English 29: Issues in Literary Study
Fall 2013  MWF 2:45-3:50  Dante 213
Prof. Kathryn Koo
E-mail: kkoo@stmarys-ca.edu
Office: Dante 316, x-8782
Office Hours: M 1:00-2:00,
W 4:00-5:00 and by appt.
This course will offer students the opportunity to develop a “toolbox” of methods and skills for
the study of literature. We will examine a number of theoretical approaches, including New Criticism,
feminist theory, post-structuralism, deconstruction, psychological theory, and historical/cultural theory.
As we explore these approaches, we will practice the writing and research skills of the literary critic and
engage with other critics whose views may or may not coincide with our own. In this course, we will also
have the opportunity to evaluate the field of literary study itself. Why do we read what we read? What is
the difference between high and low literature? And why should we be invested in defining one against
the other? Our exploration of these issues will help us to understand the cultural values that inform our
field and invite us to examine our own personal motivations as both readers and critics. This course will
be essential to the development of a new critical voice in the field – yours.
READING LIST
A Course Reader
Hubbuch, Susan. Writing Research Papers Across the Curriculum. 5th ed. Boston: Wadsworth, 2005.
Kincaid, Jamaica. Annie John. New York: Farrar, Straus and Giroux, 1985.
Lynn, Steven. Texts and Contexts. 6th ed. New York: Pearson, 2011.
Shakespeare, William. The Tempest: A Case Study in Critical Controversy. Ed. Gerald Graff and
James Phelan. 2nd ed. Boston: Bedford/St. Martin’s, 2009.
Spiegelman, Art. Maus: A Survivor’s Tale. New York: Pantheon, 1986.
Tatar, Maria, ed. The Classic Fairy Tales. New York: Norton, 1999.
COURSE OBJECTIVES
English 29 is a writing-intensive course designed to introduce students to the discipline of literary study.
We will use writing as a form of critical thinking and as a way to practice literary theory. Indeed, writing
will be critical to our fulfillment of each of the course objectives below.
By the end of this course, students should be able to:
1. Understand that there are many possible approaches to any text, including New Criticism and the
theoretical responses to it, and that each of these has its own premises that focus reading and
analysis in specific ways;
2. Know that well-prepared critics can disagree about interpretations of a text;
3. Be able to apply a variety of critical approaches to texts;
4. Recognize that reading criticism requires not submission to an authoritative point of view but
active engagement in an ongoing conversation;
5. Identify their own interests and investments in interpreting literature;
6. Understand the cultural and aesthetic values that lie behind critical approaches and canon
formation;
7. Be prepared to perform research in upper-division courses in English.
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English 29 is also designed to support the learning outcomes of the Core Curriculum. In particular, this
course will help students to 1) develop strong written and oral communication skills; and 2) evaluate
information and perform research at the college level.
With increasing proficiency, students will:
1. Recognize and compose readable prose, as characterized by clear and careful organization,
coherent paragraphs, and well-constructed sentences that employ the conventions of standard
written English and appropriate diction;
2. Recognize and formulate effective written and oral communication, giving appropriate
consideration to audience, context, and format;
3. Analyze arguments so as to construct ones that are well supported, are well reasoned, and are
controlled by a thesis or exploratory question;
4. Use the processes of writing to enhance intellectual discovery and unravel complexities of
thought;
5. Develop search strategies and use library catalogs and databases to find relevant material;
6. Critically evaluate sources;
7. Integrate and cite evidence appropriately;
8. Understand the concept of intellectual property and practice academic honesty.
REQUIREMENTS
Attendance and Participation (20%)
This course will be conducted as a writing workshop and discussion-based seminar. Your success will
depend on your attendance, your attention to each text, and your participation in class activities and
discussions. Participation will be evaluated on the nature and depth of your engagement. A student who
faithfully attends class and consistently raises questions, offers interpretations, advances the conversation,
and remains engaged in the entire discussion might receive an “A” in this area. A student who regularly
attends class and who raises questions, offers interpretations, and advances the conversation on some days
but not others might receive a “B” in this area. A student who attends class regularly but only occasionally
raises questions or offers interpretations might receive a “C” in this area. A student who does not attend
class regularly or is frequently late to class, and/or only rarely participates in the class discussion might
receive a “D” or “F” in this area.
Please make every effort to arrive on time. A roll sheet will be distributed at the beginning of class. Those
who arrive after the circulation of the roll sheet will be noted down as late. Students will be allowed three
absences without penalty over the course of the semester. A fourth absence will result in the lowering of the
student’s Attendance and Participation grade by one-third of a grade (for example, from a B to a B-). A fifth
absence will result in a deduction of two-thirds of a grade, and so on. Repeated lateness will also negatively
affect the student’s grade. Note: Class attendance is an essential requirement of this course. Missing more
than three weeks of class (nine class meetings) will normally result in failure in the course.
Exploratory and Developmental Writing (20%)
In this course, writing will be a way to learn and practice different literary approaches. Writing will also
be a way for you to reflect on your development as a reader and a critic. In advance of many class
meetings, you will be asked to submit a brief, 1-2 page writing assignment to our Moodle course site. On
some days, you will also be asked to bring a paper copy of the completed assignment to class for use
during our discussion. Assignments will vary. You may be asked to write a brief textual analysis that
employs a particular critical approach, a reflection on your motivations as a literary critic, or a
comparative analysis of two essays. For these assignments, I will be looking for writing that shows
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engaged, active thinking and a willingness to take on the challenges and complexities of the text.
Directions will be provided for all assignments. 1-2 page assignments will be worth 5 points; essay drafts
will be worth 10 points. All assignments will be due by the beginning of class time on the dates listed on
the syllabus. Late 5-point assignments will be eligible for partial credit (a maximum of 3 points). Late
essay drafts will not be eligible for partial credit. A total of 160 points may be earned. At the end of the
semester, points earned by the student will be converted to a letter grade based on a standard breakdown
of percentages.
On the 5-point scale, a score of “5” means that the work meets the required length and exceeds my
expectations for engagement with and exploration of the text. A score of “4” means that the work meets
the required length and meets my expectations for engagement with and exploration of the text. A score
of “3” means that either a) the work does meet the required length but does not adequately engage with or
explore the text, or b) the work does not meet the required length but does sufficiently engage with or
explore the text. A score of “2” or “1” means that the work is too short and/or fails to engage with or
explore the text.
On the 10-point scale, a score of “10” means that the draft meets the required length, fulfills all the
requirements of the assignment, and exceeds my expectations in terms of quality of thought and attention
to textual detail. A score of “9” or “8” means that the draft meets the required length, fulfills all the
requirements of the assignment, and meets my expectations in terms of quality of thought and attention to
textual detail. A score of “7” or “6” means that a) the draft meets the required length, but does not fulfill
all the requirements of the assignment or does not meet my expectations, or b) the draft does not meet the
required length but does fulfill the requirements and/or my expectations. A score of “5” or below means
that the draft is seriously deficient in either length or quality.
Three Essays (60%)
Three formal essays will be assigned. The first essay will be a 3-4 page essay that employs New
Criticism. The second essay will be a 4-6 page essay that applies a psychological or feminist approach to
the text. The third essay will be a 4-6 page essay that examines a critical debate about Shakespeare’s The
Tempest and offers its own argument in response to that debate. Each essay will be preceded by a series of
writing assignments that will help you to develop and refine your ideas over time. Proper use of the MLA
style will be expected in all essays. Because the Saint Mary’s Composition Program Grading Standard is
particularly well suited for the evaluation of literary essays, I will use this standard when grading essays.
Copies of the standard will be provided at the beginning of the semester.
GRADING
Attendance and Participation
20%
Exploratory and Developmental Writing
20%
Essays
First Essay - 10%
60%
Second Essay - 20%
Third Essay - 30%
_________________________________________________
100%
Note: You must maintain a satisfactory attendance record and submit all three essays in order to receive
a passing grade in this class.
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STUDENT DISABILITY SERVICES
Student Disability Services extends reasonable and appropriate accommodations that take into account
the context of the course and its essential elements for individuals with qualifying disabilities. Students
with disabilities are encouraged to contact the Student Disability Services Office at (925) 631-4358
or sds@stmarys-ca.edu to arrange a confidential appointment to discuss accommodation guidelines and
available services. Additional information regarding the services available may be found at the following
address on the Saint Mary’s website: http://www.stmarys-ca.edu/sds.
CENTER FOR WRITING ACROSS THE CURRICULUM (CWAC)
Writers of all disciplines and levels are invited to drop in or make appointments for one-on-one sessions
with Writing Advisers. CWAC is located in Dante 202 and is open on Sundays, 5-8 p.m., Mondays, 12-7
p.m., and Tuesdays-Thursdays, 12-8 p.m. Phone: (925) 631-4684. Website: www.stmarys-ca.edu/centerfor-writing-across-the-curriculum. Writers should bring their assignments, texts, and notes.
LIBRARY ASSISTANCE
Reference/Information assistance is available at the Reference Desk, by phone (925) 631-4624, text
message or IM. Check the Library’s “Ask Us” link for details: http://library.stmarys-ca.edu/askus/ Extended assistance by appointment is also available. Please contact Sharon Walters, the subject
librarian for English, for such appointments. She may be reached by phone at x-4267 or by email at
swalters@stmarys-ca.edu.
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ACADEMIC HONOR CODE
Saint Mary’s College expects every member of its community to abide by the Academic Honor
Code. According to the Code, “Academic dishonesty is a serious violation of College policy because,
among other things, it undermines the bonds of trust and honesty between members of the
community.” Violations of the Code include but are not limited to acts of plagiarism. For more
information, please consult the Student Handbook at www.stmarys-ca.edu/your-safety-resources/studenthandbook.
ACADEMIC CONDUCT
Students in this course will be expected to abide by the standards of academic conduct described below.
We will be dealing with challenging questions and controversial issues throughout the term. All class
participants will be asked to uphold these standards in order to ensure that we maintain an open and
respectful environment in the classroom. Some of these guidelines have been adapted from Prof. Patrizia
Longo’s guidelines for Academic Conduct.

Please come to class fully prepared to engage in classroom activities for the next 65
minutes. Be sure to bring the correct text(s), any required homework, and the necessary
note-taking supplies to class. Students who do not bring these materials to class will be
considered unprepared and will be downgraded in the area of Participation.

Except in the case of an emergency, please do not leave the room during class time, as
your departure and re-entry will distract our attention from classroom activities. Use the
building’s facilities before or after class, not during class time. Students who disregard
this rule will also be downgraded in the area of Participation.

You may bring a drink to class, but please, no food. Also, please be sure to turn off cell
phones and other electronic devices when you come to class.

During discussions, please listen carefully to your classmates. Treat their opinions,
beliefs, and perspectives with respect. Only one person should be talking at a time; no
one should engage in private or side conversations.

Try to frame your contributions to classroom discussion in ways that will not
intentionally offend others. You are welcome to have strong opinions and beliefs, but
please don’t present them as the final word on the matter.

Don’t withdraw from the discussion when you hear things you disagree with. Instead,
pose a thoughtful question or ask for clarification. And be sure to question and analyze
your own assumptions in the process.

Be sensitive to signs that others want to speak, and encourage those who want to speak to
do so. Try at all times to foster a respectful and courteous exchange of ideas in the
classroom.

Last but not least, if you are uncomfortable with any aspect of the course or the classroom
discussion, please bring your concerns immediately to the professor. I cannot address your
concerns if I do not know about them, so please do not wait to report them to me.
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SCHEDULE
Please complete the assigned readings by the day they are listed on the schedule.
T&C = Texts and Contexts CFT = Classic Fairy Tales
Week 1
Sept. 4
Introduction to the Course
UNIT 1: NEW CRITICISM
Sept. 6
Reading: T&C, Ch. 1 and Ch. 3, pp. 37-55, 60-61
Gilman, “The Yellow Wall-Paper” (reader)
Assignment: Review Lynn’s terms and checklist for New Criticism before
you read the story and mark up the text. Bring your ideas and
your notes for a New Critical reading of the story to class.
Week 2
Sept. 9
Reading: Dickinson, Poems #340, #407, #446, #591, #764 (reader)
Plath, “Blackberrying,” “The Arrival of the Bee Box,” “Stings,”
“The Swarm,” “Wintering” (reader)
Assignment: Choose one poem as the subject of your first essay. Review
Lynn’s terms and checklist for New Criticism. Then write
1-2 pages of notes about the poem and post it on Moodle.
(5 points)
Sept. 11
Reading: T.S. Eliot, “Tradition and the Individual Talent” (reader)
Wimsatt and Beardsley, “The Intentional Fallacy” (reader)
Assignment: How do Eliot’s and Wimsatt and Beardsley’s essays contribute to
your understanding of New Criticism? Which specific parts of the
essays help to explain the role of the New Critic? Bring your ideas
and your notes to class.
With the help of the notes that you wrote on your poem, develop a
1-2 page essay proposal. What specific argument will you make
about the poem in question? And how will you support it? Post
your proposal on Moodle and bring three paper copies to class.
(5 points)
Sept. 13
Peer Review Workshop: The First Draft
Assignment: Draft your essay and post it on Moodle. Be sure to reach the
minimum word count. Bring two copies to class for the Peer
Review Workshop. (10 points)
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UNIT 2: READER RESPONSE CRITICISM
Week 3
Sept. 16
Reading: T&C, Ch. 4, pp. 65-91
Fish, Is There a Text in This Class? (reader)
Assignment: Fish argues that poetry is made “through interpretive strategies
that are finally not our own but have their source in a publicly
available system of intelligibility” (332). Is your chosen poem a
poem because of the “system of intelligibility” that precedes it?
Bring your ideas and your notes to class.
UNIT 3: STRUCTURALISM, POST-STRUCTURALISM, AND DECONSTRUCTION
Sept. 18
Reading: T&C, Ch. 5
Assignment: With the help of Lynn’s terms and checklist for deconstruction,
write a 1-2 page analysis of the advertisement on p. 130. Post your
analysis on Moodle and bring a paper copy to class. (5 points)
Sept. 20
Reading: Doyle, “Charles Augustus Milverton” (reader)
Belsey, “Deconstructing the Text: Sherlock Holmes” (reader)
Note: Please be sure to complete the writing assignment before
you read Belsey’s “Deconstructing the Text”!!
Assignment: With the help of Lynn’s terms and checklist for deconstruction,
write a 1-2 page deconstructionist analysis of Doyle’s “Charles
Augustus Milverton.” Post it on Moodle and bring a paper copy to
class. (5 points)
Due:
Essay #1 (Post it on Moodle and bring a paper copy to class.)
UNIT 4: FAIRY TALES AS CASE STUDY PSYCHOLOGICAL, FEMINIST, and MARXIST CRITICISM
Week 4
Sept. 23
Reading: T&C, Ch. 7
Versions of Little Red Riding Hood (CFT pp. 10-24)
Assignment: What common elements of the various versions might lend
themselves to a psychological analysis of this enduring tale? In
your 1-2 page analysis, be sure to explain how these elements
could contribute to such a critical reading. Post your analysis on
Moodle and bring a paper copy to class. (5 points)
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Sept. 25
Reading: Brothers Grimm, “Hansel and Gretel” (CFT pp. 184-190)
Bettelheim, “The Struggle for Meaning” and “Hansel and Gretel”
(CFT pp. 269-280)
Assignment: Write a 1-2 page response to Bettelheim’s use of psychological
criticism. Does his symbolic reading of the family in “Hansel and
Gretel” open up new avenues of research and new ways of
thinking about this fairy tale? Or does it limit the interpretive
possibilities of the text? Post your response on Moodle and bring a
copy to class. (5 points)
Sept. 27
Reading: T&C, Ch. 8
Brothers Grimm, “Snow White” (CFT pp. 83-89)
Stone, “Feminist Approaches . . . ” (reader)
Assignment: Write a 1-2 page feminist analysis of “Snow White.” Be sure to
refer to Lynn’s terms and checklist as you write. Post your
analysis on Moodle and bring a paper copy to class. (5 points)
Week 5
Sept. 30
Reading: T&C, “Marxist Criticism,” pp. 150-155
Brothers Grimm, “Cinderella” (CFT pp. 117-122)
Zipes, “Breaking the Disney Spell” (CFT pp. 332-352)
Assignment: Write a 1-2 page evaluation of Zipes’s essay. Are you persuaded
by his argument that Disney uses the fairy tale as a vehicle
for promoting his own politics? Why or why not? Post your
evaluation on Moodle and bring a paper copy to class. (5 points)
Oct. 2
Library Instructional Session I: Finding Varieties of Criticism
Led by Librarian Sharon Walters
Reading: Hubbuch, Writing Research Papers, Sec. 3
Library Worksheet Assignment
Choose a single fairy tale and find two articles or essays about your selected tale
that use two different critical approaches (among the three just covered in the
course: psychological, feminist, and Marxist). Make copies for your personal use.
Oct. 4
Reading: Hubbuch, Writing Research Papers, Sec. 4A-G
Assignment: Write a 1-2 page annotated bibliography of your two sources and
post it on Moodle. Refer to Hubbuch’s samples on pp. 115-116 as
guides. (5 points)
Week 6
Oct. 7
Assignment: Write a 1-2 page analysis that compares and contrasts the two
approaches that are used in your two articles. Post it on Moodle
and bring a paper copy to class. (5 points)
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Oct. 9
Assignment: Write a 1-2 page reflection on the type of criticism (psychological,
feminist, or Marxist) that you have chosen for your second essay.
What draws you to this type of criticism? Post it on Moodle and
bring a paper copy to class. (5 points)
Oct. 11
Peer Review Workshop I: The Proposal
Assignment: Draft a 1-2 page essay proposal and post it on Moodle. Also, bring
three paper copies to class. (5 points)
Week 7
Oct. 14
Peer Review Workshop II: The First Draft
Assignment: Draft your essay. Be sure to reach the minimum word count. Post it
on Moodle and bring two paper copies to class. (10 points)
Oct. 16
Peer Review Workshop III: The Second Draft
Assignment: Respond to the advice that you received at the last peer review
workshop and revise your essay accordingly. Be prepared to
discuss the changes that you’ve made to your draft. (10 points)
Oct. 18
Film Viewing: Returning to the Fairy Tale
Due:
Essay #2 (Post it on Moodle and bring a paper copy to class. )
UNIT 5: HISTORICAL AND CULTURAL THEORY
Week 8
Oct. 21
Reading: T&C, Ch. 6, pp. 139-160, 178-189
Kincaid, Annie John, Chapters 1-2
Oct. 23
Reading: Kincaid, Annie John, Chapters 3-4
Oct. 24-25
Week 9
Oct. 28
Midterm Holiday
Reading: Kincaid, Annie John, Chapters 5-6
Assignment: Of the many varieties of historical criticism covered in T&C,
which seems to be the most fitting for a critical essay on
Annie John? Why? Post your 1-2 page response on Moodle and
bring a paper copy to class. (5 points)
Oct. 30
Reading: Kincaid, Annie John, Chapters 7-8
Nov. 1
Assignment: How would you apply the variety of historical criticism that you
just chose to the final chapters of Annie John? Does your variety of
criticism help you to make sense of the novel’s ending? Post
your 1-2 page response on Moodle and bring a paper copy to class.
(5 points)
Reading: Deane, “Imperialism/Nationalism” (reader)
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Assignment: Write a 1-2 page response to Deane’s essay and its impact on your
reading of Annie John. Post your response on Moodle and bring a
paper copy to class. (5 points)
Week 10
Nov. 4
Library Instructional Session II: Advanced Search Techniques
Led by Librarian Sharon Walters
Library Worksheet Assignment
Choose one article or essay that you found during our library instructional
session. Make a copy for your personal use. In 1-2 pages, write a brief summary
of the article or essay and discuss how it has affected your reading of Annie John.
The posted entry is due on Nov. 8.
Nov. 6
Reading: Shakespeare, The Tempest, Acts 1-2
Assignment: Review Lynn’s description of postcolonial criticism (T&C pp. 155157). How do the concerns of postcolonial criticism coincide with
the concerns of The Tempest? Bring your ideas and your notes to
class.
Nov. 8
Reading: Shakespeare, The Tempest, Acts 3-5
Assignment: What are some of the potential debates and disagreements that you
see emerging from this play? Bring your ideas and notes to class.
Due:
Week 11
Nov. 11
Library Worksheet Assignment (5 points)
Reading: Will, “Literary Politics” (Tempest pp. 110-113)
Greenblatt, “The Best Way . . .” (Tempest pp. 113-115)
Assignment: Write a 1-2 page response to the debate that is framed by Will
and Greenblatt in their respective essays. What are the strengths
and weaknesses of each viewpoint? Which viewpoint do you
favor? Why? Post it on Moodle and bring a paper copy to
class. (5 points)
Nov. 13
Reading: Brown, “‘This Thing of Darkness I Acknowledge Mine’ . . . ”
(Tempest pp. 268-292)
Assignment: Write a 1-2 page evaluation of Brown’s argument. In your opinion,
does he successfully make the case that Prospero is a colonialist
caught in the “radical ambivalence” of colonialist discourse?
Post your evaluation on Moodle and bring a paper copy to
class. (5 points)
Nov. 15
Reading: Skura, “Discourse and the Individual . . .” (Tempest pp. 351-387)
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Assignment: Write a 1-2 page evaluation of Skura’s argument. Does her
argument successfully undermine Brown’s reading of Prospero as
a colonialist? Post your evaluation on Moodle and bring a paper
copy to class. (5 points)
Week 12
Nov. 18
Reading: Orgel, “Prospero’s Wife” (reader)
Loomba, Gender, race, Renaissance Drama (Tempest pp. 389-401)
Assignment: Compare and contrast Orgel’s and Loomba’s readings of Prospero
and his role in The Tempest. Which is more convincing to you?
Why? Post your 1-2 page analysis on Moodle and bring a copy to
class. (5 points)
Nov. 20
Workshop: Formulating a Working Hypothesis
Reading: Hubbuch, Writing Research Papers, Sec. 1 and Sec. 2
Nov. 22
Workshop: Incorporating Evidence into Your Essay
Reading: Hubbuch, Writing Research Papers, Sec. 6
Week 13
Nov. 25
Peer Review Workshop I: The Proposal
Reading: Hubbuch, Writing Research Papers, Sec. 5
Assignment: Write a 1-2 page essay proposal and post it on Moodle. Also, bring
three paper copies to class. (5 points)
Nov. 27-Dec. 1
Thanksgiving Holiday
UNIT 6: THE CANON AND THE MEANING OF LITERARY STUDY
Week 14
Dec. 2
Reading: Guillory, “Canon” (reader)
McCloud, Introduction to Understanding Comics (reader)
Spiegelman, Maus, Ch. 1
Dec. 4
Peer Review Workshop II: The First Draft
Assignment: Draft your essay. Be sure to reach the minimum word count. Post
your draft on Moodle and bring two copies to class. (10 points)
FINAL
EXAM
WEEK
Dec. 6
Peer Review Workshop III: The Second Draft
Dec. 11
1:00-3:00
Assignment: Respond to the advice that you received at the last peer review
workshop and revise your essay accordingly. Be prepared to
discuss the changes that you’ve made to your draft. (10 points)
Reading: Eisner, “Writing & Sequential Art” (reader)
Spiegelman, Maus, Ch. 2-end
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Assignment: Maus is perhaps the most widely taught graphic novel in the
history of American education. What does its admission into the
western literary canon tell us about the status of the graphic novel
and the condition and function of the canon today? Post your
response on Moodle and bring a paper copy to class. (5 points)
Due:
Essay #3 (Post it on Moodle and bring a paper copy to class.)
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