Spring 2010
Department of English
Central Connecticut State University
Professor Jaclyn Geller
Office: Willard 306-1
(860)-832-2769
gellerjai@ccsu.edu
Introduction to Literary Studies: English 298
Section 1: Mondays and Wednesdays, 2:00-3:15
Section 3: Mondays and Wednesdays, 3:30-4:45
Course Description:
English 298 is a course designed to give English majors an
introduction to the vocabularies and practices that ground the
study of literature at the university level. The bulk of class
time is devoted to close reading. Close reading is defined as
interpretation that moves beyond content (e.g. the
identification of a text’s theme or “message”) and past the kind
of personal responses typical of book clubs and online chat
groups (e.g. the listing of characters one likes and does not
like, the relaying of anecdotes). These responses are fine as a
starting point, but deeper reading entails the analysis of
style. Accomplished literary authors use language with
subtlety, in a wide variety of ways. Analyzing their techniques
helps us to arrive at substantive conclusions -- readings that
identify the ways in which style expresses content. Stylistic
analysis also helps those students specializing in the study of
literature to build a critical vocabulary. Writing about
literature is an essential counterpart to reading it, and
students are asked to write about the assigned texts in order to
deepen, enrich, and clarify their interpretations.
Course Prerequisite:
Freshman composition is a prerequisite for this class: all
students registered must have taken and passed English 110.
Required Texts:
The Bedford Glossary of Critical and Literary Terms (ed. Ross
Murfin and Supryia M. Ray)
The Making of a Poem: A Norton Anthology of Poetic Forms (Mark
Strand and Eavan Boland)
Poetic Meter and Poetic Form (Paul Fussell)
A Short Guide to Writing About Literature (Sylvan Barnet and
William E. Cain)
The Sleeping Father (Matthew Sharpe)
The World’s Greatest Short Stories (ed. James Daly)
An up-to-date college handbook: Diane Hacker’s A Writer’s
Reference is recommended.
Course Requirements:
Attendance: Students are required to attend all classes.
Sometimes this is not possible. In the event of an unavoidable
absence the student should contact the instructor (through email)with an explanation. All are responsible for keeping
abreast of what occurs in class, whether they are there or not.
After six unexplained absences a student will automatically
receive the grade of F.
Reading: The study of literature involves close scrutiny of
primary texts. This is not a discipline that relies on
textbooks that provide easy overviews or summaries that offer
compressed plots. The only way to gain access to complex,
challenging works of literature is to read those works. The
reading for this class is not burdensome in terms of length, and
it is not organized by period: we do not focus on mastering a
group of texts that represent a historical era. The syllabus
features significant, layered, generically representative pieces
of literature. The fundamental demand of the course is that
students complete all reading assignments in a timely fashion
and participate actively in class in a way that demonstrates
their engagement with the texts on the syllabus. This does not
mean having all the answers or offering fixed interpretations.
It means asking questions, spearheading discussions, and showing
an ongoing involvement with the material.
Papers and Tests: Students are required to submit two six-page
essays and one eight-page essay and to participate in the
English 298 Conference (date to be announced). In addition there
will be one pop quiz.
Papers must be submitted in class on the dates due in hard copy:
paginated, double-spaced, and clipped or stapled together. In
accordance with MLA guidelines, all sources must be acknowledged
with parenthetical citations embedded in the text and a works
cited sheet appended (this sheet does not count toward the page
minimum). Other writers’ verbatim language must be enclosed in
quotation marks (and cited appropriately); this is true of a
passage, a paragraph, a sentence, or a phrase. Others’ ideas
that are paraphrased (e.g. explained in a student’s own words)
must be cited as well. Class time includes a review of these
conventions, but, in order to avoid intentional or unintentional
plagiarism, students are encouraged to consult a website that
outlines the
basics:http://www.studyguide.org/MLAdocumentation.ht#Rules%20for
%
20Citing%20Poetry.
Class Decorum: Students should arrive in class on time.
Sometimes this is not possible. Latecomers should enter quietly
and should not disrupt class by walking in front of the
instructor’s area, moving furniture around, or initiating side
conversations. (Entering and sitting by the door is fine.)
Cellular phones and other electronic devices should be put away
during class. Consuming food in class is not permitted, but
students should feel free to bring beverages.
Grading Breakdown: Twenty per cent for each of the first two
essays; 35 per cent for the third essay; ten per cent for the
quiz; 25 per cent for class participation.
Office Hours:
Office hours will be held on Mondays, Tuesdays,
and Wednesdays. Specific hours will be announced during the
first week of class. Students are encouraged to visit the
instructor to discuss any matter related to the course or to
simply come and say hello. It is not necessary to schedule an
appointment beforehand.
Schedule of Readings:
01-25
Robert Frost’s “Directive.”
01-27
About
Course introduction. A Short Guide to Writing
Literature, chapters five and six.
02-01
Leo Tolstoy’s “The Death of Ivan Ilyich.”
02-03
“”
02-08
Virginia Woolf’s “The Mark on the Wall.”
02-10
John Updike’s “A.&P.”
02-15
Presidents’ Day: no class.
05- 17
James Joyce’s “Araby.” A Short Guide to Writing
About Literature, chapter nine.
02-22
Matthew Sharpe’s The Sleeping Father.
02-24
“”
03-01
“”
03-03
“” First essay due.
03-08
Elizabeth Bishop’s “One Art;” Mona Van Duyn’s
“Condemned Site.” The Making of a Poem, pp. 5-8
and pp. 159-161.
03-10
of a
Anthony Hecht’s “The Book of Yolek.” The Making
Poem, pp. 21-24.
03-15
Michael Drayton’s “Farewell to Love;” John
Donne’s “Holy Sonnet: At the round earth’s
imagined corners.”
03-17
Form,
Denis Johnson’s “Heat;” Poetic Meter and Poetic
chapter seven.
03-22
Spring break: no class.
03- 24
“”
03-29
Richard Wilbur’s “Lying;” Robert Frost’s
“Directive.”The Making of a Poem, pp. 101-103.
03-31
Blanford Parker’s “Frost and the Meditative
Lyric”(handout).
04-05
Robert Browning’s “My Last Duchess.”
04- 07
Thom Gunn’s “The J Car;” The Making of a Poem,
pp. 121-122.
04- 12
Second essay due.
W.B. Yeats.”
W.H. Auden’s “In Memory of
04- 14
Katherine Philips’ “Epitaph. On her Son H.P. at St.
Syth’s Church where her body also lies Interred.” The
Making of a Poem, pp. 165-168.
04-19
A Short Guide to Writing About Literature, chapter
eleven.
04-21
“” Emily Dickinson's “Wild Nights.”
04-26
Judith Wright’s “Australia;” Robert Pinsky’s “Ode to
Meaning.” The Making of a Poem, p. 240.
04-28
A Short Guide to Writing About Literature, chapter
eight.
05-03
W.B. Yeat’s “The Circus Animals’ Desertion.”
05- 05
Adrienne Rich’s “Diving Into the Wreck;” The Making of
a Poem, pp. 259-260.
05-10
Sharon Olds’ “The Language of the Brag.”
05-12
Third essay due. Final thoughts.