannounced – be sure to review your class notes frequently and do the assigned readings! Written responses and homework assignments are not accepted late – no exceptions! 7
Submitting Papers & Written Responses: All papers and written responses must be submitted online via the Angel Course Management System. Angel currently supports Internet Explorer 7 or higher and Mozilla Firefox 2.0 or higher. To log in, head to http://monroecc.sln.suny.edu. Your username is your full MCC e‐mail address (e.g. [email protected]), and your password is your MCC e‐mail password. Upon logging in, you’ll see a list of your fall semester courses on the left. Click into our course, select the “Learning Modules” tab at the top, and then click on the specific assignment you’re submitting. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Be sure you’re fully comfortable and confident with the submission process early on to avoid painful late hour attempts…and failures. Scores for and feedback on submissions will be posted in Angel, as well. Use the “Report” tab at the top of our course to access yours. While you will be able to view your scores for papers and written responses via Angel’s gradebook feature, your participation score and other components of the “Assignments” portion of your final grade will not be viewable via Angel. Technology Problems: Should you experience any technical problems with your computer or our course, you must contact the SLN HelpDesk (http://sln.suny.edu/sln_helpdesk.htm or 1‐800‐875‐6269) for assistance. Please understand that I do not have the technical training or know‐how to solve any such problems. I strongly urge you to locate a secondary computer by which you might access our course in an emergency! By definition, an emergency takes us by surprise – the only way to cope with these situations is to prepare, no matter how new your computer or how stable your connection. Public libraries, for example, are great back‐up options since they offer online access. The Brighton and Damon campuses both have Electronic Learning Centers with accessible computers. Check with neighbors, family members, or friends, too, to locate a second option for yourself well in advance of your first submission! Papers: There will be two papers due during the semester, and both must be completed for you to pass the course. Both papers require you to provide a thesis‐driven literary analysis. Paper #1 must be approximately 3‐4 pages in length. Paper #2, which requires you to select a topic from and make connections between the various themes, questions, and texts we’ve studied throughout the semester, must be approximately 10‐12 pages in length. Each will be graded on a 100‐point scale. Additionally, each must follow the “Paper & Response Formatting Guidelines” listed above. See the course calendar for specific due dates. Late papers will be accepted only one class period late (see “Late Work” above) and will lose 10 points. Paper #1 is worth 20% of your final grade, while paper #2 is worth 25% of your final grade. Holocaust, Genocide, and Human Rights Project (HGHRP) Option: MCC hosts a student organization known as the Holocaust, Genocide, and Human Rights Project (HGHRP), the goal of which is to educate students and the community about the Holocaust and contemporary genocides in an attempt to promote human rights. 8
Who Are Participants?  Students who participate are committed to and genuinely interested in the group’s goals. Successful participants aren’t satisfied simply attending meetings; instead, they seek and find ways to actively invest themselves in group projects. What Does the Group Do?  Through the sale of water bottles and t‐shirts, and through the annual Walk for Water and other events, the group is currently raising money to drill wells for those affected by genocide in Sudan. Participants routinely advertise, coordinate, and fundraise. They also meet with Salva Dut, former Sudanese Lost Boy and creator of Water for Sudan, the non‐profit agency that the HGHRP sponsors.  Additionally, each fall, MCC hosts a Kristallnacht commemoration, at which we mark the events of November, 1938 throughout Germany. This “Night of Broken Glass” sent a clear warning about what was to come for the Jews of Europe, and it was a moment in which the international community could have acted to stop the impending genocide – but didn’t. MCC hosts a speaker who highlights some facet of international human rights, and students who join the HGHRP can plan and coordinate this event. You may be asked to advertise for the event, introduce a speaker, be an usher, assist those audience members who wish to ask questions, set‐up, etc.  The HGHRP student group also offers an education table at various points throughout the semester. This is a table in the Campus Center that provides educational materials that relate to the group’s efforts and the importance of the work we do. Students are asked to volunteer their time at this table whenever possible. 
Holocaust and/or genocide‐related films and book discussions are planned each semester, and the HGHRP also publishes a newsletter twice a year. Students often provide articles, poems, photography, or original illustrations for the newsletters. What Are the Requirements and Course Benefits of this Option? To take advantage of the HGHRP option, you must complete the following: 
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Complete a face‐to‐face interview with me to establish your participation goals, identify the strengths that you’ll bring to the group, and discuss your purpose in joining. Attend all student meetings. The group meets every Tuesday, from 3:30‐4:30pm in the Brighton Room on the second floor of the Campus Center, 3‐217 (the first student meeting will be held on Tuesday, 09/13). 9
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Attend the Kristallnacht commemoration and take an active role in the planning and execution of the event or attend the Walk for Water and take an active role in the planning and execution of the event. Complete two of the following: attend an HGHRP‐sponsored film and discussion, attend an HGHRP book discussion, staff the education table at least three times, or craft a submission for the HGHRP newsletter. Complete a mid‐semester interview with me to discuss your progress in the group and your plan for the remainder of the semester. If you complete all of the above, you will receive a full 100% in place of the second paper for our course. This means that you would not have to complete the second paper assignment. Students wishing to take advantage of this option must notify me and set up an appointment for an interview before T, 09/20. Participation: Because so much of our time together will be spent discussing, it’s important that you feel comfortable participating regularly. That means you’ll be expected to meaningfully contribute to class discussions and group work. Some of us are natural gabbers and others fear speaking in groups more than anything else. For those of you who feel comfortable speaking, remember to share time with classmates so we can benefit from everyone’s ideas. For those of you who don’t like public speaking, try your best to overcome your fears – your ideas are valuable and welcome here! Should you have serious trouble participating in class, come and participate during my office hours; sometimes students feel more comfortable discussing class material one‐on‐one. If at the end of the semester I find that you have not contributed sufficiently to our class or that you have adopted an insulting or demeaning tone, your overall level and quality of participation will certainly affect your final grade. The opposite is also true – positive participation will be rewarded. Participation is worth 25% of your final grade and can significantly change your grade. A Word About Respect: Most of our time in class will be spent discussing. Because we’ll be sharing lots of ideas and opinions with each other, some basic ground rules for civility should be noted. If you endorse a prejudice based on ethnic, religious, national or cultural origin, sexual preference, gender, physical handicaps, social class, or political preference, leave it at the door. Those who violate this request will be asked to leave. We want to generate light through our discussions, not heat. Work Percentage Value Assignments 30% Participation 25% Paper #1 20% Paper #2 or HGHRP Participation 25% 10
COURSE CALENDAR (subject to change during the semester) ** assignments & readings are due on the date they are listed T, 09/06 Introductions LIFE BEFORE THE HOLOCAUST Th, 09/08 Read: Course pack (be sure that you’re familiar with it in its entirety!) Read: From Trust No Fox: “The Eternal Jew,” “Once a Jew, Always a Jew,” and any story that includes “Don’t trust a fox on the greensward, And never a Jew on his plighted word” (online at http://www.calvin.edu/academic/cas/gpa/ww2era.htm) T, 09/13 First student meeting of the Holocaust, Genocide, & Human Rights Project (3:30‐4:30pm in 3‐217) Th, 09/15 Written response #1 due (be sure to reread pg. 24 in this course pack) T, 09/20 Read: “A Mountain of Shoes” (located in Angel) “A Cartload of Shoes” (located in Angel) Written response #2 due LIFE IN THE GHETTOS Th, 09/22 Read: “The Legend of the Lodz Ghetto Children” (located in Angel) T, 09/27 Read: Selections from I Never Saw Another Butterfly (located in Angel) Written response #3 due LIFE IN THE CAMPS Th, 09/29 Read: Night (be sure you’re ready to discuss the entire text) Written response #4 due S, 10/01 Walk for Water for Sudan 11
T, 10/04 Th, 10/06 T, 10/11 Continuing work with Night Read: “This Way for the Gas, Ladies and Gentlemen” (located in Angel) Read: The Shawl, “The Shawl,” pg. 3‐10 Written response #5 due Th, 10/13 T, 10/18 Read: “Death Fugue” (located in Angel) Read: Survival in Auschwitz (be sure you’re reading to discuss the entire text) Written response #6 due Holocaust, Genocide, and Human Rights Project Book Discussion: Survival in Auschwitz (3:30pm in 3‐217) Th, 10/20 Continuing work with Survival in Auschwitz FOCUS: REPRESENTATIONAL PROBLEMS T, 10/25 Read: The Boy in the Striped Pajamas (be sure you’re reading to discuss the entire text) W, 10/26 Holocaust, Genocide, and Human Rights Project Film & Discussion: A Film Unfinished (6pm in 3‐130) Th, 10/27 Read: Section from And the Sea Is Never Full, by Elie Wiesel (located in Angel) Written response #7 due T, 11/01 Read: Maus II (be sure you’re ready to discuss the entire text) Th, 11/03 Continuing work with Maus II Holocaust, Genocide, and Human Rights Project Faculty Panel: Propaganda (3:30pm in 3‐130) 12
T, 11/08 W, 11/09 Read: Chapter from Writing and Rewriting the Holocaust, by James Young (located in Angel) Written response #8 due Holocaust, Genocide, and Human Rights Project’s Kristallnacht Commemoration: Speaker Ann Millin, curator of the State of Deception: The Power of Nazi Propaganda exhibit at the USHMM (7pm in the Theatre) LIFE IN OCCUPIED EUROPE Th, 11/10 Read: Incident at Vichy (be sure you’re ready to discuss the entire text) Written response #9 due T, 11/15 Paper #1 Due Th, 11/17 Continue work with Incident at Vichy LIFE AFTER THE HOLOCAUST T, 11/22 Read: The Reader (be sure you’re ready to discuss the entire text) W, 11/23 Last Day to Withdraw from Classes! Th, 11/24 Happy Thanksgiving! T, 11/29 Continuing work with The Reader Th, 12/01 Continuing work with The Reader T, 12/06 Read: The Shawl, “Rosa,” pg. 13‐70 Th, 12/08 Read: The Table (located in Angel) Written response #10 due T, 12/13 Continuing work with The Table Th, 12/15 Paper #2 Due 13
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Written Response Assignments When it comes to the texts that have been assigned this semester, reading will be only half the battle. Keep in mind that you’re expected to be actively engaged with each piece. You’ll do this in two ways: through discussion and writing. There are ten (10) written response assignments due throughout the semester, and each has its own instructions, given on the next several pages. But it’s a good to idea to remember some general guidelines. Most importantly, there isn’t a “correct” response. Instead, those responses that are strong will be 1) genuinely thoughtful, 2) well‐supported, 3) evidence of the time you’ve invested in reading (and rereading, when necessary) our class texts, and 4) evidence of your ability to fully engage with class readings and discussions. Look for and include well‐chosen, well‐
explained, specific examples that help you explain and “prove” your interpretation. These responses are your best opportunity to demonstrate your knowledge of and engagement with our class texts, so expectations are high. Each written response is meant to be approximately one‐
page in length, which means that you’ll have to be economical when writing; don’t feel compelled to provide a formal introduction and conclusion, for example. Focus instead on fully responding to each portion of the assignment. All written assignments must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 23
Written Response #1: How a Perpetrator Is Born Consider the materials listed below that you’ve read or viewed: Heil Hitler: Confessions of a Hitler Youth (video) The Longest Hatred (portions of video) Trust No Fox The Poisonous Mushroom All of these items reflect the lengths to which the Nazis went to condition children to accept anti‐
Semitism and Nazism. The longstanding racist stereotypes highlighted in The Longest Hatred were amplified. Organizations like the Hitler Youth and the Bund Deutscher Mädel (BDM, or the girls’ version of the Hitler Youth), along with books like Trust No Fox and The Poisonous Mushroom, often laid the foundation for children to become perpetrators themselves. Consider the following questions carefully and type up a one‐page response in which you respond to them: How does one go from being a bystander to being a perpetrator? Is it important for us to understand the perpetrators’ perspective, or are we doing a disservice to the victims by thinking about the perpetrators as anything other than inhuman monsters? Do we, in fact, run the risk of rationalizing the choices made by perpetrators? Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 24
Written Response #2: Hatching a Plan from Hell Consider the materials listed below that you’ve read or viewed: Image Before My Eyes (video) Conspiracy (video) “A Cartload of Shoes” “A Mountain of Shoes” In a brief, typed response, explain how these items highlight the difference between the perpetrators’ viewpoint and the actual experiences of the victims. What, specifically, was lost as a result of the Final Solution? Consider this question in terms of the victims themselves, their families, their communities, and their cultures. Use specific examples from the above‐listed items as often as possible to support your interpretation. Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 25
Written Response #3: The Abnormality of Normal Ghetto Life Consider the materials listed below that you’ve read or viewed: “The Legend of the Lodz Ghetto Children” I Never Saw Another Butterfly (selections from) Auschwitz: Inside the Nazi State (video) Now type a one‐page response in which you explain the changes to which victims had to adjust upon entering the ghetto; how did ghetto life affect their view of the past, present, and future? Which specific examples from these materials highlight the contrast between normal life and life within the ghetto? Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 26
Written Response #4: The Living Dead In Night, the victims are described as being numbed to their surroundings and the horrors unfolding before them. Typical experiences become warped, bizarre horrors, and normal reactions are distorted, as well. In a typed, one‐page response, identify multiple specific examples that reflect the camp inmates’ transition from normality into the absolute abnormality of camp life. Be sure to note examples of the victims’ seemingly abnormal reactions to their experiences. Finally, identify the specific language choices made by Wiesel to capture the horror of the camps. When and where does he succeed and fail in adequately convey this horror through language? Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 27
Written Response #5: If This Is a Memoir Consider Primo Levi’s comments about writing Survival in Auschwitz: “[I]n writing this book, I deliberately took on the calm and sober language of a witness, not the plaintive tone of a victim nor the outrage of an avenger: I thought that my words would be most believable and useful the more they appeared to be objective and the less they sounded fervent. Only in this way does a witness fulfill his function, which is to prepare the ground for the judges. The judges are all of you.” Indeed, Levi’s style is often described as unemotional and detached. Locate several strong, specific examples of this kind of approach in Survival that highlight “calm and sober language” to describe the indescribable. Does Levi’s restraint and choice to be a witness, rather than a victim or avenger, help to make his writing “believable and useful”? If so, how? If not, why? Finally, consider that the original title of Levi’s memoir was If This Is a Man (Survival in Auschwitz is a title applied to English translations). How do these two titles strike readers differently? How does it affect a reader that If This Is a Man is the beginning of a sentence that remains unfinished? How does the title Survival in Auschwitz impact a reader differently? Which of these titles most successfully summarizes Levi’s goals for his memoir and most successfully impacts readers? Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 28
Written Response #6: The Power of Pajamas In his memoir, And the Sea Is Never Full, Elie Wiesel claims that Holocaust representations must be mindful of several ethical concerns. Identify these concerns and Wiesel’s reasoning for each. Then consider that both books you’ve read for this unit (Terrible Things and The Boy in the Striped Pajamas) attempt to represent at least some facet of the Holocaust. Do you believe these representations are appropriate or inappropriate? How might Wiesel see them? Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 29
Written Response #7: How Is One to Tell a Tale… Consider the materials listed below that you’ve read: Maus II Section from Writing and Rewriting the Holocaust Provide specific examples of the use of metaphor in Maus II and fully explain each. How is one thing used to signify another? For what purposes is or was the metaphor used? Then summarize the problems associated with metaphor as explained by James Young and explain whether you believe the uses of metaphor in Maus II are appropriate or inappropriate. Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 30
Written Response #8: Ironic Incidents Dramatic irony is the contrast between a character’s limited understanding of her situation and the audience’s more complete understanding of her situation. In such cases, the audience knows more about the reality of the character’s situation than the character herself. A famous example comes from Romeo and Juliet. Romeo finds Juliet and believes she has committed suicide, though the audience knows she is in fact still alive. Because of his limited understanding of the situation, Romeo then kills himself. This contrast between what Romeo knows and what the audience knows is considered dramatic irony. Type a one‐page response in which you identify specific examples of dramatic irony found within Incident at Vichy. Are there instances in which you as an audience member know more about what is to come than specific characters? How does this contrast between what you know and what they know affect your experience as a reader/viewer? Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 31
Written Response #9: To Forgive or Not to Forgive In The Reader, we’re confronted with an unlikely perpetrator, a rather shocking discovery of her crimes, and a very conflicted narrator. Like Michael, we too are forced to consider whether Hanna could be both evil and loving – whether it’s possible for a perpetrator to be anything other than an inhuman monster. And we’re also forced to consider whether our own interest in the Holocaust is healthy or voyeuristic. Locate three specific passages in which Michael struggles to make sense of his position as an observer of the court and of the Holocaust. Does he feel that observing and passing judgment is positive or problematic? Why? Finally, explain the significance of this novel’s title. How might it reference us as the book’s audience? Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 32
Written Response #10: The Aftermath Consider the materials listed below that you’ve read: “Rosa” The Table After examining these readings, what can we conclude about the experiences of survivors after the Holocaust? What challenges have they encountered when reentering society, or when recounting the events through which they lived? Use specific examples from these texts to support your response. Your response should be approximately 1‐page in length, must follow the paper formatting guidelines listed in the course information sheet, must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be graded on a 10‐point scale. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Late responses are not accepted! (Review the section on “Late Work” in the course information sheet for a refresher about what “late” means.) 33
Paper #1 Read...and Read Again: Select one of the readings that our class has worked with so far. Read it again, but this time, focus your attention on one specific literary element. For example, if you’ve chosen to work with a short story, focus your attention on an aspect of the story like the plot. What is the plot's complication? At what point in the story does the climax occur? Is resolution offered? How does the plot structure affect you as a reader? If you’ve chosen to work with a poem or memoir, focus your attention on one specific literary element that applies to that genre (e.g. tone, imagery, characterization, etc.), and take detailed notes as you read. Then read the piece again, but this time, focus your attention on another literary element, like point of view. Which point of view is used? Does the point of view remain the same throughout the story? At what moments in the story does the point of view become significant? How and where, specifically, would the story change if the point of view was different? Continue rereading the piece, each time focusing on a different literary element that we discussed in class. For each, be sure to note specific passages that seem significant in terms of the component you're investigating. Now look over the notes you have taken during these readings and work to identify a common theme that runs throughout all of the components you’ve considered. Summarize this theme in one sentence, making sure that this sentence includes an assertion about the piece. For example, a sample sentence about Maus II might read, "The traumas experienced during the Holocaust were horrific enough to forever scar survivors." Such a sentence is a strong basis for a thesis statement for this paper. Write: Then prove your thesis statement – the theme you have identified – by carefully explaining specific examples of plot, characterization, point of view, setting, style, symbolism, imagery, tone, metaphor, etc. that reflect this theme. For example, the characterization of Vladek leads readers to see him as survivor dealing with emotional struggles resulting from the losses he experienced during the Holocaust. Furthermore, the point of view used permits the reader to understand both Vladek and Art’s perspectives, both of which emphasize the emotional distance between them. We can see already that the theme listed above can be supported by both the novel’s point of view and characterization. Provide your thesis statement in your opening paragraph, consider each component of fiction or poetry completely, and be sure that each paragraph links directly to your thesis statement. Papers should be approximately 3‐4 pages in length; see the reverse side of this assignment for specific audience expectations, and review the paper & response formatting guidelines in the course information sheet. Papers must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be accepted only one class period late, with 10 points deducted. Review the section on “Late Work” in the course information sheet for a reminder of what “late” means. NOTE: Papers and written responses must be submitted as 34
“doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Audience: An intelligent, interested friend who has not read our class texts or benefited from our class discussions. Audience Expectations:  Analysis: a detailed examination of a specific text and well‐explained examples that support your interpretation. You’ve correctly used the literary language appropriate for fiction.  Thesis Statement: a clearly stated thesis which makes an assertion about the literary work you’ve chosen and conveys the purpose of your paper.  Organization: a tight sense of organization, with a logical flow of ideas and smooth use of transitions so that one paragraph lends itself to the next. Each main idea supports or relates to the thesis. Each main point is supported and developed fully and logically in its own paragraph.  Use of Sources: outside sources (the story you're analyzing) serve as secondary support for your points. You’ve successfully integrated source information and your own ideas. Summaries, paraphrases, and direct quotes are properly punctuated, credited, and presented. The source’s author is initially introduced by first and last name, and subsequently by last name only. You’ve fully explained, analyzed, and interpreted any quotes used. Book and play titles are underlined, while short story and poem titles are in quotation marks. All titles are properly capitalized. 
Mechanics: the paper has been reviewed for and is free of mechanical errors, including spelling, grammar, punctuation, word choice, and sentence structure. You have clearly stated sentences and a clean writing style. You have followed the paper formatting guidelines in the syllabus.  MLA Documentation: proper use of both parenthetical citations and a works cited page, in correct MLA format. 35
Paper #2 Holocaust literature focuses on a multitude of different experiences, personalities, ethical choices, and behaviors. However, because this literature focuses on the same central event, it’s possible to identify many common themes that are woven into Holocaust‐related short stories, poetry, drama, memoirs, and novels. This paper is an opportunity for you to 1) make connections between the various pieces of literature that we’ve read and discussed, 2) identify a common theme present in these pieces, and 3) investigate and explain how specific literary elements reflect this theme. Read…and Read Again: Begin by reviewing this semester’s texts, both primary and secondary. Consider the notes you’ve taken on these readings and our class discussions of them, and work to identify a common theme that runs throughout several of them. Summarize this theme in one sentence, making sure that this sentence includes an assertion. Such a sentence is a strong basis for a thesis statement for this paper. Below are several examples, though this is by no means an exhaustive list:  Ethical choices about discrimination are always made by individuals, and only individual choices can stop discrimination.  The choices we make when selecting Holocaust literature say more about our own abilities to confront horror than they do about the literature itself.  Like those who survived the Holocaust, language itself and our attitudes toward it have been forever scarred.  Though fiction is literally the opposite of truth, fiction that can convey the truth of a victim’s experience in a way that non‐fiction can’t.  The lack of humanity displayed by the perpetrators resulted in the dehumanization of the victims. Write: Then prove your thesis statement – the theme you have identified – by carefully explaining specific examples of literary elements (symbolism, foreshadowing, personification, imagery, metaphor, irony, etc.) that reflect this theme in several texts. For example, Stella’s obsession with the shawl in Ozick’s story and her decision to place her own desire for it above Magda’s need for it is symbolic of the deterioration of Stella’s sense of compassion and humanity. Similarly, the stark visual imagery and the lack of auditory imagery in response to the horrors around him cause Eliezer to lose touch with his own humanity and make a heart‐wrenching decision in Night. We can see already that two readings reflect the last theme listed above, and they both use specific literary elements to accomplish this task. 36
Provide your thesis statement in your opening paragraph and be sure that each paragraph links directly to and supports your thesis statement. The number of texts you work with is up to you. You ultimate goal, however, should be to thoroughly consider the relationship between each of the specific readings you select and the theme you’re discussing. Papers should be approximately 10‐12 pages in length; see the specific audience expectations below, and review the paper & response formatting guidelines in the course information sheet. Papers must be submitted via Angel (see “Submitting Papers & Written Responses” in the course information sheet), and will be accepted twenty‐four hours late, with 10 points deducted. Review the section on “Late Work” in the course information sheet for a reminder of what “late” means. NOTE: Papers and written responses must be submitted as “doc”, “docx”, or “rtf” files. Work submitted in other formats will not be graded and will receive zeroes. Good Luck! Audience: An intelligent, interested friend who has not read our class texts or benefited from our class discussions. Audience Expectations:  Analysis: a detailed examination of specific class texts and well‐explained examples that support your interpretation. You’ve correctly used the literary language appropriate for literary study.  Thesis Statement: a clearly stated thesis that makes an assertion about the literary works you’ve chosen and conveys the purpose of your paper.  Organization: a tight sense of organization, with a logical flow of ideas and smooth use of transitions so that one paragraph lends itself to the next. Each main idea supports or relates to the thesis. Each main point is supported and developed fully and logically in its own paragraph.  Use of Sources: outside sources (the texts you're analyzing) serve as secondary support for your points. You’ve successfully integrated source information and your own ideas. Summaries, paraphrases, and direct quotes are properly punctuated, credited, and presented. The source’s author is initially introduced by first and last name, and subsequently by last name only. You’ve fully explained, analyzed, and interpreted any quotes used. Book and play titles are underlined, while short story and poem titles are in quotation marks. All titles are properly capitalized. 37
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Mechanics: the paper has been reviewed for and is free of mechanical errors, including spelling, grammar, punctuation, word choice, and sentence structure. You have clearly stated sentences and a clean writing style. You have followed the paper formatting guidelines in the syllabus. 
MLA Documentation: proper use of both parenthetical citations and a works cited page, in correct MLA format. 38