EN 923 CRITICAL PRACTICE 2006-7
Convenor : Dr. Cathia Jenainati C.Jenainati@warwick.ac.uk
Office : H 539 (ext 73093)
WEEKLY BREADOWN OF THE MODULE
1.
Tuesday of week one: critical practice test
Thursday of week one, list of participants will be displayed
2.
Kate Chopin, The Awakening
a. Read the novel and browse through the contextual documents
b. Critical practice of Feminist theory: read Elaine Showalter’s
“Tradition and the Female Talent: The Awakening as a solitary
book” (p202)
c. Critical practice of Gender criticism: read Elizabeth Le Blanc’s
“The Metaphorical Lesbian: Edna Pontellier in The Awakening”
(p237)
3.
Kate Chopin, The Awakening and Samuel Coleridge, The Rime of
the Ancient Mariner
a. Read Samuel T Coleridge, “The Rime of the Ancient Mariner”
(the 1798 and 1817 editions are supplied so pay attention to
both) and browse through the contextual documents
b. Critical Practice of Reader-response theory:
i. Read Frances Ferguson’s “Coleridge and the Deluded
Reader: ‘The Rime of the Ancient Mariner’”.
ii. Read Paula Treichler’s “The Construction of Ambiguity in
The Awakening: A Linguistic Analysis”.
4.
Kate Chopin, The Awakening, Samuel T Coleridge, “The Rime of
the Ancient Mariner” and William Shakespeare, Hamlet
a. Read William Shakespeare’s Hamlet and browse through the
contextual documents
b. Critical Practice of Deconstruction:
i. Read Marjorie Garber, “Hamlet: Giving up the Ghost”
(p297)
ii. Read Susan Eilenberg, “Voice and Ventriloquy in “The
Rime of the Ancient Mariner” (p282)
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iii. Read Patricia S. Yaeger, “A Language which Nobody
Understood: Emancipatory Strategies in The Awakening”
(p311)
5.
Kate Chopin, The Awakening, Samuel T Coleridge, “The Rime of
the Ancient Mariner” and William Shakespeare, Hamlet
a. Critical Practice of New Historicism:
i. Read Karin S. Coddon, “ ‘Suche Strange Desygns’:
Madness, Subjectivity, and Treason in Hamlet and
Elizabethan Culture” (380)
ii. Read Raimonda Modiano, “”Sameness or Difference?
Historicist Readings of ‘The Rime of the Ancient Mariner’”
(p187)
iii. Read Margit Stange, “Personal Property: Exchange
Value and the Female Self in The Awakening” (p274)
6.
Samuel T Coleridge, “The Rime of the Ancient Mariner” and William
Shakespeare, Hamlet
a. Critical Practice of Literary Psychoanalysis
i. Read Janet Adelman, “ ‘Man and Wife Is One Flesh’:
Hamlet and the Confrontation with the Maternal Body”
(p256)
ii. Read Anne Williams, “An I for An Eye: ‘Spectral
Persecution’ in ‘The Rime of the Ancient Mariner” (p238)
WEEK 6 SUBMIT NON-ASSESSED ESSAY
7.
Samuel T Coleridge, “The Rime of the Ancient Mariner” and William
Shakespeare, Hamlet
a. Critical Practice of Marxist theory
i. Read Michael D. Bristol, “ ‘Funeral Bak’d-Meats’: Carnival
and the Carnivalesque in Hamlet” (p348)
ii. Read David Simpson, “How Marxism Reads ‘The Rime of
the Ancient Mariner’” (p148)
8.
Critical Practice in your writing
a. This session will bring to conclusion our detailed study of
individual texts. In the first part of the seminar, we will attempt to
translate the various concepts we have studied into critical
thinking and critical writing strategies.
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b. The second part of the seminar will consist of a peer review
session, in which students are encouraged to critique each
other’s work (the non-assessed essays) and assess the extent
to which evidence of critical practice has been demonstrated.
9.
Criticism in practice
a. Read Angela Carter’s The Bloody Chamber and “Traditional
Fairy Tales” handout
b. During the first part of the seminar, I will provide you with
historical and textual contexts.
c. In the second part of the seminar, we will engage in critical
analysis of a selection of stories using the theoretical
frameworks we have been studying.
10.
Criticism in practice:
a. Angela Carter, The Bloody Chamber and “Traditional Fairy
Tales” handout
Prepare a 15 minute presentation on one of the short stories
using a critical framework we have studied on the module
WEEK 11 SUMBIT FIRST ASSESSED ESSAY
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