Required Texts:
Bressler, Charles, ed. Literary Criticism: An Introduction to Theory and Practice. London: Prentice Hall, 2006. ISBN: 0131534483
Shakespeare, William. The Tempest. Washington: New Folger's Edition, 2004. ISBN: 0743482832
Metaphysical Poetry: An Anthology.New York: Dover Thrift Edition, 2002. ISBN: 0486419169
Shelley, Mary Wollstonecraft, Bram Stoker, and Robert Louis Stevenson. Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde. Introduction by Stephen King. New York: Signet Classic/Mass Market Paperback, 1978. ISBN: 0451523636
Chopin, Kate.The Awakening. New York: W. W. Norton & Company, 1994. ISBN: 0393960579
Morrison, Toni. Paradise.  New York: Plume, 1999. ISBN: 0452280397 top

Recommended Texts:
Harmon, William. A Handbook to Literature. New York: Prentice Hall, 2005. ISBN-10: 0131344420 ISBN-13: 978-0131344426
Sophocles. Oedipus Rex. Literary Touchstone Edition, Prestwick House, Inc. ISBN-10: 1580495931 ISBN-13: 978-1580495936

Course Description:
This course focuses on the study of contemporary theoretical approaches to literature. Why, you ask? Well, there are a number of reasons. While I agree with the common contention that readers need to be provided with the opportunity to approach a text without prejudice and thereby be allowed to experience it more fully and comprehensively, I also believe that critical, theoretical approaches afford the reader with tools to approach a text more systematically and methodically. What I mean by that is that by adopting a critical, theoretical approach—even if only temporarily—the reader assumes a certain perspective through which and with which s/he might zoom in on specific aspects of a text more precisely. As such, it might be a good idea to think of theory in terms of “lenses” rather than ideologies. Each theory/lens has a different color, and each reading of a text through such a lens will illuminate the text in a different light, thereby revealing things that might have been hidden—or partially shaded to stick with the prevailing metaphor—before.

The lenses we will apply this semester in an effort to read literary texts critically are New Criticism, Reader-Response Criticism, Structuralism, Deconstruction, Formalism, Feminism, Marxism, Postcolonialism, New Historicism, and Cultural Criticism. And the literary texts which we will view through these lenses are Oedipus Rex, The Tempest, Metaphysical Poetry, Frankenstein/Dracula/Dr. Jekyll and Mr. Hyde, The Awakening, and Paradise. Let’s remember that all lenses can be used in conjunction with all of these texts and that sometimes several simultaneously might be the most enlightening. One of your jobs this semester will be to pick one or a layering of several theories and approaches and apply them to one of our primary literary texts. Over the course of the semester, this close, independent, and interpretative/analytical reading of yours will develop into your term paper and ultimately represent your learning accomplishment for the course. top

Course Objectives:
We will spend time on class discussions, focusing on the significance of strong written and verbal skills. At the end of this course you should be able to:

• Contextualize, theorize, and historicize literary texts.
• Identify and comprehend theoretical, critical approaches to a variety of literatures independently.
• Write reflective, interpretive, and critical essays about literary texts. top

Course Policies:
1) All assigned readings must be completed before class in preparation for class discussion. I do send people home when they come to class unprepared and with nothing to share with the rest of the class. And I do not hand out attendance grades based on mere physical presence. English 480 is a learning community—everybody enrolled in the course is part of that community and is expected to contribute to and partake in class discussion.
2) All assignments must be typed and proofread and follow common MLA style format.
3) I will not accept late writing assignments. I will not comment on late drafts. I trust that you will do your best to submit all work by the deadlines outlined in the course schedule. Remember, it is your responsibility to stay in contact with me if you are experiencing difficulties completing work on time.
4) Timely attendance in class is a requirement for all students in English 480. Two late arrivals will count as one absence. Students with six absences will earn an F for the course.
5) Plagiarism is grounds for failing the assignment and this class. Beyond that, plagiarism is grounds for dismissal from the university. For further information, please consult the section on plagiarism at the end of this syllabus.
If you do not understand these policies, you must ask me for clarification now or stop by my office at your earliest convenience; your success in this class is dependent on your comprehension of them. By staying in this class, you are showing your acceptance of and compliance with these guidelines. top

Absences:
If students miss more than 4 days of class they cannot pass English 480. Excused absences are still absences. You are responsible for finding out what you miss on days you are absent. Please gather the names, phone numbers, and e-mail addresses of at least two other students who you can contact to find out what happened in class on the day you were absent. Record this information below. top

            Name: __________________________                   Name: _______________________________
            Phone: _________________________                    Phone: ______________________________
            E-mail:  _________________________                   E-mail: _______________________________

            Name: __________________________                   Name: _______________________________
            Phone: _________________________                    Phone: ______________________________
            E-mail:  _________________________                   E-mail: _______________________________

Assignments, Projects, and Exams:
You will need to sign up for summary analyses by Tuesday of week 2; a sign-up sheet will be available from Thursday on, and entries can be made during class time or by stopping by my office (E-mail request will not be considered). The deadlines for all assignments are inflexible; they are either clearly marked on your syllabus or chosen by you (when you sign up for an analysis presentation). It is your responsibility to remember these due dates.

• At least one but no more than two short reflective papers (2-4 pages—double-spaced): This is meant to be an exploratory paper. While no “outside” research is required, your paper should involve a brief discussion of a critical approach based on what we have talked about in class. What I am looking for is your reaction to and interpretation of a character, a scenario, or a theme reoccurring in multiple texts. You may choose to repeat this exercise. Each paper will account for 10% of your final grade.
• At least one but no more than two summary analyses (1 page—single-spaced): This is meant to be a research-driven analytical paper; it involves one critical, scholarly article. Besides summarizing this article briefly, you will be required to present your analysis to the class and to provide your classmates with a short outline of the major argument. The handout can be the same as the one-page paper that you need to submit to the instructor. Using MLA for the article citation, this paper must be submitted AT LEAST ONE DAY BEFORE your presentation date and be accompanied by a Xerox copy of your article. You may choose to repeat this exercise. Each of these brief research presentations will account for 10% of your final grade.

NOTE: The caveat here is that you may not write the second paper about the same topic as the first; you may, however, present an article on the same text or theme as one of your short papers. Keep in mind that at least one short paper and one summary analysis are mandatory (see syllabus for submission dates—due dates for the write-ups accompanying the summary analyses are the dates for which you sign up). You third assignment can be either a summary analysis or a short reflective paper—choose whichever you are more comfortable with.

• Term paper (12-15 pages—double-spaced): This is the final class project, and it is meant to be a critical analysis of a literary text, an overarching theme, or a theme within just one text. This is the most extensive project this semester, and its quality should be professional and scholarly in nature, including a discussion of at least eight scholarly, secondary sources. Think of this paper as your chance to demonstrate what you have learned this semester through our study of contemporary theoretical approaches to literature. You will be asked to pick one of the primary literary texts with which we have worked this semester and to apply at least one of the critical lenses that we have studied. Remember that this is a formal writing exercise; strict adherence to MLA style format is a requirement, and a works cited pages must be attached. This will account for 30% of your final grade.
• Midterm and Final Exams: There will be two in-class exams, one at midterm and one the week before finals. Both exams will consist of several short answer questions, and one longer essay; and both exams will cover the texts read and discussed up to this particular exam (in case of the final exam, this does mean that all texts will be included). There will be no surprises, however, and you will be well prepared to pass these tests. The midterm will account for 10% of your final grade and the final for 20%.
• Participation: Participation in class discussion is necessary and not synonymous with attendance. Being there will not be enough; you will need to take part in activities and discussions. Small group activities will drive our efforts toward polishing those lenses and adjusting our vision. Active class participation and weekly journal entries which critical engage the reading will account for the remaining 10% of your final grade. top

Grading:
This course and all its assignments and components are graded on a standard A through F scale, with A representing >90% work and F representing <50% work. Paper grades are determined by applying standards of logic, coherence, style, and mechanics. Class assignments, exams, and course projects are clearly marked with percentages; refer to the assignment section of this syllabus for assignment criteria and individual grade/percentage allotments. top

Where you can go when you need help and/or want to talk to me:
Robinson 202: My door is always open. If you have questions about assignment instructions or expectations please come and see me. I can guarantee you that I will be in my office during my scheduled office hours, but I am in my office quite a bit outside of office hours as well. I encourage you to stop by and talk with me.
I’m interested in your thoughts on the course, and I encourage your honest and constructive feedback. If at any time during the semester you want to talk about how the class is going, have suggestions for improvement, or have thought of activities you would like to do in class, send me a note or come and see me.
My E-mail account: The quickest way to contact me outside of class is through E-mail. I check my E-mail account frequently, and both my home and my office computer are connected to the Internet at all times. I promise to try to get back to you within 24 hour of your message if at all possible.
A Note on E-mail Etiquette: I am more than happy to answer questions and discuss research topics via E-mail. I do trust, however, that all e-mails will be written in a respectful, professional tone and that they will be proofread before they are sent. Remember please that this is a university level English course and that your writing needs to reflect that. top

PLAGIARISM:
All incidents of plagiarism and collusion are grounds for failing an assignment and the course, and all incidents of plagiarism will be reported to Student Affairs. I strongly encourage you to save drafts, notes, and outlines for all of your written and oral assignments; you are expected to provide evidence of significant invention and revision if requested to do so. top

NAMES AND TERMS THAT YOU ARE EXPECTED TO BE FAMILIAR WITH AT THE END OF THE SEMESTER:

Critical, Theoretical Approaches to Literature:
New Criticism, Reader-Oriented Criticism, Russian Formalism, Structuralism, Deconstruction, Poststructuralism, Psychoanalytic Criticism, Intertextual Criticism, Feminism, Marxism, Mimetic Criticism, Postcolonialism, Postmodernism, New Historicism, Queer Theory, Cultural Criticism, Historiography. top

Critical and Literary Terms:
Polyphony, chronotope, irony, connotation/denotation, intentional/ affective fallacy, logocentrism, Eurocentrism, archetype, binary oppositions, signifier/signified, contact zone and transculturation, diachronic/synchronic, phallocentrism, Black Atlantic, hegemony, rhizome, cultural poetics, historiography. top

Literary Scholars:
Mikhail Bakhtin, Michel Foucault, Jacques Derrida, Jacques Lacan, Paul de Man, Gloria Anzaldua, bell hooks, Sigmund Freud, Carl Jung, Fredric Jameson, Jean-Francois Lyotard, Julia Kristeva, W. E. B. Du Bois, Frantz Fanon, Edward Said, Homi Bhabha, Roland Barthes, Theo Adorno, Karl Marx, Georg Lukacs, Friedrich Nietzsche, Stephen Greenblatt, Louis Montrose, Henry Louis Gates, Jr., Terry Eagelton, Stephen Orgel, Jonathan Dollimore, Peter Burke. top

Note: The instructor reserves the right to change and modify schedule and syllabus. top