Spring 2011
MW 2:40–4:30 p.m.
Goodpaster Hall 197

Objectives

This class is intended as an introduction both to English-language literature of the 20th century, and also to the criticism of 20th-century lit—that is, to the ways that scholars have thought and talked about literary and cultural movements of the past hundred years.

Whether or not you’re an English, Art, or History major—or thinking of becoming one—it can be useful and pleasurable to gain a familiarity with the patterns of literary history, as well as with particular works that have become cultural lodestones—reference points that other artists model their work on (or rebel against), works that have helped shape the way people view the world.

To this end, we’ll be reading a wide selection of both canonical and slightly more off-beat works from the literatures of the U.K. & Ireland, North America, and other regions of the world where English is commonly spoken. Along the way, we’ll be discussing some of the major sea changes of literary culture (and, by extension, of culture at large) over the last century: the language play and stylistic experimentations of Modernism; the intertextuality and parody of Postmodernism; the rise of writing by (and publication of) non-white, female, and/or lower-class authors; the development of postcolonial literature as a discernible field of study. Throughout the century, we’ll be investigating some of the same basic questions: how can one represent experience—and, in particular, individual human consciouness—through language? What is the relationship between literature and other forms of cultural expression?

Given the tremendous range of potential material involved, the reading list is obviously highly selective and subjectively chosen; it’s also, however, fairly long. You will be expected to read for this class—to read a lot, and to read it carefully. Be forewarned. As an acknowledgement that the reading load is heavy, the writing load will be fairly light: two 6-page papers, each worth aproximately 15% of your final grade. You’ll also be taking two triterms (15% each) and a final (20%), in which you’ll be tested on your knowledge both of specific works, and of historical and critical concepts. More information about these essays and exams will be given closer to the assignment dates. To reflect the importance of daily critical reading and thinking, preparation and participation count for 20% of your final grade. Preparation for class will be judged by the level and quality of your oral contributions, as well as by in-class writings and/or quizzes.

Wednesday:
Course introduction—the 20th century

Monday:
Background on the early 20th century (Broadview pp. xxxv–lxiv)

Wednesday: No class

Monday:
The War to End All Wars:
Brooke, Sassoon, and Owen, plus “Contexts: War and Revolution” (Broadview, pp. 101–43)
more information on WWI Poetry

Wednesday:
Men & Women
Gilman, “The Yellow Wall-paper” (handout)
“Contexts: Gender and Sexual Orientation” (Broadview, pp. 293–313)
 

Monday:
The New Woman:
Woolf, A Room of One’s Own (Broadview 231–79)

Wednesday:
Modernism as a movement:
“Contexts: Eliot, Pound, and the Vortex of Modernism” (Broadview, pp. 477–98)

Monday:
The Good Soldier, Parts I & II

Wednesday:
Parts III & IV

Monday:
Eliot, “The Lovesong of J. Alfred Prufrock,” (Broadview 442–47)

Wednesday:
Joyce, “The Dead,” from Dubliners (Broadview 322–43)
some images of Joyce’s Dublin (also see pp. 366–37)
look also at the selection from Ulysses (343–66)

Monday:
The Harlem Renaissance
Hurston, Hughes, Cullen (handout)

Wednesday:
Triterm I — Class meets in GH 81 computer lab!

Monday:
Arcadia, Act I
also “The Late 20th Century and Beyond: 1945 to the 21st Century” (Broadview pp. 617–33)

Wednesday:
Arcadia, Act II 

Spring Break

Monday:
Waterland, whole novel
see the website

Wednesday:
Waterland

Monday:
The Bluest Eye

Wednesday:
The Bluest Eye

Monday:
M. Butterfly

Wednesday:Tri-term II
— Class meets in GH 81 computer lab!

Monday:
“Contexts: The end of Empire and a New Britain” (Broadview, pp. 782–804)
Ngugi, Decolonizing the Mind (Broadview, pp. 852–858)

Wednesday:
The God of Small Things, through p. 129

See the British Empire in 1907

Monday:
The God of Small Things, to end

Wednesday:
My Beautiful Laundrette

My Beautiful Laundrette—screening at 8:00 p.m.Tuesday in Library 321

Monday:
Once Were Warriors—read to at least p.113

Wednesday:
Once Were Warriors, to end, + film

Once Were Warriors—screening at 8:00 p.m.Tuesday in Library 321

6 pp. paper on contemporary topic
due by 11 p.m. Saturday

grading policies

1) As both discussion and lecture are key to this course, attendance is required. You get three absences per term; after that, your karmic score (and your grade) begin to fall. You will not be able to make up any missed in-class work; you may, however, drop your worst quiz grade.

2) Your essays have specific times when they’re due. Late papers turned in by midnight of the same day will be marked down 1/3 grade; after that, they will lose another 1/3 grade per calendar day.

All papers are to be submitted electronically, and it is up to you to ensure that individual computer glitches do not hinder timely submission (system meltdown, as certified by Tech Services, is a different matter—but I don’t suggest sabotaging the server in order to buy a few more hours). I will acknowledge all submissions—so if you don’t hear from me, something’s wrong.

3) I take plagiarism extremely seriously. Intellectual theft robs the original author of his or her work; you of the learning you’re supposed to be here for; your classmates of the chance to have their work evaluated on a level playing field; and me of a tremendous amount of time and energy. Read the section on academic honesty in the student handbook, and familiarize yourself with its provisions. A failing grade for the semester is the minimum penalty for plagiarism in this course.