StudyLit

Goals: The purpose of this course is to improve, through study and practice, students' critical reading and critical writing skills. The course will give particular attention to analysis of poetry, and will consider drama, prose fiction, and critical theory. Students will become conversant in literary and critical terminology and traditions.

Discussion Oral Reports Discussion Questions

Discussion: Each student should come to class having read the assigned material, having thought about it, and having questions or ideas about it. Each student will be responsible for using class discussion as a vehicle for analysis and discovery, as a way of demonstrating a command of the assigned reading, and as a way of turning the course to individual advantage.

Oral Reports

Each student will present at least two brief oral reports, beginning the week of February 10. At least one of these should involve additional research. For instance, you might report on the biography of an author (the Dictionary of Literary Biography is a useful resource); you might explicate the workings of a formal feature in our reading (this need not involve additional reading: for example, how does Pope use zeugma in "The Rape of the Lock," and how does it contribute to the text?); you might investigate an example of critical theory (for example, what is Brook Thomas’s new historical reading of Keats’s "Ode on a Grecian Urn"?); you might present and explain a parody or imitation of one of the writers whose work we are reading; or you might find out more about a genre, movement, or period we are studying. Plan ahead; I will ask volunteers to begin signing up for reports February 8th (the day the first essay is due). Speak with me individually about your plans a week or so before each of your reports.

Discussion Questions

For some class meetings, you will be asked to write a discussion question. A discussion question is one that cannot be answered simply by looking the answer up somewhere, one that does not have an obvious answer, but that must be explored and argued. It is not completely open-ended, but specifically grounded in the text. It arises from careful consideration of the reading assignment: what the text says, and how it says it. In about half a page (150 words), explain what prompted the question, what thinking went into arriving at the question, what possible answers (if any) you have considered, and why those answers are unsatisfactory. Feel free to cite specific passages in explaining your question. Try to frame the question itself in one brief interrogative sentence. Please type discussion questions.

Writing Essays Peer Editing Writing Tips Revisions

Writing: This is a writing-centered course, and informal writing will be a primary mode of learning. In addition, the course requires four critical essays, in on time. Brief in-class and at-home writing assignments and peer editing will contribute directly or indirectly to the development of these essays, as will research projects and oral reports. Students are also required to develop an individual critical lexicon. Note: keep a file of all your writing for this course, including informal writing, drafts, and so on.

Essays

Each essay should have a clearly-stated thesis that takes account of both conceptual and stylistic aspects of the text and relates them to each other. The thesis should be supported through quotations from the text and through analytic discussion of quoted words, phrases, and sentences. More information on how to write an essay can also be found in guides to academic writing available in the Writing Center library. You may also discuss your essay with Writing Center consultants. The WU Writing Center is located in Matthews Hall, and is open M-Th 9am-9pm, F 9am-4pm, and Sun 2pm-10pm (closed Saturday). Call x4822 or 370-6300 for an appointment. You may also consult with me. For an appointment, email fmichel@willamette.edu, call x6389, or see the sign-up sheet on my office door (Eaton 204).

Essay #1: Textual Interpretation
Draft due Friday 5 February
Essay due Monday 8 February
Four pages (4-5 pp.) (1000 words)
Optional revision due Monday 29 March

Offer a close reading of a poem in the NAP (this might be the poem you chose the first week, or one we have discussed in class). Your discussion should provide a detailed analysis of the poem, including consideration of the relation between form and content. How does the poem's style support, reinforce, enhance, develop, or challenge the poem's substance?

Essay #2: Hamlet
Draft due Wednesday 24 February
Essay due Monday 1 March
Five pages (4-5pp.) (1250 words)
Optional revision due Monday 29 March

Write an analytic interpretation of some aspect of Hamlet, taking into account our discussions of sources and critical responses to the play.

Essay #3: Poetry since Hamlet
Draft due Friday 19 March
Essay due Wednesday 31 March
Five pages (5pp.) (1250 words)
Optonal revision due Friday 23 April

Write a theoretically-informed, analytic interpretation of one of the poems we have read since Hamlet. If you use additional research, be sure to cite your sources.

Essay #4: Texts in Critical Contexts
Draft due Wednesday 28 April
Essay due Monday May 3
Seven pages (6-8pp.) (1750 words)

Offer a theoretically, critically, and contextually informed reading of one of the texts we have read since Spring Break. That is, research the existing criticism on the work, and use what you have found to inform your discussion. The essay should offer your interpretation of the work, grounded in analysis of the text. Where you have learned from, draw on, or dispute the work of other critics, you should of course document your sources.

Peer Editing

Peer editing done well is an exercise in reading and writing. Developing your skills as an editor of others’ work can help you improve your own writing.

Peer Editing in class

1. Writer, give your classmate a copy of the draft.

2. Writer, read the draft aloud while the listener follows the written text.

3. Responder, pay close attention to your reactions

· jot down notes on your copy while the writer is reading

· use a shorthand code to indicate your reactions: squiggles for negatives, stars for positives

· share what you experienced as a reader

· comment on the text not the person who wrote it

· explain what interested you—give a specific sentence, paragraph, or page that you found especially strong

· ask questions about what puzzled you; be specific to the part of the paper you are addressing

· make suggestions for strengthening the paper; be specific, but don’t insist

4. Writer, take notes and thank the responder when she or he has finished.

Peer Editing at home

Editor, write observations and summaries in the margins of the draft. Observations are neutral, indisputable, and often fairly obvious (e.g., "I notice you make the same point about the ghost in paragraphs 3 & 7," or, "I notice that you begin three sentences in a row with ‘It is’ or ‘There are’"). Decisions about what to do with these observations rest with the writer. Summaries are useful in making sure the main points of each paragraph and of the essay as a whole are clear. Write a concluding comment summarizing strengths and problems in the essay, and offering any suggestions you have for revision. In class, keep your copy of the draft to refer to as you tell the writer about your responses. When you have finished discussing the draft, then give the writer the copy of the draft with your comments on it.

Writer, bring a copy of the draft to class, so that you can follow along as the editors describe their responses. Ask questions and take notes.

Writing Tips (See also the Links on writing)

Essay Organization:

*State your thesis clearly at the end of the first paragraph..

*Make sure each paragraph in the body of the essay has one main point, supported with evidence and analysis.

*Build from less important to more important or more complex points.

*Always revise; never turn in a first draft.

Stylistic Tips

1. Use inclusive language (no generic "he"--try "she or he," or pluralize everything; use "humanity" instead of "mankind").

2. Use active voice ("Sandy hit the ball" instead of "The ball was hit by Sandy").

3. Keep parallel subjects (don't switch from "one" to "he or she").

4. Use present tense for discussing literature (it says the same thing every time you read it).

5. Underline titles of book-length works; put quotations around the titles of shorter works. Use neither for your own title.

6. Avoid repeatedly saying "I think" or "I believe"--it's your paper.

7. Refer to authors by their full names the first time, thereafter by last names.

8. Align the meaning of your sentence with grammatically important words--the main subject and verb should say more than "it is" or "there are."

9. If you are analyzing a text, don't evaluate it. A book review is a different genre.

10. Avoid cliches.

Essay mechanics

1. Type or print in black on standard 8 1/2 x 11 inch white paper.

2. Use 10- or 12-point font; double-space between lines; leave one-inch margins on top, sides, and bottom.

3. Number each page after the first in the upper right corner. Put your surname on each page below the number. Staple pages in the upper left corner.

4. On the upper left corner of the first page, put your name, the course number, and the date on which you are turning in the paper.

5. Give your essay an informative and interesting title, neither underlined nor put in quotation marks nor put in all capitals. Do not include a separate title page.

6. Quotations should be precise, accurately punctuated, and fully documented; include a list of Works Cited. The MLA Handbook provides further information on format (chapter 3) and documentation.

7. Proofread. Make necessary corrections neatly in ink.

8. Keep a copy. Hard copy is safer than disc.

Revisions

Optional revisions of the first two essays are due no later than Monday March 29. An optional revision of the third essay is due no later than Friday April 23. Paper clip the revision to the copy of the original essay bearing my comments. I will not accept revisions without graded originals.

A revision should be just that: a re-vision, a re-seeing and re-thinking of the original. Do not limit your changes to points on which I have commented; such limitation will severely compromise the value of the revision. The grade on the revision will replace the grade on the original essay.

With your revision, turn in a description of your revision process and of the changes you have made (about one typed page).

Some suggestions for revision:

*Reread your essay, read my comments, and think about them. Refer where necessary to a handbook of style such as the MLA Handbook or Rules for Writers (several handbooks are available in the Writing Center). If you have any questions, come talk with me.

*In revising, start with ideas, and then consider structure and style.

*Review the text that is (or the texts that are) the subject(s) of your essay. Take fresh notes on relevant passages. What is important about the passage? What else do you notice about the text?

*Put your essay aside and do some fresh writing on your topic. Write a brief summary of your thoughts on the topic. Write a response to the topic from the perspective of someone who disagrees with you. Write about the most puzzling or difficult aspects of the text.

*Think about the ideas in the essay. Can you improve your thesis? Can you add further supporting points, or develop those you have included in the original? Can you delete or strengthen weaker points? Rewrite the essay to incorporate conceptual changes.

*Consider the structure of the essay. Make an outline, writing one complete sentence summarizing each paragraph. Can you improve on the order of the points? Can you clarify the organization by combining or dividing paragraphs? Consider the rhetoric of the essay. Are the transitions between and within paragraphs clear and effective? Revise accordingly.

*Refine the prose of the essay. Read your revised draft aloud. Does each sentence say exactly what you want it to say? Can you make the prose tighter, more active, more precise? Is there continuity, flow, from sentence to sentence?

*Remember that writing and revising are recursive processes, and you may move back and forth among these activities. For instance, reorganizing the essay may prompt you to do more fresh writing. Refining the prose may lead you to new ideas.

*Get as much feedback as you can. Take your revised essay to the Writing Center, read it to a friend, bring it to me for a consultation

Expectations Late Policy, Participation, Grading

I expect you to come to class having done the assigned reading, having thought about it, having questions or ideas about it, and having done any other assignments with care and attention. We can use class time most effectively if everyone is mentally as well as physically present in class, and if we all give each other attention and respect. Please turn in assignments on time, and please speak with me individually in conference if you will need to turn an essay in late or if you will be missing class. Ask questions. I encourage you to schedule individual conferences for reviewing essays and discussing work in progress; please come to conferences with copies of the relevant material and with questions. Please let me know if you have disabilities for which I can make accommodations.

Late Policy, Participation, Grading

Assignments are due at the beginning of class on the scheduled date. If you will have a particular problem meeting an essay due date, speak to me individually.

Participation includes attendance and preparation, thoughtful and considerate contributions to large and small group discussions, postings to the class email list, oral reports, peer editing, discussion questions, and other brief written assignments.

Essays will be graded as follows:

A An excellent essay typically includes an outstanding thesis, thoughtful consideration of concepts and perceptive analysis of text. Detailed reading, cogent and graceful argument, vivid and sophisticated prose.

B A good essay typically includes a strong thesis and coherent argument, effective supporting attention to the text, and generally fine and clear prose with only occasional lapses in grammar. The difference between an excellent essay and a good one lies less in what is wrong with the good essay than in what is right with the excellent one.

C A satisfactory essay typically includes a thesis that is too general or simplistic, and vague readings of the text. Generally competent prose but marred by consistent grammatical or organizational errors.

D A below standard essay typically has an ill-defined or ill-supported main idea, together with serious flaws in grammar, logic, or argumentation.

F A failing essay is typically one marred by plagiarism. It may also be an essay that reveals no knowledge of the text and that is written in unidiomatic English.

Tentative Schedule

W Jan 20 Introductions

F Jan 22 Culler, Chapters 1 & 2; choose any one poem from the Norton Anthology, and come to class prepared to discuss its literariness.

M Jan 25 NAP, "Beowulf"; Bedford, "Medieval," "Old English Period," "epic.," "poetry," "periodicity." Also read "Versification" in NAP, but don’t panic, we’ll be returning to these terms.

W Jan 27 NAP, Chaucer, "The General Prologue" lines 1-34, "Complaint to His Purse"; from "Pearl"; Bedford, "Middle English Period," "dream vision," "genre"

F Jan 29 NAP, "Sir Patrick Spens," "The Unquiet Grave," "Bonny Barbara Allen," "Mary Hamilton" versions A & B; Bedford, "scansion," "ballad," "stanza," "ballad stanza," "incremental repetition" "Renaissance," "Renaissance Period"

M Feb 1 NAP, Wyatt, "Whoso List to Hunt," "My Galley"; Spenser, Sonnets 67 & 75; Sidney, "Astrophil & Stella, #s 1 & 71; Shakespeare, Sonnets 116 & 130.; Bedford, "sonnet," "sonnet sequence," "Italian sonnet," "Shakespearean sonnet," "Spenserian sonnet," "iamb," "pentameter," "eye rhyme," "half rhyme," "figurative language," "figure of speech"

W Feb 3 Culler, Chapters 3-5; MLA pages 24-40, 94-99

F Feb 5 draft of first essay due

M Feb 8 First essay due; library visit

W Feb 10 Hamlet, Act 1; Bedford, "drama," "dramatis personae," "Elizabethan Age," "tragedy," "revenge tragedy," "Freytag’s Pyramid"

Possible oral report topics include Shakespeare’s theater, sources, and intellectual backgrounds (see, e.g., Norton Critical Hamlet)

F Feb 12 Hamlet, Acts 2 & 3

M Feb 15 Hamlet, Acts 4 & 5

W Feb 17 Hamlet: essays by Bradley, Knight, Kettle, Eliot; Bedford, "objective correlative"

Possible oral report topics include full texts of essays excerpted in Norton Critical edition.

F Feb 19 Culler, Chapter 7; Hamlet: essays by Seng, Levin, Ferguson

M Feb 22 Culler, Chapter 8; Hamlet: essays by Jones and Rose; Bedford, "psychological criticism and psychoanalytic criticism"

W Feb 24 draft of second essay due

F Feb 26 NAP: Marlowe, "The Passionate Shepherd to His Love," Raleigh, "The Nymph’s Reply to the Shepherd"; Bedford, "pastoral"

M Mar 1 Second essay due

W Mar 3 NAP: Donne, "A Valediction Forbidding Mourning," "The Flea," Holy Sonnet #10; Marvell, "To His Coy Mistress"; Bedford, "metaphysical poetry," "metaphysical conceit," "paradox," "New Criticism"; Culler, Appendix

F Mar 5 NAP: Milton, "L’Allegro," "Il Penseroso," "When I Consider How My Light Is Spent," from Paradise Lost; Bedford, "reader-response criticism"

M Mar 8 NAP: Behn, "To the Fair Clarinda"; Rochester, "The Disabled Debauchee"; Bedford, "neoclassicism," "Restoration Age"; Bedford, "gender," "gender criticism," "gay and lesbian criticism"

W Mar 10 NAP: Pope, "The Rape of the Lock"; Bedford, "mock epic," "zeugma"

F Mar 12 NAP: Bradstreet, "To My Dear and Loving Husband," "The Author to Her Book"; Massachusetts Bay Psalm Book, Psalm 58; Taylor, "Meditation 8"; Wheatley, "On Being Brought from Africa to America"; Bedford, "Colonial Period," "Revolutionary Period"

M Mar 15 NAP: Blake, "The Lamb," "The Little Black Boy," "The Tyger," "London"; Wordsworth, "A Slumber Did My Spirit Seal," "Composed Upon Westminster Bridge," "Nuns Fret Not," "The World Is Too Much with Us"; Bedford, "Romantic Period (in English Literature)," "class," "Marxism," "Marxist criticism," "cultural criticism"

W Mar 17 NAP: Shelley, "Ode to the West Wind"; Keats, "Ode to a Nightingale," "Ode on a Grecian Urn"; Bedford, "ode," "new historicism," "terza rima," "apostrophe," "synesthesia"

F Mar 19 draft of third essay due

M Mar 22-F Mar 26 Spring Vacation

M Mar 29 Optional revision of first or second essay due; NAP, Whitman, from Song of Myself; Dickinson, 754 ["My Life had stood"]; Bedford, "Romantic Period (in American Literature)," "free verse"

W Mar 31 Third essay due; Culler, Chapter 6; NASF, "Talking About Fiction" ( xxiii-xxxv); Hawthorne, "The Birthmark"

F Apr 2 NAP: E.B.Browning, from Aurora Leigh; Tennyson, "Ulysses"; R. Browning, "My Last Duchess"; Arnold, "Dover Beach"; Bedford, "Victorian Period," "dramatic monologue," "persona"

M Apr 5 NASF: Chopin, "The Story of an Hour"; Freeman, "A New England Nun"; Bedford, "realism," "Realistic Period"

W Apr 7 NASF: Gilman, "The Yellow Wallpaper"; Bedford, "feminist criticism"

F Apr 9 NAP: Yeats, "The Second Coming"; Frost, "Design"; Stevens, "The Emperor of Ice-Cream," "Anecdote of the Jar"; Williams, "This is Just to Say"; Bedford, "Modern Period," "modernism"

M Apr 12 Bedford, "structuralism," "structuralist criticism," "sign," "signifier," "signified," "poststructuralism," "deconstruction," "binary oppositions"

W Apr 14 NAP: Pound, "In a Station of the Metro," "Hugh Selwyn Mauberly"; Moore, "Poetry"; Eliot, "The Love Song of J. Alfred Prufrock"; Millay, "I, Being Born a Woman and Distressed"

F Apr 16 NAP: Toomer, "Reapers," "Harvest Song"; L. Hughes, "The Weary Blues," "Harlem"; Cullen, "Incident"; NASF: Hurston, "The Conscience of the Court"; Bedford, "Harlem Renaissance"

M Apr 19 NAP: Roethke, "The Waking"; Bishop, "One Art," "Sestina"; Bedford, "villanelle," "sestina"

W Apr 21 NAP: Lee, "Persimmons"; NASF: Walker, "Everyday Use"; Tan, "Rules of the Game"; Erdrich, "Machimanito"; Bedford, "race (and literary studies)"

F Apr 23 NAP: Walcott, "A Far Cry from Africa"; NASF: Mukherjee, "The Management of Grief"; Kincaid, "Girl"; Bedford, "postcolonial criticism"; optional revision of third essay due

M Apr 26 NASF: Barthelme, "Me and Miss Mandible"; Bedford, "Postmodern Period," "postmodernism"

W Apr 28 draft of fourth essay due

F Apr 30 continued discussion and editing

M May 3 Last day of class, fourth essay due

Problems? Questions? Suggestions?

When you have questions about materials or assignments, please raise them in class--others are likely to have the same questions. When you have questions or concerns about your work, problems with the course, or suggestions for improving the class, please come see me as soon as possible. I will do my best to answer questions, resolve problems, and make use of your suggestions. Thanks.

My office is Eaton 204. I will be available for conferences MWF 10:30-11:30, 1:30-2:30, and other times by appointment. You can reach me or my voice mail at x6389, or you can email me at fmichel@willamette.edu.