ENG 3308: Writing Textual Analysis
Instructor: James Daniel
Office Hours: Wednesday 12:30 – 1:30, BUS 226
Email: jdaniel@uttyler.edu
Course Overview
What is a text? From most classes you’ve taken, you likely been told that a text is
words on a page, a collection of linguistic signs that can be bound into a book or
organized on a computer screen. However, many contemporary thinkers argue that
texts are far more baggy and complex. A text, they argue, can be anything that uses
symbols that can be read or interpreted. Perhaps unsurprisingly, tweets, blogs, and
Facebook news feeds fall into this category. Films are texts. Video games are texts.
But objects that don’t employ textual language at all can also be read as texts. A
building can be read as a text. A plastic lawn chair can be read as a text. So can
noise. So can a string of numbers. So can entire systems. Because every one of
these things can be understood and interpreted using certain tools, we can look on
them as texts. The controversial point that this course will make is that anything,
even if it is not “written,” can be considered a text if it can be “read.”
What is analysis? Unlike film criticism that you find in a newspaper, a form of
writing that tells you whether or not you should bother to see a particular movie,
textual analysis is tantamount to creating understanding. Analysis is another way of
making sense of a text that may, on its surface, have several meanings, contradictory
meanings, or no meaning at all. Analysis cracks the shell of a difficult text (James
Joyce’s Ulysses, Ryoji Ikeda’s minimalist noise experiments, a pair of ergonomic
Fiskars brand scissors) to access the meaning within. Using a set of tools, analysis
allows interpretations (readings, views, meanings, valences) to be taken from texts
that would otherwise not be seen.
What tools are we talking about? In the language of criticism, a tool is a method of
reading that tells the reader how to find information in a text. There are many sets
of critical tools that we will call “theory”: rhetorical theory, critical theory, literary
theory, feminist theory, etc. Each one of these relies on a set of interpretive
strategies that allow a critic to put a text under a critical lens. For example, when
analyzing a text using rhetorical theory a critic will look at the logical structure of
arguments, the use of emotional appeals, and the establishment of ethos. Employing
these concepts as a means to understand the text, the rhetorical critic will
investigate how the text functions to make arguments and convince a reader of an
idea. Oppositely, a Marxist critic employs economic principles from Karl Marx to
investigate how a text constructs notions of production, labor, and class. The point
here is that different tools, or theories, help critics uncover different meanings from
texts. You may find it surprising that texts do not contain just one “meaning” or
“truth.” Rather, they offer up different answers or findings depending on how they
are analyzed. This notion is at the very heart of textual criticism.
This course (ENG 3308: Writing Textual Analysis) is devoted to providing you with a
set of theoretical methods with which to make sense of texts. Because the course is
intended for a variety of majors, one single disciplinary approach will not be
stressed. Instead, a variety of methods and critical orientations will be taught as a
means of being applicable to a broad base of majors and as a way of introducing you
to interpretation writ large. In short, the course will engage you not merely in a
series of applications but rather will teach you to develop your own heuristics to be
applied to a vast number of diverse texts. Toward this end, the course will range
from more conventional methods of textual analysis such as rhetoric and literary
interpretation to less orthodox areas of inquiry including cybernetics, object
oriented philosophy, and video game studies.
Central to our inquiry will be an interest in the concepts of media and technology
and in how the digital revolution is mediating reading, writing, and interpretation.
It will be the initial premise of the course that the transformation of the concept of
the text from a collection of words to “anything that can be read” can be attributed,
at least in part, to technological change. Nearly all reading, writing, and
consumption of media occur on “devices” rather than with paper. Accordingly,
proceed with a concept of text and interpretation that is not hindered by analog
conceptions of “text” or “interpretation.”
Required “Texts”
Alien Phenomenology by Ian Bogost
The Medium is the Massage by Marshall McLuhan
Pattern Recognition by William Gibson
Rhythm Science by DJ Spooky a.k.a. That Subliminal Kid
Portal 2 (for Xbox 360, Playstation 3, PC, or Mac, available from Amazon.com)
An Xbox 360, Playstation 3, PC, or Mac (or a friend, roommate, or classmate with any
of said devices) with which to play Portal 2
A Spotify account (it’s free)
A printer or printer card for printing PDFs of additional texts
Course Organization
Most courses at the college level are organized in one of two ways: chronologically
or thematically. In other words, a course about experimental Swiss painting will
either give a history of the topic or offer units grouped by subject i.e. by painter, by
school, by geography, etc. This course will operate very differently.
3308 is not a history class nor is it concerned with introducing you to precise
schools of thought. Rather, the class is an exploration of a series of linked ideas,
concepts, and methods. Consequently, the class will be organized as an exploration
of ideas and questions, moving through texts and concepts as they are raised in
other texts. The idea here is to structure the course as a non-linear inquiry, a series
of experiments or tests.
The course will be principally organized around three short stories by Argentine
writer Jorge Luis Borges. These highly packed stories, “Death and the Compass,”
“The Garden of Forking Paths,” and “The Library of Babel,” will introduce questions
and concepts that will launch us into a sustained explorations in which we will
explore the work of other writers and theorists and engage in textual criticism
projects. Unit I, following from our reading of “The Library of Babel,” will explore
the complex relationship between humans, machines, and writing. Drawing from a
reading of “Death and the Compass,” Unit II will explore hermeneutics and
interpretation, specifically questioning how humans “read” objects and systems and
how these in turn influence our contemporary lives. After a reading of “The Garden
of Forking Paths,” the course will conclude with Unit III, an exploration of
human/machine interaction, the interpretation of “interactive” texts, and the
relation of complexity theory to the production and analysis of texts.
Unless otherwise noted, all readings are drawn from required course texts can be
found on Blackboard.
Course Objectives
-
improve your reading and analytical skills
provide a tool-box of analytical strategies with which to approach texts
develop expertise and confidence in performing close readings of texts
strengthen your ability to use different forms of analysis to respond to
different writing occasions
enable you to use rhetorical and argumentative principles
familiarize you with scholarly research
instill in you higher level thinking skills of analysis, synthesis, and evaluation
enable you to demonstrate mastery of the conventions of standard English in
speaking and writing
Grades
90-100 = A; 80-89 = B; 70-79 = C; 60-69 = D; < 60 = F
Class participation and attendance: 10%
Quizzes and short response papers: 10%
Papers: 80% (20% respectively)
An A is assigned to papers that showcase outstanding work that fully exceeds
expectations as articulated in the evaluation criteria; a B is assigned to papers that
showcase work that exceeds most expectations; a C is assigned to papers that
present work that manages to meet expectations; a D is papers to paper that contain
work that struggles to meet expectations; and an F is assigned to papers that contain
work that fails to meet expectations. Expectations and evaluation criteria are
included with each assignment introduction. As each assignment will remind you,
you may rewrite any of the papers in this course to receive a higher grade. Papers
that are submitted late be lowered one letter grade per day late – late papers may
not be rewritten.
Attendance Policy
During the semester, you are allowed two absences with no consequences to your
grade. Following your second absence, your final course grade will be deducted one
half letter grade per absence. After your sixth missed class, you will automatically
fail the course. I will take roll every class period, so please plan accordingly.
How to Read For This Course
This course will require you to read each text in a very specific manner as to be
prepared for class. The way in which you will read for this course will likely be
quite different from other kinds of reading that you do in that you will be reading
slowly, taking notes, re-reading, and reading for more than just content. First, when
you read, take notes. This may seem simple, but the act of underlining and making
marginal notes is a fundamental process of understanding and remembering a text.
Before class, go back to your notes. It is not enough to have read the text for this
course – you are expected to be able to recall your thoughts and observations.
Lastly, with every text you read, keep these five questions in mind at all times:
1) What is the author’s argument?
Though this sounds fairly simple, remember that the author’s argument is not
always just what’s on the page. Often, the author’s argument will be implied or
more subtle than the present text. It may also appear in an unexpected place i.e. the
end of a text rather that the beginning. At all times, be asking what the author is
driving at. Consider what the author chose to include and consider why. What do
the examples and inclusions tell you? Importantly, be prepared to answer the
question of the author’s argument succinctly if asked to do so in class.
2) How does this text suggest a method of analysis?
Each text in this class offers a means of reading and interpreting other texts.
However, none of the texts lay out a step-by-step blueprint for how to accomplish
this. Rather the mode of analysis is usually implied by the author. It’s up to the
reader to glean a method from the prose and to understand how to apply it. As you
read, consider how this might be used to analyze a text.
3) How does this relate to other texts we’ve read?
The main anthology for the course simplifies things somewhat by grouping each set
of theories into a school of thought. However, the texts themselves and the ideas
contained within them are not as easily divided as the editors of the volume might
suggest. Though each text within a specific mode of analysis will resonate with
other texts in the same category, it will also have connections to other texts and
schools of thought. As you read each text, consider where the text agrees or
resonates with other texts and also where it differs.
4) What do you not understand and why?
This course includes a number of difficult readings. At times you will be challenged
to understand the meaning of a text and how it may function as a method of
analysis. Rather than give up on a challenging text, you should be especially attuned
to those moments that seem the most difficult. Re-read these passages and take
careful note of terminology and grammar. Try to understand what about the text is
difficult and why? Is it a term that you don’t know? Is the author making an
argument that you don’t understand. Make note of these confusing elements and
come to class with questions.
5) What are the keywords?
Every text we read for this class will use a set of key terms. These are the terms that
are most central to the author’s argument and they are the terms that it is necessary
to grasp in order to understand that argument. Look for them – they’ll often show
up most frequently in a chapter or essay. Underline them and pay special attention
to them.
Papers
There will be four major assignments in the course. Each will follow the
same rubric and require you to conduct an application of a theoretical method to
an object of analysis. Each paper will be assigned after a set of readings and will ask
that you choose one method (and from this method, one text) from the unit to
conduct your analysis. For each paper, you will have the opportunity to workshop a
draft with your classmates. Drawing from this workshop, you will have one week
in which to revise the paper for final submission. You may revise any major
assignment after you are given a grade. Revisions will be due the last week of class.
You will begin each assignment (except for assignments 3 and 4, see below)
by locating a text for analysis. This should be a short text (maximum 2 pages) or a
piece of media (short video clip or audio clip). The text should be long enough and
rich enough for an analysis but not be so long as to be unmanageable under the
word constraints. Examples of texts could include but are not limited to poetry, blog
posts, newspaper articles, reviews, recipes, twitter feeds, songs, etc.
Each paper should consist of four discrete parts:
1)
2)
3)
4)
Introduction
Explanation of theory
Analysis
Conclusion
Your introduction should briefly introduce the object of the analysis, name
the theory to be applied, and offer the thesis of the paper. For assignments in this
course, the introduction should fall in the range of 100 to 200 words.
Your explanation of the theory should also be a brief introduction of the text
and the theoretical apparatus you will apply in the following section. This section of
the paper should practice a careful economy of language. Biographical or incidental
information about the text should be left aside. Rather, using quotes, you should
provide all necessary information for understanding the theory prior to your
application of it. This section should cite directly from the text and explain the
relevance of the quotations you choose.
The application of the theory should consist of a reading/analysis of your
chosen text through the lens of your chosen theory. Because you will have already
introduced both the object of analysis and the theory to be applied, this section
should jump right into the analysis, looking at elements of your chosen text and
explaining them through your theoretical apparatus. This section, in making clear
aspects of the text through your chosen lens, should work towards proving the
thesis of the paper. One thing to note is that often the thesis (i.e. what can be truly
said about a work) will not become evident to you until you have done a significant
amount of writing. Because of this, it is often best to begin with this section of the
paper in your first draft and then craft the thesis around what you’ve been able to
bring out of a text.
Your conclusion should be a brief recap of your central argument,
establishing in just a few sentences what you have established. It should also
gesture towards the significance of what you have argued with the paper.
Assignments 3 and 4 will be different in that instead of a text you will select a
specific object of analysis, namely William Gibson’s Pattern Recognition and the
video game Portal 2 respectively. Using the same methods of reading and analysis
you employed with textual artifacts, you will apply the methodology from Bogost’s
text to analyze Portal 2.
Course Calendar
Unit I
Thursday, Jan. 10
Course overview, read “The Library of Babel” by Jorge Luis Borges
Tuesday, Jan. 15
Read: “The Work of Art in the Age of Mechanical Reproduction” by Walter Benjamin
(on Blackboard)
Listen: Radiolab episode “Loops,” http://www.radiolab.org/2011/oct/04/
Thursday, Jan. 17
Listen: Steve Reich, “Music for 18 Musicians: Pulses” and “Music for 18 Musicians:
Section I” (on Spotify)
Liturgy, “Generation” (on Spotify)
Ryoji Ikeda, “data.microhelix” (on Spotify)
Daphni, “Yes, I Know” (on Spotify)
Voices From the Lake, “Drop 1” (on Spotify)
Karlheinz Stockhausen, “Studie 1” (on Spotify)
Tuesday, Jan. 22
Read: Rhythm Science by DJ Spooky, pgs. 1 – 61
Listen: Rhythm Science CD, tracks 1 - 15
Thursday, Jan. 24
Read: Rhythm Science by DJ Spooky, pgs. 61 – 113
Listen: Rhythm Science CD, tracks 16-32
Tuesday, Jan. 29
Read: The Medium is the Massage by Marshall MacLuhan
Thursday, Jan. 31
In Class: Discuss MacLuhan
Tuesday, Feb. 5
Read: Cybernetics or the Control and Communication in the Animal and the Machine
by Norbert Weiner (on Blackboard)
Thursday, Feb. 9
In Class: Discuss assignment #1, writing practice
Unit II
Tuesday, Feb. 12
Due: Assignment #1
In Class: Read “Death and the Compass” and discuss
Thursday, Feb. 14
Listen: This American Life “Mapping” episode
(http://www.thisamericanlife.org/radio-archives/episode/110/mapping)
Tuesday, Feb. 19
Read: Alien Phenomenology by Ian Bogost, Chapter 1
Thursday, Feb. 21
Read: Alien Phenomenology by Ian Bogost, Chapter 2
Tuesday, Feb. 26
Read: Alien Phenomenology by Ian Bogost, Chapter 3
Thursday, Feb. 26
Read: Alien Phenomenology by Ian Bogost, Chapter 4
Tuesday, March 5
In Class: Discuss Assignment #2
Thursday, March 7
Due: Assignment #2
Tuesday, March 19
Read: Pattern Recognition by William Gibson, pgs. 1 - 104
Thursday, March 21
Read: Pattern Recognition by William Gibson, pgs. 105 - 203
Tuesday, March 26
Read: Pattern Recognition by William Gibson, pgs. 203 - 367
Thursday, March 28
In Class: Discuss Assignment #3
Tuesday, April 2
Due: Assignment III
In Class: Read “The Garden of Forking Paths” by Jorge Luis Borges
Thursday, April 4
Read: “The Multiverse Conundrum” by Tom Wilkinson (on Blackboard)
Tuesday, April 9
Read: Precarious Rhapsody by Franco “Bifo” Berardi, (on Blackboard)
Thursday, April 11
Read: TBA
Tuesday, April 16
Read: TBA
Thursday, April 18
Read: TBA
Tuesday, April 23
“Read”: Portal 2
Thursday, April 25
In Class: Discuss Portal 2
Tuesday, April 30
In Class: Writing day
Thursday, May 2
Due: Assignment #4
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To know and understand the policies that affect your rights and responsibilities as a
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http://www.uttyler.edu/wellness/StudentRightsandResponsibilities.html
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If you are repeating this course for a grade replacement, you must file an intent to
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replacement) for only three course repeats; graduates, for two course repeats
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thereafter from dropping more than six courses during their entire undergraduate
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"Scholastic dishonesty" includes, but is not limited to, cheating, plagiarism,
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falsifying academic records, and any act designed to give unfair academic advantage
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information in an effort to receive a postponement or an extension on a test, quiz,
or other
assignment), or the attempt to commit such an act.
1. "Cheating" includes, but is not limited to:
A. copying from another student's test paper; using during a test materials not
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to take a course, a test, or any course­related assignment;
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obtain an un-administered test, test key, homework solution, or computer program,
or
information about an un-administered test, test key, homework solution,
or computer
program;
J. falsifying research data, laboratory reports, and/or other academic work offered
for
credit;
K. taking, keeping, misplacing, or damaging the property of the university, or of
another,
if the student knows or reasonably should know that an unfair academic advantage
would be gained by such conduct; and
L. misrepresenting facts, including providing false grades or résumés, for the
purpose of obtaining an academic or financial benefit for oneself or
another individual or injuring
another student academically or financially.
2. "Plagiarism" includes, but is not limited to, the appropriation, buying, receiving as
a gift, or
obtaining by any means another's work and the submission of it as one's own
academic
work offered for credit.
3. "Collusion" includes, but is not limited to, the unauthorized collaboration with
another
person in preparing academic assignments offered for credit or collaboration with
another
person to commit a violation of any section of the rules on scholastic dishonesty.
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submission of false information or the omission of requested information that is
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