English 109:
An Introduction to Fiction
Stories and Cycles
Spring 2014 | Section T
Tuesdays/Thursdays
3:30–4:45PM | EB 127
Instructor: Elizabeth E. Tavares
Contact: tavares1@illinois.edu
Office Location: English 240
Office Hours: Tuesdays 2:30–3:30PM, and
by appointment.
“O! For a muse of fire, that would ascend
the brightest heaven of invention!”
— William Shakespeare
This course aims to provide you the tools to analyze, interpret, and write about narrative fiction.
Throughout, we will read both long and short narratives, exploring how texts produce meaning using a
variety of rhetorical strategies. To achieve this, you will be asked to engage thoroughly with the course
readings, conduct sustained analysis of texts, and assess the critical conversations regarding cyclical fictions
through the thematic lens of magical realism. Since this course fulfills the university’s advanced composition
requirement, you will be asked to produce at least twenty to thirty pages over the course of the semester in
order to assess this engagement. To this end, the assignments are designed to allow you to practice your
formal writing skills and learn how to produce sustained, well-supported, and sophisticated written
arguments.
This course of study intends to promote your ability to adopt unique and thoughtful subject positions
derived from both aesthetic and material evidence. Thus, this course aims not only to acquaint you with the
formal tools for analyzing narratives, but it also hopes to engender critical-thinking and –writing skills
applicable across the disciplines. It takes two to tango: to create a vigorous, semester-long dialogue,
preparation before hand and a readiness to participate will be necessary to your success. In our
conversations to follow we will consider the potential for fictions that straddle the real and unreal as exigent,
active narratives capable of influencing social change.
Resources –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
All the tools you will need for this course will be in the course packet and the assigned texts, all of which are
required to ensure your success. While we will not be using a course website this semester, you can purchase
the following texts from the university bookstore along with the course packet:
Carter, Angela. The Bloody Chamber and other Stories. New York: Penguin, 2011 (ISBN 9780143119043).
García-Márquez, Gabriel. 100 Years of Solitude. New York: Harper Perennial, 2006 (ISBN 9780061120091).
English 109 | 1 | Ms. Tavares
Joyce, James. Dubliners. New York: Viking, 1996 (ISBN 978-0140247749).
Murakami, Haruki. Kafka on the Shore. New York: Yintage, 2006 (ISBN 978-1400079278).
Russell, Karen. St. Lucy’s Home for Girls Raised By Wolves. New York: Vintage, 2007 (ISBN 9780307276674).
Saunders, George. Pastoralia. New York: Riverhead, 2001 (ISBN 978-1573228725).
Stoppard, Tom. Arcadia. New York: Samuel French, 1993 (ISBN 978-0573695667).
There are several other services with which you should become immediately familiar. The Writer’s
Workshop provides free scheduled or walk-in tutorials at any stage of the writing process, whether you are
struggling to commit to a topic, need help with a pesky thesis statement, or have more technical issues. If you
have any learning and/or accessibility needs, please come speak to so we can get you acquainted with the
opportunities offered by DRES (see next page for more information).
➻ The Writer’s Workshop: http://www.cws.illinois.edu/workshop
➻ Undergraduate Library: http://www.library.illinois.edu/ugl
➻ Disability Resources and Educational Services (DRES): http://www.disability.illinois.edu
Policies –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
There are a few basic rules to play by this semester: namely, as in any course, you get out of it what you put
in. Our classroom environment should be a space where everyone feels they can participate and succeed.
We can fulfill this by respecting one another in what we do and say. While this includes smaller courtesies,
like turning off or muting cell phones, it also includes the larger responsibility of refraining from using
language or actions that show disrespect towards race, religion, ethnicity, sexuality, ability, beliefs, or ideas.
While evaluation occurs in a number of ways, keep in mind that this is a writing-intensive course where
participation and adherence to deadlines is crucial. If something presents a conflict for you, we can
potentially negotiate alternatives, but this is ultimately the prerogative of the instructor. Every assignment is
always due at the beginning of the class session. Except in the event of documented illness or emergency,
papers submitted during and after class or to my mailbox during the hour are considered late and lose one
full letter grade per day.
➻ Grade Distribution
20% Essay One
20% Essay Four
20% Essay Two
10% Discussion Prompt
20% Essay Three
10% Participation
Attendance is directly necessary to your success. Logistically, any student absent for two weeks (six
meetings) will be unable to receive an A in the course, and three weeks (nine meetings) will result in failure
of the course. Excused absences include religious holidays, letter-supported athletic events, or serious illness
with documentation. Anyone more than five minutes late will be marked as absent from that day of class. If
you are absent or tardy, you alone are responsible for catching up on the announcements and discussion you
missed; quizzes and other in-class assessments cannot be made-up for unexcused absences.
➻ Grading Scale
B+ (89–87)
C+ (79–77)
D+ (69–67)
F (59–0)
A (100–93)
B (86–83)
C (76–73)
D (66–63)
A- (92–90)
B- (82–80)
C- (72–70)
D- (62–60)
Regarding plagiarism, the University of Illinois has high standards of academic integrity set out in Article 1,
Part 4 of the University Student Code, which I uphold. All written coursework in this course is expected to
be your own, with all words and/or ideas from other sources fairly attributed. To use phrases and/or ideas
from any other source as if they were your own constitutes plagiarism. Submitting your own work for more
than one course without permission of both instructors can also constitute plagiarism. The University
Student Code sets out possible consequences of plagiarism in coursework, ranging from failure on the
English 109 | 2 | Ms. Tavares
assignment to suspension or dismissal from the University. The Code specifies that ignorance of these
standards is not an excuse. All students in this class should familiarize themselves with the Code at
http://www.admin.uiuc.edu/policy/code, with our library’s guidelines at http://www.library.illinois.edu/
learn/research/academicintegrity.html. If you have questions about fair use or documentation, please do not
hesitate to consult me.
Technology can be a blessing and a curse in the literature classroom. You are welcome to use netbooks,
laptops and tablets, but I reserve the right to see your screen at any time. Cell phones, on the other hand, are
not allowed in the classroom; this will help keep both you and I focused. Similarly, the best way to get in
touch with me is through email or to visit my office hours. I keep regular business hours (9am– 5pm), and
you can expect to receive a response within twenty-four hours. If you own a laptop or netbook and feel
comfortable, do bring them to class.
Expectations –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
A priority of this class is to provide opportunities to develop college-level critical-thinking habits of mind.
Considering that writing is both a process and a skill, the grades in this class reflect your execution of
assignment goals as well as demonstrating growth in your writing. I’ve included a general rubric of what
qualities constitute the letter grades one can earn in this course to promote your success:
➻ A Paper (Superior): This paper displays originality, imagination, and vitality. Principal
characteristics include thoughtfully exigent questions, rich content, and thorough analysis. Specific
points are logically ordered, well developed, and unified around a clear central claim, which is
apparent early in the paper. It is, of course, free of mechanical errors. The paper also has stylistic
finesse: the title and the opening are relevant and engaging, and the transitions seamlessly link one
thought with another. Overall, this paper, due to the careful organization and development, imparts
coherence and clarity.
➻ B Paper (Satisfactory): This paper is significantly more than competent and demonstrates work well
done. It has positive value that goes beyond the avoidance of error, but one or more qualities are
insufficiently addressed or executed. Besides being almost free of mechanical errors, it is substantial
in both quantity and relevance. It may develop an idea fully and accurately but lack elements of
originality, consistent organization, depth of critical analysis, richness of detail, quantity of
information, topical unity, or occasional obscurity. Stylistically, the opening paragraph draws in the
reader; the closing paragraph is both conclusive and thematically related to the opening. The
transitions between paragraphs are smooth, the syntax varied. In general, this paper offers a
substantial claim with few distractions.
➻ C Paper (Adequate): This paper is generally competent but lacks intellectual rigor. It meets the
assignment’s expectations, has some mechanical errors, and is somewhat organized and developed.
However, the central research questions may lack exigency, or supporting arguments may be
fundamentally based on unsubstantial generalities or simply not fully developed. Other impediments
may include strained transitions, redundancy, a lack of evidence, or imprecision.
➻ D Paper (Unsatisfactory): This paper does not address the assignment, though not to such a degree
that it exhibits complete disregard. It may contain little or no original content, it may simply restate
arbitrarily selected material from the sources, or it may lack coherent organization. It does, however,
have some saving graces: a spark of innovation, or some mastery of technical skill. Such a paper may
receive this grade if the ideas are strong, but the degree of mechanical error renders it unreadable.
➻ F Paper (Unacceptable): This paper does not fulfill the assignment whatsoever, or treats the subject
at such a superficial level to render the argument without merit. Its theme may lack discernible
organization, and the prose lacks clarity. Mechanical errors are frequent. In short, the ideas,
organization, and level of critical thinking fall far short of acceptable college writing.
English 109 | 3 | Ms. Tavares
Formatting does matter. For the sake of the material in this course, we will be using the MLA citation
method, available in the Writer’s Help online handbook or the Purdue OWL online handbook. Broadly, all
college-level written documents follow general guidelines across the disciplines:
➻ Type you paper on a computer and print it out on standard, white, 8.5 x 11-inch paper. Set the margins
of your document to 1 inch on all sides. (Note: the default margins in Microsoft Word are 1.5 inches, so
make sure to change this.)
➻ Using the Times New Roman font at 12 points, double-space the text of your paper. Indent the first line
of paragraphs 1⁄2 inch from the left margin; use the Tab key rather than pushing the Space Bar five
times. Keep in mind that all paragraphs should comprise at least 6–10 sentences.
➻ Create a header that numbers all pages consecutively in the upper right-hand corner, one half inch
from the top and flush with the right margin. You may omit the number on your first page of a
document.
➻ Use italics throughout your essay for the titles of longer works and, only when absolutely necessary
(which should be sparingly), providing emphasis. When using acronyms, spell out the first iteration
and then abbreviate thereafter. For example, the first time write out University of Illinois at UrbanaChampaign but afterwards simply use UIUC.
Most assignments for this course will be short enough to not require a separate title page. If you do need to
include a title page, it will be indicated on the assignment sheet. Here are some tips for formatting the first
page of your paper when you are not using a title page:
➻ In the upper left-hand corner of the first page, list your name, your instructor’s name, the course, and
the date. Again, be sure to use double-spaced text.
➻ Double-space again and center the title. Do not underline, italicize, or place your title in quotation
marks; write the title in Title Case (standard capitalization), not in all capitals.
➻ Use quotation marks and/or italics when referring to other works in your title, just as you would in
your text: e.g., The Harry Potter Stories and French Arthurian Romance. Double-space between the
title and the first line of text.
➻ Create a header in the upper right-hand corner that includes your last name, followed by a space
with a page number; number all pages consecutively with Arabic numerals (1, 2, 3, 4, etc.) 1⁄2 inch
from the top and flush with the right margin. For example:
Harry J. Potter
Ms. Tavares
Charms 105
31 July 1980
The Hermeneutics of Spell Writing
Schedule ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Think of this schedule as a road map to the course. All readings and assignments should be completed by
the date to which they are attached (that is, the day listed immediately to the left). This means you need to be
looking ahead to make sure you do not lose any points simply for lateness. Note that most dorms have
printers, there is a computer lab in the basement of the English building, and another in Illini Union, so all
you need do is plan ahead. You cannot get those participation points (or learning for that matter) back if you
miss class, so as Shakespeare implores us, “make use of time, let not advantage slip.”
21 January | Tuesday
Marie de France, “Lanval,” pp. 141–55 (Course Packet)
Glossary: Lai (Course Packet)
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Glossary: Chivalric Romance (Course Packet)
23 January | Thursday
Chaucer, The Canterbury Tales, “Prologue,” pp. 1–34 (Course Packet)
Glossary: Fabliau (Course Packet)
Glossary: Author and Authorship (Course Packet)
28 January | Tuesday
Chaucer, The Canterbury Tales, “The Wife of Bath,” pp. 1–51 (Course
Packet)
Glossary: Character/ization (Course Packet)
Glossary: Allegory (Course Packet)
30 January | Thursday
Chaucer, The Canterbury Tales, “The Clerk’s Tale,” pp. 1-49 (Course
Packet)
Glossary: Didactic Literature (Course Packet)
4 February | Tuesday
Joyce, Dubliners, “Araby” and “Eveline” pp. 29–41
Glossary: Personal, Tone, and Voice (Course Packet)
Glossary: Point of View (Course Packet)
6 February | Thursday
Joyce, Dubliners, “The Dead,” pp. 175–224
Glossary: Stream of Consciousness (Course Packet)
Glossary: Ambiguity (Course Packet)
11 February | Tuesday
Paper 1 Due
Russell, St. Lucy’s, “Ava Wrestles the Alligator,” pp. 3–25
Glossary: Fiction and Truth (Course Packet)
Glossary: Concrete and Abstract (Course Packet)
13 February | Thursday
Russell, St. Lucy’s, “Z.Z.’s Sleep-Away Camp for Disordered Dreamers,”
pp. 49–71
Glossary: Dream Vision (Course Packet)
Glossary: Short Story (Course Packet)
18 February | Tuesday
Russell, St. Lucy’s, “from Children’s Reminiscences of the Westward
Migration,” pp. 103–131
Glossary: Atmosphere (Course Packet)
20 February | Thursday
Russell, St. Lucy’s, “St. Lucy’s Home for Girls Raised By Wolves,” pp.
225–246
Delbaere-Garant, “Psychic Realism, Mythic Realism, Grotesque
Realism,” pp. 249–63 (Course Packet)
25 February | Tuesday
Carter, Bloody Chamber, “The Courtship of Mr. Lyon” and “The Tiger’s
Bride,” pp. 47–82
Glossary: Burlesque (Course Packet)
27 February | Thursday
Carter, Bloody Chamber, “The Werewolf,” “The Company of Wolves,”
and “Wolf-Alice,” pp. 137–162.
Glossary: Myth (Course Packet)
Lau, “Erotic Infidelities,” pp. 77–94 (Course Packet)
4 March | Tuesday
Saunders, Pastoralia, “Pastoralia,” pp. 1–68
English 109 | 5 | Ms. Tavares
Glossary: Pastoral (Course Packet)
Glossary: Negative Capability (Course Packet)
6 March | Thursday
Paper 2 Due
Saunders, Pastoralia, “Winky” and “Sea Oak,” pp. 69–126
Glossary: Connotation and Denotation (Course Packet)
11 March | Tuesday
Stoppard, “Act One,” Arcadia pp. 1–52
Glossary: Prose (Course Packet)
Glossary: Plot (Course Packet)
13 March | Thursday
Stoppard, “Act Two,” Arcadia pp. 53–97
Glossary: Structuralism (Course Packet)
Glossary: Post-Structuralism (Course Packet)
18 March | Tuesday
Murakami, Kafka on the Shore, pp. 1–75
Glossary: Novel (Course Packet)
Glossary: Motif and Theme (Course Packet)
20 March | Thursday
Murakami, Kafka on the Shore, pp. 69–138
Glossary: Surrealism (Course Packet)
Glossary: Epiphany (Course Packet)
22 – 30 March | SPRING BREAK, or Virtue Rewarded
Murakami, Kafka on the Shore, pp. 139–205
1 April | Tuesday
Murakami, Kafka on the Shore, pp. 206–76
Glossary: Imagery (Course Packet)
Napier, “The Magic of Identity,” pp. 451–75 (Course Packet)
3 April | Thursday
Murakami, Kafka on the Shore, pp. 276–336
Glossary: Figurative Language (Course Packet)
8 April | Tuesday
Murakami, Kafka on the Shore, pp. 337–95
Glossary: Realism and Naturalism (Course Packet)
10 April | Thursday
Murakami, Kafka on the Shore, pp. 396–67
Glossary: Sublime (Course Packet)
15 April | Tuesday
Paper 3 Due
Marquez, 100 Years of Solitude, pp. 1–58
Glossary: Symbol (Course Packet)
17 April | Thursday
Marquez, 100 Years of Solitude, pp. 59–120
Glossary: Utopias and Dystopias (Course Packet)
22 April | Tuesday
Marquez, 100 Years of Solitude, pp. 121–80
Zamora, “Magical Romance/Magical Realism: Ghosts in U.S. and Latin
American Fiction,” pp. 497–550 (Course Packet)
24 April | Thursday
Marquez, 100 Years of Solitude, pp. 181–244
Glossary: Reader-Response Criticism (Course Packet)
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29 April | Tuesday
Marquez, 100 Years of Solitude, pp. 245–93
Glossary: Pathetic Fallacy (Course Packet)
1 May | Thursday
Marquez, 100 Years of Solitude, pp. 293–375
Glossary: Science Fiction and Fantasy (Course Packet)
6 May | Tuesday
Marquez, 100 Years of Solitude, pp. 376–417
Glossary: Narrative and Narratology (Course Packet)
16 May | Friday
Paper 4 Due
DISCLAIMER ➻ As the instructor, I reserve the right to modify the policies, assignments, readings, and
any other contents of this syllabus at any point in the semester. I will communicate all changes in writing
and in class with sufficient notice.
English 109 | 7 | Ms. Tavares