Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
ENGLISH 272
Spring 2017
MWF 1-1:50 / MH 113
Dr. Sheila Liming
sheila.liming@und.edu
701-777-2782
Office: Merrifield 1B
Course Description
Introduction to
Literary Criticism
Office hours:
MWF 10 am noon,
and by appointment
The proper function of a critic, observes author D.H. Lawrence, is to save the tale
from the artist who created it. This course, which is designed to serve as the second part of the
introduction to the English major, explores the dominant ways in which literary critics have,
historically, approached the tale in question. These approaches, as we shall see, range from
variations on a theme of appreciation, to investigations of a texts political messages, to in-depth
examinations of an author and questions about the role of authorship in general. Many of these
approaches are grouped under the heading of literary theory and, in this class, we will be
learning about theory, studying how it works, and understanding why literary scholars use it.
Theory and criticism will, therefore, be our guide in this course. Well practice
techniques for reading and responding to literary criticism while covering basic concepts and
definitions associated with the practices of critique. Theory and criticism provide writers and
readers alike with a basic, core vocabulary that they can use to talk to each other, and well be
examining that vocabulary in detail in this class. Well also practice putting this vocabulary to
use in relation to a number of literary texts, and well be thinking reflexively, considering the
ways in which the books that we already read and the writing that we already produce might be
informed by critical traditions, standards, or expectations.
This class is discussion-oriented and will require active participation in addition to
regular reading and writing assignments.
Course Objectives
To provide students with an introduction to touchstone works of literary criticism and theory.
To familiarize students with the process of reading and writing closely in the immediate context
of such touchstone critical works.
To professionalize and train students for advanced work in literary arts curricula and in linguistic
education.
To impart processes of close reading, close writing, and attentive research as preparation for
advanced coursework in literary or communicational study.
To establish standards for academic discourse and participation through in-class discussion, peer
evaluation, and collaborative assignments.
To communicate the stakes of critical thinking and theoretical argumentation, both with regards
to literary studies and with regards to civic responsibility, social engagement, and cultural
appreciation.
Required Texts
[to be purchased]
McCullers, Carson. The Heart is a Lonely Hunter. Mariner: (1947) 2000.
Parker, Robert Dale. How to Interpret Literature, Third Edition. Oxford: 2015.
Additional Texts
[provided by the instructor / available on Blackboard]
Barthes, Roland. The Death of the Author. Norton Anthology of Theory and Criticism, ed.
Leitch. Norton, 2001, pp. 1466-1470.
Brooks, Cleanth. Selections from The Well Wrought Urn. Norton Anthology of Theory and
Criticism, ed. Leitch. Norton, 2001, pp. 1353-1365.
Derrida, Jacques. Structure, Sign, and Play in the Discourse of the Human Sciences. Criticism:
Major Statements, eds. Kaplan and Anderson. Bedford / St. Martins, 2000, pp. 493-510.
Hebdige, Dick. Selections from Subculture: The Meaning of Style. Norton Anthology of Theory
and Criticism, ed. Leitch. Norton, 2001, pp. 2448-2452.
Lacan, Jacques. Selections from The Mirror Stage as Formative of the Function of I as
Revealed in Psychoanalytic Experience. Norton Anthology of Theory and Criticism, ed.
Leitch. Norton, 2001, pp. 1285-90.
Marx, Karl and Engels, Friedrich. Selections from The Economic and Philosophic Manuscripts.
Karl Marx: Selected Writings, ed. McLellan. Oxford, 2000, p. 85.
Moore, Jack B. The Heart is a Timeless Hunter. Twentieth Century Literature, 11.2 (1965): pp.
76-81.
Rubin, Louis D., Jr. Carson McCullers: The Aesthetic of Pain. Critical Essays on Carson
McCullers, eds. Clark and Friedman. GK Hall, 1996, pp. 111-123.
Come to class prepared, with a hard (physical) copy of the required reading.
Since laptop use is prohibited in class, it is essential that you print out and bring a
copy of the required reading to class every day (or, in the case of the NIL,
bring that to class). Failure to do so will result in the loss participation
points; additionally, failure to do so may affect any in-class writing assignments,
quizzes, or exercises that require the text in question.
Be courteous toward your peers. When you raise disagreement in class either
with the instructor or with your peers try to do so respectfully. Articulate your
reasons and grounds for disagreement and direct them towards an idea, rather
than a person. Failure to show adequate respect towards your peers or towards
your instructor may result in your being asked to leave the classroom. Such a
request will, in turn, affect my assessment of your class participation, and
possibly your attendance record as well.
a Works Cited page, providing correct bibliographic information for each source
cited, quoted, or consulted in your paper
correct in-text citations for each source cited, quoted, or consulted in your paper
If you are unsure of MLA guidelines, I suggest you either consult or purchase a current
MLA Style Guide, or consult the following online source:
The Online Writing Lab (OWL) at Purdue University
website http://owl.english.purdue.edu/owl/resource/747/01/
In addition to proper citation,
All papers, including short response assignments, must be typed, double-spaced, with 1
margins.
Carefully edit and proofread all texts to eliminate problems in grammar, spelling, and
punctuation.
Digital copies of all final papers must be cleanly edited and readable. This means that
you must remove all digital comments/suggestions, including highlighted or underlined
text, and including all comment balloons.
Documents that do not meet these and other assignment-specific requirements will not be
graded. Additional, subsequent submissions of assignments that did not originally meet these
criteria will be treated as late submissions.
Midterm and final papers/projects. For every day that a midterm or final paper/project is
late, you will lose five points.
Daily assignments. All late assignments may receive a maximum of half-credit (50%),
regardless of how late they are.
Course Schedule
Wednesday, January 11
Friday, January 13
Monday, January 16
Wednesday, January 18
Friday, January 20
Monday, January 23
Wednesday, January 25
Friday, January 27
Monday, January 30
Wednesday, February 1
Friday, February 3
Monday, February 6
Wednesday, February 8
Friday, February 10
Monday, February 13
Wednesday, February 15
Monday, February 20
Wednesday, February 22
Friday, February 24
Monday, February 27
Wednesday, March 1
Friday, March 3
Monday, March 6
Wednesday, March 8
Friday, March 10
March 13 17
Monday, March 20
Wednesday, March 22
Friday, March 24
Monday, March 27
Wednesday, March 29
Friday, March 30
Monday, April 3
Wednesday, April 5
Friday, April 7
Monday, April 10
Wednesday, April 12
Friday, April 14
Monday, April 17
Wednesday, April 19
Monday, April 24
Friday, April 28
Monday, May 1
Wednesday, May 3
Wednesday, May 10
Wiki Entries
Most weeks, students will be required to prepare and post short keyword entries to our course
Wiki. Heres what that process will look like:
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
NOTE: you must include direct references to the text in the form of
quotations and appropriate in-text citations (page numbers) in your Wiki posts
Example:
SUPEREGO
One of the central concepts or keywords associated with psychoanalytic theory is that of the
superego. This term coined by Sigmund Freud refers to processes of socialization,
through which a young human being develops an understanding of the morals and codes that
govern his or her society. A persons internalization of their societys codes and morals
forms a superego (with super meaning above, and ego meaning I or self) that places
checks on ones infantile desires (also known as the id). The superego, as Parker explains
in his chapter on psychoanalysis, helps to temper the seething cauldron of basic drives that
are the domain of the id, though Parker also points out that Freud developed the idea of the
id / superego late in his career and that, today, many critics deem it to be overly simplistic
(123).
For class, we read an excerpt from Freuds Dora: An Analysis of a Case of Hysteria, in
which Freud interprets his patient Doras behavior through the framework of the id and the
superego. Freud concludes that Doras manic behaviors are the result of a conflict between
her secret sexual desires and her awareness of a superego (or a set of social pressures) that
prevents her from acting on her desires. Freuds concept of the superego can furthermore be
applied to many works of literature, though, since one common form of conflict that we see
in literature involves an individuals struggles against societal rules and standards. This is
more or less the plot, for example, of Kate Chopins famous novella The Awakening, in
which the protagonist (Edna Pontelier) leaves her husband for a younger lover but is
eventually scorned by the polite society she inhabits.
[20 pts.]
In the course description that is included in this syllabus, I cite the writer D.H. Lawrence.
Lawrence is famous for writing the novel Lady Chatterleys Lover (1928), among others, and in
the quote that I cite from him, he explains that it is the function of literary criticism to save
the tale from the artist who created it. This quotation comes from a critical essay that Lawrence
wrote in the early 1920s called Spirit of Place. Here it is within the original context of that
essay:
But what might Lawrence have meant by this statement? After all, Lawrence was both an artist
(that is, a creative thinker novelist) and a critic (that is, someone who wrote criticism about other
peoples creative works / novels). So why, then, does he argue in favor of a critics saving the
tale from the person who wrote it?
Your assignment is to write a brief (2-3 pages) reading response that does 3 things:
1) interprets and responds to Lawrences statement and
2) connects Lawrences claims to those made by Robert Dale Parker in his Introduction
to the volume How to Interpret Literature
3) explains how you, personally, define the term criticism
In his introduction, Parker defines the term criticism in a couple of useful ways. How do those
definitions compare to Lawrences statement about the function of the critic? What similarities
do you see between these various definitions? How do Parker and Lawrences definitions
compare to your own?
[50 pts.]
Most of the Additional Readings (a.k.a. primary source materials) that we have covered so far
in this class have been selections taken from anthologies of literary criticism and theory. One of
the best-known anthologies of this kind is the Norton Anthology of Theory and Criticism (a new
edition costs about $100, so you can thank me later for not making you purchase it )
The Norton Anthology is organized by author, and it includes short excerpts from each critic or
theorists major works. But before each section of excerpts, the Norton Anthology provides a
substantial, introductory essay outlining the critics point of view, his or her major publications,
their educational background, their best-known concepts and arguments, the critical movements
with which they were associated, etc.
For this assignment, you are tasked with writing a similar Introductory Essay for one of the
critics or theorists we have studied so far this semester. This can be a figure whose work we
have read closely or a figure mentioned by Robert Dale Parker in his How to Interpret Literature
the choice is up to you. No matter who you choose, though, you should aim to offer a thorough
overview of the authors ideas and theories, including a thorough explanations of their major
concepts and arguments.
Your completed Introductory Essay should be 3-4 pages in length, and it should include the
following:
Introduction
Education /
Personal History
Significant
Critical Ideas
Legacy
A final paragraph (or so) explaining this authors legacy. How are they
primarily remembered today? Are they still widely read / are their theories
and ideas still widely used? How do you know? What proof do you have?
[25 pts.]
NOTE: For this assignment, we will be working with large, high-resolution digital files. For
this reason, you will need to have access to either: a) an external mini hard drive / thumb
drive, which you must bring with you to class, or b) a personal, cloud-based drive (like
GoogleDrive or Dropbox). Make sure that your cloud drive is set up and accessible, or that
your thumb drive is configured to work with a Mac computer, before coming to class or
you wont be able to save your work!
The Introductory Essay Assignment (II) was designed to offer you the chance to garner some
expertise regarding a particular literary critic / theorist. Now that youve done that, you likely
have a lot to say about the person that you studied in that assignment. In this assignment, youll
be translating that information for the sake of a slightly different audience.
You are assigned with creating a trading card for the literary critic / theorist that you researched
in connection with Assignment II. Youll be using Photoshop to do this and will be working with
templates. If you have never used Photoshop before, dont panic: a set of detailed instructions
(below) ought to make that process relatively simple for you.
Sample Trading Card: Michel Foucault
SIDE A
SIDE B
Log onto our course Blackboard page and access the Photoshop templates
( Assignments Assignment III: Trading Card .psd file attachments)
Step 3
Using the Internet, search for a photo of your critic / theorist and download
it to the desktop of your computer.
After you have downloaded the photo, upload it to the Photoshop template by
selecting File and then Place Embedded
The image should appear within the template; use the crosshatch arrows and
indicators to resize the image so that it fits within the template. If your image
is blocking the template, rearrange the order of your image layers using the
Layer Navigation Bar simply click and drag the template layer so that it
appears at the top of the list of layers.
To finish placing the image, click on another tool and then click Yes when
prompted to place it for good.
Step 4
Now add the appropriate badge that signals the team (a.k.a. critical movement,
like Post-Structuralism, Psychoanalysis, etc.) with which your critic is associated
On Blackboard, attached to the Assignment III page, youll find a folder that
contains the various badges as .psd template files
Working within your Photoshop file, go to File Plate Embedded and then
select the appropriate badge from the badge folder and upload it / add it to your
Photoshop file. Use the crosshatch arrows and indicators to resize the image and
then position it in in the bottom left-hand corner of the image (overlapping the
yellow name box see Foucault example, above).
To finish placing the image, click on another tool and then click Yes when
prompted to place it for good.
Step 5
Add your critics name to the appropriate text field. In the Layers Navigation Bar,
select the type layer: (name) by double-clicking on the
icon. This should
highlight the text field on the image itself and allow
you to insert your new text.
Side A is now complete! Go to File Save As and rename the file / save it to
your thumb drive or personal cloud drive. The file will be too large to save to
your own email, so make sure you have a thumb drive or cloud-based drive
that is accessible to you.
Step 6
Once you have added information to all of the text fields (make sure no
parentheses fields are left inside the template), save your work. Go to File
Save As and rename the file / save it to your thumb drive or personal cloud drive.
Once again, the file will be too large to save to your own email, so make sure
you have a thumb drive or cloud-based drive that is accessible to you.
Step 8
[30 pts.]
As weve discussed in class, a review essay is not the same as a critical essay. Whereas a critical
essay presents an in-depth analysis of a given text, a review is meant to provide readers with an
introduction to the text itself. As such, a review depends more upon plot summary and the
discussion of a particular writers style.
You might compare the two genres by considering the following attributes:
Tone
Review
Critical
Essay
Casual, witty,
subjective
Scholarly,
formal,
objective
Content
Plot
summary;
evaluation of
writers style
Analysis of
writers
choices; focus
on themes,
messages,
ideas
Purpose
Evaluative? Audience
To introduce
readers to a
particular text
YES (i.e. x
To argue in
favor of a
particular
interpretation
of the given
text
NO (in lieu
of discussion
of good vs.
bad, focus on
what the text
means)
was good, y
was bad)
Publication
General
Newspaper,
magazine, etc.
Specialized
(scholarly)
Scholarly
journal or
collection of
essays (book)
For this assignment, you are tasked with writing a review of McCullers novel The Heart is a
Lonely Hunter. We have already reviewed some samples of reviews that appeared at the time of
the novels publication (1940), but it is up to you to evaluate the novel from a contemporary
standpoint. Imagine that a new edition of the novel has recently been published and you have
been assigned to write a review that a) introduces readers to the main features of the plot and to
McCullers writing style and b) discusses the novels contemporary relevance (i.e. why should
we read it today? Why is the story that it tells still relevant to our culture and our society, if at
all?)
Your review essay should no more than 1200 words (thats just a little over 2 pages), and it
should be concise, engagingly written, and informative.
[100 pts.]
Youve already written a review of Carson McCullers The Heart is a Lonely Hunter so, by now,
you should have a general understanding of the novels plot and of the authors style. This essay
asks you to go beyond these considerations (plot and style) and to develop a critical analysis of
McCullers work.
For this assignment, you are tasked with writing an 8-10 page critical essay about Carson
McCullers novel.
To do this, you should begin by selecting your method: what critical methodology will you
apply to your analysis of McCullers novel? Why does this methodology seem to work with
this novel? How does this particular methodology apply to your understanding of McCullers
novel? Who are the chief figures associated with this methodology (in the history of literary
criticism), and how might you think about applying their work to your reading of McCullers
novel?
Next, consider the critical essays that weve already read about McCullers The Heart is a
Lonely Hunter. Are you using the same method as any of these critics? If so, how? How might
your use of this particular method differ from theirs? What parts of their analysis do you agree
with? What parts do you disagree with? Do you plan to cite from and refer to any of these essays
in your paper?
Your final essay should draw from 1-3 additional sources (that is, in addition to the text of
McCullers novel itself.) These sources should be appropriately cited within the text of the
essay itself, and you should include a Works Cited list that complies MLA 8th Edition style
guidelines.