The catalog of courses defines English 102 as the “close analysis of formal features of several genres and an introduction to theoretical and critical approaches.” But what are literary “genres,” anyway? What is meant by “theory” and “criticism,” what is the difference between those terms, and why are they important to studies in English? This course is designed to give you a glimpse of the rich world of literary criticism developed over the last 3,000 years or so, but it is also an introduction to the demands of professional linguistic and literary studies. Welcome to the discipline.
Beginning Theory, Peter Barry
Supplementary Reader (available at campus copy center)
arriving in class on-time and prepared, which includes responsibility
assigned readings on the dates indicated in the schedule. All papers
of papers are due at the beginning of class on the due date indicated.
addition, occasional in-class exercises and quizzes will be assigned,
factored into the final grade as indicated below. It should be noted
showing up for class on time and prepared is considered *minimally*
behavior for a college-level class, and thus merits a *C* grade. Active
participation in classroom discussion is essential to earning a higher
the participation category.
Reading Responses #1-3 (1-2 pages each)
-- 15% (5% each)
Mid-Term Examination -- 20%
Final Paper -- 25%
Final Examination -- 25%
Participation, Quizzes -- 15%
· Since this is an intensive Summer Session course, attendance is essential. Missing a single class is equivalent to missing an entire week of a regular term, and will effect your participation score, and your knowledge of the material. If you miss two or more classes, I will strongly suggest that you re-take the course.
· You are responsible for three brief (1-2 page) response essays, outlining your reaction to some aspect of the day’s readings. The choice of which days’ readings to respond to is entirely up to you. Response essays are due on the same day as the reading to which they are responding. They will not be accepted at any other time. You may argue the merits of the reading or its parts, analyzeor interpret the readings, debate with the authors’ conclusions, or otherwise engage with the material in any way which represents your reaction to the texts.
Late papers are automatically graded one full letter
than they would otherwise have merited (an "A" turns into a
"B," for example). An additional one-third letter grade is deducted
for each additional day (not class day, but every day) that the
remains outstanding (that is, from a "B" to a "B-" to a
"C+" and so on). If the assignment is as much as a week overdue, then
it counts as not being handed in, per the policy above.
· All essays should be typed and double-spaced, with approximately 1 - 1.5 inch margins on all sides, in a 12 point font (Times New Roman or a similar ‘standard’ font is strongly preferred). College level papers are thoroughly formal documents : spelling and grammar are important components of your writing, and I urge you to proofread carefully! Feel free to use a spell-checker, but don’t let it do your thinking for you. Please do *not* rely upon your word processor's grammar checking functions -- all of those currently available are worse than useless. For more information on paper format, see the class web-pages and follow the link to the "style guide." Papers which are shorter than the required minimum will automatically be given a failing grade. Please note that one sentence does not constitute a "page" of writing -- the writing should extend at least half-way down the page for it to be counted towards the minimum length requirements. Material from other sources *does not count* towards the minimum page length.
This class adheres strictly to the University policy on
dishonesty. Please note that any
uncited use of material from an outside source, whether direct
essential ideas, constitutes plagiarism. This
includes material you have previously submitted to other classes here
elsewhere, as well as any websites or other sources consulted at any
during the composition process. Note
that it makes absolutely no difference whether you intended
to plagiarize material or merely forgot to cite your sources; both
other people’s work as though it were your own, and therefore
plagiarism under university policy. Papers
which are suspected of being partially or completely plagiarized will
over to the Office of Student Conduct, which will determine the
sanctions, up to and including expulsion from the University.
General schedule of
readings and discussions:
Monday, 6/23 – Discussion:
caveat lector! Introduction to the course
What is literature? Criticism?
Theory? Why bother?
Wednesday, 6/25 – Reading:
Barry, Beginning Theory, pp. 1-36,
272-8; Aristotle, Poetics; Sydney, An Apology for Poetry;
Essay on Criticism; Johnson, Rasselas, Preface to Shakespeare;
Shakespeare, Hamlet. Discussion:
moralism and literature (didacticism), early formalism and rhetorical
basic plot structures.
Monday, 6/30 – Reading:
Wordsworth, Preface to Lyrical Ballads;
Coleridge, Biographia Literaria; Shelley, A Defense of
Coleridge, “Kubla Khan”; Byron, “Lines Inscribed upon a Cup....”
Discussion: Romanticism and the revolutionary aesthetic,
expressionism, negative capability.
Wednesday, 7/02 – Reading:
Arnold, Culture and Anarchy; James, The
Art of Fiction; Wilde, Preface to the Picture of Dorian Gray;
Baudelaire, Flowers of Evil, Paris Spleen; Kipling,
Yeats, “Among School Children.” Discussion:
cultural centrism and heteroglossia, aestheticism, mimesis and realism,
Monday, 7/07 – Reading:
Freud, Interpretation of Dreams; Jung, On
the Relation of Analytical Psychology to Poetry; Barry’s Beginning
Theory, pp. 96-118; Gilman, “The Yellow Wallpaper”; Yeats, “The
Coming.” Discussion: symbolism,
archetype, repression, biographical criticism, psychoanalysis.
Wednesday, 7/09 – Reading:
Eliot, Tradition and the Individual Talent;
Ransom, Criticism, Inc.; Propp (handout); Barry’s Beginning
pp. 39-60; Eliot, “Rhapsody on a Windy Evening”; Kafka, “Before the
Law.” Discussion: modernism,
intertextuality, new criticism, structuralism, semiotics.
Monday, 7/14 – Reading:
Barry, Beginning Theory, pp. 61-94,
172-89; cummings, “Humanity...,” “next to of course god...”; Faulkner,
“A Rose for Emily.: Discussion:
post-structuralism, post-modernism, new historicism, cultural literacy,
deconstruction, pastiche, simulacrum, personae.
Wednesday, 7/16 – Reading:
Barry, Beginning Theory, pp. 121-36,
156-70, 192-201; Levine, “They Feed They Lion.” Discussion:
cultural studies, feminism, gender theory, ethnic
studies, post-colonialism, Orientalism, Marxist criticism, ideology.
Monday, 7/21 – Reading:
Barry, Beginning Theory, pp. 222-69;
Moulthrop, Revolution. Discussion:
narratology, eco-criticism, cyber-criticism, reader-response, author
Wednesday, 7/23 –
Discussion: theory and English studies today.
Placing yourself in the dialogue. Wrap-up
and Final Exam preparation.
Friday, 7/25 – Final Examination, 3:30-5:30 p.m.
Aristotle (384-322 B.C.E.)
Sir Phillip Sidney (1554-1586)
Alexander Pope (1688-1744)
Samuel Johnson (1709-1784)
William Wordsworth (1770-1850)
Samuel Taylor Coleridge (1772-1834)
Percy Bysshe Shelley (1792-1822)
Matthew Arnold (1822-88)
Oscar Wilde (1854-1900)
Sigmund Freud (1856-1900)
Ferdinand de Saussure (1857-1913)
Carl Gustav Jung (1875-1961)
T. S. Eliot (1888-1965)
John Crowe Ransom (1888-1974)
Walter Benjamin (1892-1940)
Theodor W. Adorno (1903-1969)
Jacques Lacan (1901-1981)
Northrop Frye (1912-1991)
Roland Barthes (1915-1980)
Louis Althusser (1918-1990)
Jean-Francois Lyotard (1925-1998)
Michel Foucault (1926-1984)
E. D. Hirsch (1928-)
Jean Baudrillard (1929-)
Harold Bloom (1930-)
Jacques Derrida (1930-)
Frederic Jameson (1934-)
Edward Said (1935-)
Sandra M. Gilbert (1936-)
Susan Gubar (1944-)
Stanley Fish (1938-)
Laura Mulvey (1941-)
Homi Bhabha (1949-)
Eve Sokofsky Sedgwick (1950-)