Narrative & Narrative Theory
English 161
Winter 2016
Prof. John Bender
Books (with ISBN):
Monika Fludernik, An Introduction to Narratology (Routledge 0415450306)
Daniel Defoe, Robinson Crusoe, ed. Shinagel (Norton 0-393964523)
Jane Austen, Emma, ed. Justice (Norton 9780393927641)
Henry James, The Turn of the Screw ed. Esch/Warren (Norton 0-39395904-X)
Virginia Woolf, Mrs Dalloway (Everyman's Library, 9780679420422
Raymond Chandler, The Big Sleep (Vintage 0394758285)
Truman Capote, In Cold Blood (Vintage 9780679745587)
J. M. Coetzee, Boyhood (Penguin 014026566X)
Alison Bechdel, Fun Home (Houghton Mifflin 978061887171-1)
Course topic: This course is an introduction to stories and storytelling--that is, to
narrative. What is narrative? When is narrative fictional and when non-fictional?
How is it done, word by word, sentence by sentence? Must it be in prose? Can it
be in pictures? How has storytelling changed over time? This course will focus on
various forms, genres, structures, and characteristics of narrative.
This course is required by the English Department for the major and its syllabus
has been reviewed by the departmental curriculum committee. The department
does not intend to rule out our enjoyment of the marvelous novels listed for
reading, but, in the spirit of the requirement, much of the focus will be rather
technical. In the end, I hope, you will find that your pleasure in reading novels is
enhanced by greater knowledge about their workings.
Note on Books: We will be looking closely at passages in each text. It is vital that
you have the edition listed above for each book and that you bring it to class for
each session. The bookstore has the books on sale, and I hope that you will
support their effort to make books easily available to you, including through
rentals. You may find better prices or used copies by shopping online. Readings
not on the booklist will be posted on Coursework.
Reading: The success of this course will depend upon each student’s having
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completed the reading by the time it is discussed. Most novels will be treated in
segments so that the entire text need not be read by the first day, though clearly
this is a desirable goal. Note that when the reading of a novel is divided, the
papers should be about the segment of the book read for a given day (e.g. first
half of the novel the first day, second half the second day, etc.). Note the
assignments to do readings outside the novels; these are short, and appear for
most sessions. Readings on Coursework are marked # on the syllabus.
Papers: Students will write three brief papers of 600 words (one page singlespaced) during the quarter. At the end of your paper, please place one question
that you would like to see discussed.
These papers will form the point of departure for our discussion, and therefore
must be ready punctually. Finished copies should be available to the class on
Coursework by midnight the night before the class so that everyone can read
them in advance. It is essential that they be on time since I must prepare the
class around them. Students are responsible for producing enough hard copies
for everyone in the course. Papers must be produced single-spaced for
distribution in class. Depending on the enrollment in the course, one or two of
these papers may be discussed in section. PLEASE FIND THE FORUM ON
“COURSEWORK” AND ENROLL YOURSELF.
Forum Questions: "Forum" within Coursework contains open threads for each
day of our course. Do file questions and ideas at any time. On class days by
9:00 a.m. about one-third to one-half of the class (depending on enrollment) will
file questions specifically on the material for the day and on the posted papers. It
is essential that they be on time since I must prepare the class around them.
They will be filed on Coursework in order to elicit responses from the class.
Please visit Coursework often and get into the rhythm of responding to questions.
A selection of these questions and responses will be used in class. They will be
graded. Students need not turn in questions on days when they have a paper
due, but, in general, should be posting about one question per week.
A Note on Sources: Papers in this course should be based on your ideas about
the assigned reading, including texts in narrative theory. Some of the assigned
volumes have introductions and commentary for you to use. Please focus on
these materials. If you use books, articles, internet sources, or rely on work by
other students, you must, by Stanford policy, specifically indicate your
indebtedness.
Attendance and Discussion: This is not a lecture course. Please do not enroll if
you expect lectures. Much of the value of this course lies in discussions that are
difficult to reconstruct from notes. Therefore, attendance is a part of the required
work without which you cannot successfully complete the course. The frequency
and quality of your participation in discussion will figure, along with attendance, in
your final mark.
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Office Hours: I hold regular office hours. Do come in to talk with me about
reading or papers, in advance or after the class.
Computer Policy: If you wish to use a laptop, I must ask that you turn off the
wireless access during class. This is a discussion course, much of which will not
lend itself to detailed note taking. In addition, open computers in front of you
tend to block your availability to others in the room. Studies show that
handwritten notes are more effective.
Students with Documented Disabilities: Students who may need an academic
accommodation based on the impact of a disability must initiate the request with
the Office of Accessible Education (OAE). Professional staff will evaluate the
request with required documentation, recommend reasonable accommodations,
and prepare an Accommodation Letter for faculty dated in the current quarter in
which the request is being made. Students should contact the OAE as soon as
possible since timely notice is needed to coordinate accommodations. The OAE
is located at 563 Salvatierra Walk (phone: 723-1066, URL:
http://studentaffairs.stanford.edu/oae)
Grading: All work must be filed to pass this class. I do not give incompletes. I
will cross off your mark on your first 600 word paper if it is lower than later ones.
Breakdown of grading: Participation, including comments on Coursework 20%;
Discussion papers including in-class exchanges about your papers 60%; Final
paper 20%.
Final Course Paper: The final course paper may be an expansion to 900 words
of one of the student's shorter papers written for this course, or it may treat a
novel not covered in a student's discussion papers. These papers will be due on
Monday, March 14 by noon.
Schedule of Meetings
Week 1
What is Narration?
January 5
Organization and Introduction
January 7
#Daniel Defoe, “The Apparition of Mrs. Veal”
#E. A. Poe, "The Murders in the Rue Morgue"
Dmytrick, Murder, My Sweet clip of voice-over narration,
shown in class
Fludernik, 1-7 & Glossary of Narratological Terms, 150-62
Week 2
Fact or Fiction
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January 12 Daniel Defoe, Robinson Crusoe
Fludernik, 21-32
January 14 Daniel Defoe, Robinson Crusoe
Fludernik, 36-44
Week 3
Classic Narration in the Novel
January 19
Jane Austen, Emma
Fludernik, 44-47
January 21
Jane Austen, Emma
Fludernik, 53-58
Week 4
Classic Narration in the Novel
January 26
Jane Austen, Emma
Fludernik, 58-60, 64-69
January 28 Unreliable Narration in the Novel
Henry James, The Turn of the Screw
Fludernik, 69-71, 85-87
Week 5
Experimental Narration in the Novel
February 2
Virginia Woolf, Mrs. Dalloway
Fludernik, 78-85
February 4
Virginia Woolf, Mrs. Dalloway
#William James, “The Stream of Thought,” pp. 219-221,
268-278 in The Principles of Psychology, volume 1.
Week 6
The Novel & Detection
February 9
Raymond Chandler, The Big Sleep
Fludernik, 32-35, 47-52
February 11 Howard Hawks, The Big Sleep (shown in class)
#Roland Barthes, “Introduction to the Structural Analysis
of Narratives,” parts 1-2
Andrew Bricker, "Key Terms in Narrative Theory"
Week 7
The Novel and Detection
February 16 Raymond Chandler & Howard Hawks, The Big Sleep
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#Roland Barthes, “Introduction to the Structural Analysis
of Narratives,” parts 3-4
February 18 The Non-Fiction Novel
Truman Capote, In Cold Blood
# Marie-Laure Ryan, Possible Worlds, Artificial Intelligence,
and Narrative Theory, 1-5, 61-67.
Week 8
The Non-Fiction Novel
February 23
Truman Capote, In Cold Blood
#J. Paul Hunter, Before Novels, Chapter 7, pp. 167-170,
172-176, 188-194
February 25 The Fictional Memoir
J. M. Coetzee, Boyhood
#H. Porter Abbott, The Cambridge Introduction to Narrative,
2nd ed., 145-153
Week 9
The Fictional Memoir
March 1
J. M. Coetzee, Boyhood
#Carolyn Barros, Autobiography: Narrative of Transformation,
Chapter 1
#Dorrit Cohn, "Fictional versus Historical Lives," The Distinction of
Fiction, Chapter 2
March 3
The Graphic Novel
Alison Bechdel, Fun Home
#Scott McCloud, Understanding Comics, Chapter 3
Week 10
The Graphic Novel
March 8
Alison Bechdel, Fun Home
#Eddie Campbell, “Graphic Novel Manifesto (Revised)
March 10
Roundup and Review
Final Course Papers Due: Monday, March 14, noon
Rev 12.19.15
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