ENG 308 Dodson – Fall 2013 syllabus
ENG 308 English Studies: Critical Theories
MW 7:45-8:00 AM Engleman B214
Dr. Joel M. Dodson
Email: [email protected]
Office: English Department, D280 Engleman Hall
Office Hours: MW 10-12, Tu 11-12
Course Webpage:
http://www.jmdodson.com/teaching/eng-308---critical-theories.html
Course Description
This course is an introduction to critical theory and practice. Its purpose is to build upon the skills
and vocabularly gained in Eng 307 in order to help you explore the kinds of problems, rather than
solutions, raised by further study of literature and its interpretation. This semester, we will focus
our efforts on three literary case studies – William Shakespeare’s Sonnets, Joseph Conrad’s Heart of
Darkness, and Sarah Ruhl’s The Clean House – that raise several more advanced problems:
problems about language, textuality, authorship, historical context, influence, and performance. In
doing so, we will explore how to consider a given text from a variety of theoretical perspectives
(e.g, feminism, gender and sexuality studies, historicism, and postcolonialism), as well as how to
use reference material – like footnotes and critical editions – to attend to the constructed nature of
our reading. Many of the readings will be challenging and will require extra effort, quite often rereading. By the end of the semester, however, you should have a set of critical and writing
strategies for studying a given work of literature in greater depth, as well as the ability to think
seriously about the nature of your interpretive choices.
Course Objectives
By the end of English 308, students will be able to:
1. Employ the close reading strategies covered in ENG 307 with greater competency and
assurance.
2. Reflect on the act of literary interpretation, becoming aware of its assumptions and its historical
nature.
3. Use two or three versions of literary theory to produce original interpretive readings of primary
literary texts.
4. Read primary texts of literary theory and recognize several of its different manifestations (for
example: Feminism, New Historicism, Psychoanalysis, Queer Theory, Race Studies, Postcolonial
Studies, Deconstruction, and so on)
5. Put to use the basic conventions of MLA style, formatting, and bibliography taught in English
307 with additional mastery.
Texts
Required:
William Shakespeare, Shakespeare’s Sonnets, Ed. Barbara A. Mowat and Paul Werstine (Folger
Shakespare Library, 2004) ISBN: 0671722875
Joseph Conrad, Heart of Darkness, ed. Paul B. Armstrong, 4th edn. (Norton Critical Editions, 2005)
ISBN: 0393926362
Sarah Ruhl, The Clean House and Other Plays (Theatre Communications Group, 2006) ISBN:
1559362669
1
ENG 308 Dodson – Fall 2013 syllabus
Peter Barry, English in Practice (Bloomsbury USA, 2003) ISBN: 0340808861
Course Readings (.pdf) posted to Blackboard (please print off and keep together in a binder or
folder)
Recommended:
MLA Handbook for Writers of Research Papers, 7th edn. (Modern Language Association, 2009) ISBN:
1603290249
Ross C. Murfin and Supryia M. Ray, eds., The Bedord Glossary of Literary and Critical Terms, 3rd edn
(Bedford/St. Martin’s, 2008) ISBN: 0312461887
Assignments
Working Paper Portfolio – 25%
Essay #1 – 20%
Essay #2 – 20%
Essay #3 and “Staging Theory” Presentation – 15%
Final Exam – 10%
Participation (and Misc. Assignments) – 10%
Working Papers – 25%
“Working” papers are short, 1-page, single-spaced weekly writing exercises. You will write 6
working papers this semester, each designed to help you build toward your formal essays by
focusing on progressively larger units of literary discourse.
Rather than informal responses or formal essays, these “working” papers ask you to do
something in between: to develop a thesis-driven, close analysis of the literary text(s) we are
reading that helps you explore, rather than solve, a potential line of argument that may lead you to
a longer essay. In other words, the “working papers” are formal written arguments in progress.
Your working papers are an important part of this course. As such, they will be graded twice:
first, each completed working paper submitted to Blackboard on time (see schedule below) will
receive 40 homework points; second, all working papers will be graded again together, as a
portfolio, for a final grade at the end of the term.
Essays #1 and 2 – 40%
You will write two longer, formal essays this semester – an essay on Shakespeare’s Sonnets (5 full
pp.) and an essay on Conrad’s Heart of Darkness (7 pp.). Your poetry essay will ask you to
develop a close reading drawing upon your “keyword” analysis of the Sonnets and the ideas of one
secondary source from Unit One. Your fiction essay will ask you to develop a reading of Heart of
Darkness drawing upon our study of historicist criticism and intertextuality in the Norton edition.
Instructions for each essay assignment will be provided well in advance; all papers must follow
MLA guidelines for formatting and Works Cited.
“Staging Theory” Presentation and Essay – 15%
At the end of the semester, you will each give an in-class presentation on the staging of one scene
in Sarah Ruhl’s The Clean House, drawing upon our readings in feminist and psychoanalytic theory
we have studied in Unit Three. A short paper of 3 pages in length, which takes a theoretical
“stand” on Sarah Ruhl’s work, will be due after your presentation.
Participation, Other Assignments, etc. – 10%: Participation is a significant portion of your grade in
this course. You are expected to be in class, with the required texts, and participating actively in
class discussion through questions, group work, etc. Failure to attend class, failure to have the
required texts on hand, or late arrivals will lead to a reduction and, in some cases, a zero on
your participation grade. (Please see “Other Requirements” below for further details.) Reading
quizzes and misc. assignments will be given periodically to monitor reading.
Final Exam – 10%
A cumulative in-class exam, covering both primary and secondary works assigned.
Grading
• Papers, presentations, and final exams will receive letter grades. All other assignments,
including rough drafts, misc. homework assignments, reading quizzes, will receive a point value.
2
ENG 308 Dodson – Fall 2013 syllabus
• Working papers are graded differently. Your working papers will be graded twice: once, for
completing the assignment according to the instructions provided; and second, as a body of work
at the end of the semester. Each completed working paper will receive 40 points if submitted to
Blackboard on time. Late working papers will receive ½ credit if submitted within 24 hours; 0
points if submitted 2 days late. Working papers more than 2 days late will be considered
incomplete.
Your working papers will then be given a letter grade, together, at the end of the semester,
based on the thoroughness of each assignment, attention to close reading, and the progress of your
writing in the course. Bear in mind that it is thus possible to receive a good grade on your working
papers, even if you feel you are struggling with the material or with your writing. By the same
token, it’s also possible to receive a low grade if you complete all of the working papers but give
them little attention.
• Essays are due, in hard copy, at the beginning of class on the date they are due. Late essays
will be reduced ½ letter grade for each 24-hour period they are late. Thus, if a paper is due at
7:45 AM Monday, you have until 7:45 AM Tuesday to hand the paper in before it is docked a full
letter grade.
Grading Scale:
Exceptional
A = 94-100%
A- = 90-93%
Good
B+ = 87-89%
B = 83-86%
B- = 80-82%
Average
C+ = 77-79%
C = 73-76%
Low Passing
Failure
C- = 70-72%
F = 0-59%
D+ = 67-69%
D = 63-66%
D- = 60-62%
* In converting letter grades to numbers, I award the top value in each category above, unless
otherwise noted on the grade sheet. (e.g., A- = 93%, B+ 89%, etc.)
Other Requirements
• Participation: As noted above, participation is worth 10% of your final grade. In order to receive
a passing grade on participation, you are expected not only to attend class but to have read the
required assignments, have your texts on hand for each class, and remain actively engaged,
including taking judicious notes and asking textually-informed questions.
I will be taking notes on each student’s contributions in class throughout the semester. For further
information on how to improve your participation, please see the “What Constitutes Good
Participation?” page at the FAQ section of the course website.
• Attendance: Managing your attendance at class is your own responsibility. As such, your
attendance will be calculated as part of your participation grade.
On one hand, this means that your attendance is up to you – I will not be itemizing and updating
you about your absences. On the other hand, this means that more than than 1 or 2 absences,
texting or sleeping in class, and excessive late arrivals or bathroom breaks will all negatively impact
the 10% portion of your final grade. Additional absences may even lead to a zero on this portion of
your final grade.
Per English department policy, you are allowed no more than 6 absences in a semester-long
course. After the sixth absence, you will automatically fail the course. If you are suffering from a
chronic illness or dealing with an ongoing personal emergency, please don’t hesistate to speak
with me about your situation.
• Materials Covered: Please note that you are responsible for knowing the material covered in this
course. This includes not only the primary literary texts assigned, but terms and concepts covered
in class lecture and discussion, as well as background information covered in your assigned texts
(introductions, author bios, etc.). Make sure you are taking discerning notes as you read and listen
in class; make sure also that you have another student’s contact information on hand in case you
are absent. While you are always welcome to ask questions during my office hours or by
appointment, please do not email me asking what you missed in class.
3
ENG 308 Dodson – Fall 2013 syllabus
Course Schedule
Note: This schedule may be subject to change, based on our progress or school cancelations.
Changes to the course schedule will be made online at the course webpage.
Please print off all .pdf files from Blackboard and bring to class with you on the day assigned.
W 8.28 Course Introduction: Why criticism? Why theory?, or, St. Augustine recites a poem
- syllabus, course webpage, etc.
Unit 1 Problems of Language
What is literary “ambiguity,” and why do we pay attention to it?
What is interpretation?
Am I doing a close reading yet?
Is everything a metaphor?
Is the text enough?
Is “queer” a bad word?
What is an author, and how much should I relate a work of literature to its author?
M 9.2
No Class – Labor Day
W 9.4
Shakespeare, Sonnet #94; William Empson, from Some Versions of Pastoral (handout)
Read sonnet #94 three times and come up with two words you find problematic or confusing in
the poem. Then, read Empson’s reading. Bring to class a typed, well-developed paragraph (200250 words) that makes a claim in response to the following and supports it with evidence from
the poem and Empson’s essay.
What does Empson find problematic, or ambiguous, about the sonnet? How does it differ from
your observations? Are you satisfied with his interpretation, or do you disagree with it? Why?
M 9.9
Shakespeare, Sonnets #1-19 (plus pp. xiii-xxiv); Peter Barry, Ch. 2 “Reading the Lines”
W 9.11
Sonnets, #20-32 (plus pp. xxiv-xxviii)
à Working Paper #1 due Friday 9.13 (Blackboard)
M 9.16
Sonnets #35-6, 40-42, 44-47, 55, 58, 60, 62, 64-6
Cleanth Brooks, “The Language of Paradox” (.pdf Blackboard)
Download copy of OED/Footnote/Edition/Commentary worksheet (Blackboard)
W 9.18
Sonnets #71, 73, 76, 78-81, 83
Complete OED/Footnote/Edition/Commentary worksheet and bring printed copy to
class
à Working Paper #2 due Friday 9.20 (Blackboard)
M 9.23
Sonnets #93-94, 100, 105-110, 116, 126-27
Read also: Bruce R. Smith, “I, You, He, She, We: On the Sexual Politics of
Shakespeare’s Sonnets” (.pdf Blackboard)
W 9.25
Sonnets #128-30, 133-34, 135-6, 141-2, 144, 147, 152-4
Read also: Dubrow, “ ‘Incertainties now crown themselves assur’d’: The politics of
plotting Shakespeare’s Sonnets” (.pdf Blackboard)
à Working Paper #3 due Friday 9.27 (Blackboard)
M 9.30
Michel Foucault, “What is an Author?” (.pdf Blackboard)
4
ENG 308 Dodson – Fall 2013 syllabus
W 10.2
Discussion of Foucault (cont.’d); Barry, Ch. 6, “Literary Criticism and Literary Theory”
à Rough Draft of Essay #1 due Friday 10.4 (email copy to instructor and peer review
partners)
M 10.7
Writing Workshop
Bring copy of partners’ drafts with completed comment sheet
Read Barry Ch. 12, “The Essay: Crossing the Four Frontiers”
Unit 2 Problems of History
What distinguishes narrative fiction from poetry (and why is this a tricky question)?
Am I reading a novel yet?
What are the various kinds of “context”?
How does one read “intertextually”?
Is history enough?
Is “Marxism” a bad word?
Does calling Barack Obama an “anti-colonialist” make any sense?
W 10.9
Conrad, Heart of Darkness, pp. 3-13; Barry, Ch. 3 “Reading Between the Lines”
Extra Credit: SCSU English Department talk - Brett Foster (Wheaton College), “What is a
Love Poem, Exactly?” 1:00 PM Friday 10.11
M 10.14
Conrad, Heart of Darkness, pp. 13-42
Essay #1 (Due Mon 10.14)
W 10.16
Conrad, Heart of Darkness, pp. 42-end
Read also Conrad, “Preface to The Nigger of Narcissus” (Norton pp. 279-83) and
Selected Letters (pp. 263-6)
M 10.21
Barry, ch. 4 “Reading Beyond the Lines” (pp. 37-49)
Read also Hegel, “The African Character” (Norton pp. 208-11), King Leopold II (pp.
119-20), and Hochschild, “Meeting Mr. Kurtz” (pp. 171-80)
Complete Primary (Inter)Text worksheet
W 10.23
Achebe, “An Image of Africa: Racism in Heart of Darkness” (Norton pp. 336-48)
à Working Paper #4 due Friday 10.25 (Blackboard)
M 10.28
W 10.30
Said, “Two Visions in Heart of Darkness” (Norton pp. 422-9)
Barry, Ch. 5 “English and History” (pp. 63-71)
Fothergill, “Cannibalizing Traditions: Representation and Critique in Heart of Darkness”
(pp. 444-54)
à Working Paper #5 due Friday 11.1 (Blackboard)
M 11.4
Eagleton, “Literature and History” (.pdf Blackboard)
W 11.6
No Class
Paper #2 Rough Draft Conferences
Unit 3 Problems for Theory
Am I being “feminist” yet (or is that a bad word)?
What is a literary “canon,” and why do people debate it?
5
ENG 308 Dodson – Fall 2013 syllabus
How do writers play with literary influence?
Is performance enough?
Is genre enough?
Can theory and criticism ever do any good, at all?
M 11.11
Woolf, from A Room of One’s Own (.pdf Blackboard)
Paper #2 due Mon 11.11
W 11.13
Simone de Beauvoir, Introduction to The Second Sex (.pdf Blackboard)
Robert Dale Parker, “Feminism” (.pdf Blackboard)
M 11.18
Sarah Ruhl, The Clean House, Act 1 (pp. 9-50)
Matthew Bevis, from “Comedy: A Very Short Introduction” (.pdf Blackboard)
W 11.20
Ruhl, The Clean House, Act 2 (pp. 51-116)
Simon Critchley, “Why the Super-Ego is Your Amigo – My Sense of Humor and
Freud’s” (.pdf Blackboard)
à Working Paper #6 due Friday 11.22
M 11.25
Gayle Rubin, “The Traffic in Women” (.pdf Blackboard)
W 11.27
No Class – Thanksgiving Break
M 12.2
“Staging Theory” Presentations
W 12.4
“Staging Theory” Presentations
Course Conclusion and Evaluations
Paper #3 Due Mon 12.9
** Note: We will use our final M 12.9 class if necessary to make up for any lost classes
due to school closures or emergencies.**
Final Exam Monday 12/16 8:00-10:00 AM
6
ENG 308 Dodson – Fall 2013 syllabus
Policies
Papers: All papers should be typed, using a standard
12-point font, one-inch margins, and proper MLA
formatting. You are responsible for familiarizing
yourself with the MLA guidelines for citations.
All papers must be handed in at the beginning of
class on the due date listed in the syllabus.
Please note: I will not accept papers submitted via
email.
Email: Responding to your emails in a timely fashion is
very important to me. I respond to student emails as
soon as possible during the work day (7 am – 7 pm). If
you email me after 7 pm, you can expect a response
from me by 7:30 am the next morning, often earlier.
Let me encourage you to use our course to begin
making a practice of ensuring your emails are wellwritten and about genuine matters of concern.
Genuine inquiries or concerns include (though are not
limited to) questions about the nature of an
assignment, trouble accessing course materials,
emergencies, etc. Unnecessary emails include
questions about what you may have missed by not
attending class and lengthy explanations of flu, cold,
or plague-like symptoms.
Plagiarism and Academic Integrity: Do not plagiarize.
All work submitted for a grade must be your own
original work, in language as well as conception (your
own words and ideas). Any use of published material
in your written work must be fully and properly cited.
Papers that engage in academic dishonesty will receive
a zero and may result in automatic failure of the course
and/or further university penalties.
Please feel free to speak with me if you have any
questions about the proper use and citation of a
source. While students are encouraged to discuss their
ideas with fellow students, any act of plagiarism and
violations of the school honesty policy is ground for
failure in the course and even dismissal from the
university. See the SCSU Student Handbook for further
information on the Academic Honesty Policy.
Students with disabilities: Southern Connecticut State
University provides reasonable accommodations in
accordance with the Americans with Disabilities Act
and Section 504 of the Rehabilitation Act for students
with documented disabilities on an individualized
basis. If you are a student with a documented
disability, the University’s Disability Resource Center
(DRC) can work with you to determine appropriate
accommodations. Before you receive accommodations
in this class, you will need to make an appointment
with the Disability Resource Center located at EN C105A. To discuss your approved accommodations with
me or other concerns, such as medical emergencies or
arrangements in case the building must be evacuated,
please make an appointment to meet as soon as
possible.
Cell Phones, Texting, Etc.: Don’t.
Other Questions? See my FAQ page at:
http://www.jmdodson.com/teaching/frequently-askedquestions.html.
7