ࡱ> ]_\y ~*bjbj 6X{{<"A""|||||8T,)***,((((((($),(|eee(||**($$$e|*|*($e($$$*0^= j$k((0)$v- Pv-$$v-|7&4d7$5d((")eeeev-" B: English 253--Seminar in Periods of American Literature Spring 2012: San Jose State University, Mondays, 1900-2145, FO 104 Paul Douglass Phone: (408) 924-4429 (messages) Office: Steinbeck Center and FO 108 Hours: M 14:30 -16:00 (and by appointment) FAX: (408) 808-2067 email:  HYPERLINK mailto:pdouglas@email.sjsu.edu Paul.Douglass@sjsu.edu Course Title: "Modernism and Postmodernism" Code: 27848 Format: Seminar/discussion, presentations. Course Description: English 253 probes what the term Modernism seems to have meant and to mean, and to whominvestigating more generally the problem of labeling "periods" of literature. Labels applied to literary periods metamorphose and sometimes invert their meanings. Until the mid-1980s, Modernism in literary study alluded to a tumultuous period occurring mainly between the two World Wars, foreshadowed in Symbolism, Imagism, Futurism, Vorticism, and Dadaism. Modernism was a revolt against realism; it was experimental, avant-garde, difficult. It embraced the energies of modern technology and urban culture, while often reviling modern life. Modernist poetics drew from the psychology of James, Freud and Bergson, making prose and poetry emulate the protean flow of human consciousness. Its most extreme forms included Surrealism, and American Modernists were influenced by the work of French and Italian writers like Gide, Camus, Cocteau, Apollinaire, Rimbaud, Breton, Marinetti, and Adorno, as well as writers from Ireland and England, like Joyce, Yeats, OBrien, Woolf, Wyndham Lewis, and Huxley. Inspired by the experimentations of painters (Picasso, Miro), sculptors and composers, modernist writers put traditional literary forms through severe, alienating changes. Yet they embraced classical writers such as Virgil, Homer, and Dante, even relying heavily on allusions to ancient narratives in experimental works like Ulysses and As I Lay Dying. (Eliot said of Joyces achievement for modern writing: Instead of narrative method, we may now use the mythical method.) Modernism was also international, cosmopolitan. Some of its expatriate exponents, like Joyce, Yeats, Pound, and especially Eliot, saw modern literature as a coalescence of Europe into a cultural whole. Following the mid-1980s, Modernism was redefined by a new generation of writers and critics who recast their iconoclastic predecessors as conservatives. Postmodernism claimed to counter Modernisms elitism, its nave understanding of media, and its unsophisticated belief in unmediated meaning. After 1990, Modernism was again redefined as a literature of incongruous combinations of high and low culture, with a poetics of change and reactionaryism, often characterized by misogyny, anti-Semitism, and racism. The canon of Modernism expanded to include more women and persons of color (Hughes, Hurston, Cullen, etc.), further complicating a retrospective view of Modernism. Required Texts: Barth, Lost in the Funhouse. Blaisdell, Imagist Poetry: An Anthology. Carson, Autobiography of Red. Coover, Pricksongs and Descants. Crane, The Bridge. Douglass, ed. T. S. Eliot, Dante, and the Idea of Europe. Eliot, The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. Faulkner, As I Lay Dying (the Corrected Text). Hughes, The Weary Blues. Pound, Selected Cantos. Sitwell and Walton, Faade. Stein, Tender Buttons. Steinbeck, The Pastures of Heaven. Toomer, Cane. Woolf, The Waves. Useful Texts and Websites: Douglass and Burwick, eds. The Crisis in Modernism: Bergson and the Vitalist Controversy. Cambridge: Cambridge UP, 1992; repr. 2010. Gillies, Mary Ann. Henri Bergson and British Modernism. Montreal: McGill-Queen's UP, 1996. , and Aurelea Mahood. Modernist Literature: An Introduction. Edinburgh: Edinburgh UP, 2007. Jackson, Tony E. The Subject of Modernism: Narrative Alterations in the Fiction of Eliot, Conrad, Woolf, and Joyce. Ann Arbor: U of Michigan P, 1994. Levenson, Michael. A Genealogy of Modernism. Cambridge: Cambridge UP, 1984. Miller, Tyrus. Late Modernism: Politics, Fiction, and the Arts Between the World Wars. Berkeley: U of California P, 1999. Summer, Rosemary. A Route to Modernism: Hardy, Lawrence, Woolf. New York: St. Martins P (Palgrave Macmillan), 2000.  HYPERLINK "http://modernism.research.yale.edu/index.php" The Modernism Lab at Yale http://modernism.research.yale.edu/index.php  HYPERLINK "http://www.bartleby.com/201/1.html" The Waste Land http://www.bartleby.com/201/1.html  HYPERLINK "http://www.uncp.edu/home/canada/work/allam/general/glossary.htm" All American: Glossary of Literary Terms (U N. Carolina, Pembroke) http://www.uncp.edu/home/canada/work/allam/general/glossary.htm HYPERLINK "../AppData/Local/Microsoft/Windows/Temporary Internet Files/Content.IE5/7HS391J6/The Virtual Classroom Glossary of Literary Terms"The Virtual Classroom Glossary of Literary Terms (Cambridge U) http://www.english.cam.ac.uk/classroom/terms.htm  HYPERLINK "http://www.library.utoronto.ca/utel/glossary/headerindex.html" Glossary of Literary Theory (U of Toronto)  Grading and Written Work: The purposes of assigned reading and writing in English 253 is to help you think creatively and improve your understanding, writing skills, and oral abilities. The MA Program have student learning outcomes (SLOs), which are related to the assignments below (HYPERLINK "https://sites.google.com/a/sjsu.edu/english-253/home/253-syllabus/outcomes-ma"view SLOs). Your course grade will be weighted in this manner: Seminar Paper (14-18 pp.) (Prospectus and Draft Required) 40% [SLOs 2, 3, 4] Report (Includes Oral Presentation and Handout) 20% [SLO 6] Exercise in Criticism 20% [SLOs 1, 3, 4] Reading Responses & Participation 20% [SLOs 3, 7] I will certainly work with you when you have a schedule problem, but please make arrangements in advance. Late work may be lowered one full grade.  HYPERLINK "https://sites.google.com/a/sjsu.edu/english-253/home/grading-integrity" Statements on Department Grading Policy and Academic Integrity. Description of Assignments: 1. Exercise in Criticism: A 2-4 page typed report assessing a significant book, book chapter, or journal article that deals with an issue relating to the course theme. Submit in electronic form. Your paper will be furnished to the class as a resource. 2. Introductory Report: Make a presentation on one of the works assigned, offering a critical perspective supported by secondary source(s). The presentation is meant to serve as a prompt for discussion. Prepare a bibliography and any other appropriate items: chronology, pictures, charts, family trees, outlines, quotations, key terms, CD or cassette recordings, transparencies. Oral Report Length: 10-15 minutes. Please observe the time limit. If your handouts are extensive, you will not be able to cover everything in detail. Please avoid simply reading what is on your handout. Describe it, explain it, walk us through it quickly, but don't simply read a text. The oral report should be a demonstration of your mastery of the material through extemporaneous (however thoroughly planned) speech. Sign up for a date to make your presentation. 3. Reading Responses & Participation: Each week, on or before Sundaythat is, the day before classsubmit a response to the reading for the next class session, including any pertinent questions. In class, find opportunities to contribute to the discussion and demonstrate understanding of the text. 4. Seminar Paper: on a topic relating to Modernism and/or Postmodernism in American literature. You must address one or more significant literary texts in 14-20 pages, with an appropriate bibliography (normally, at least ten items). Follow the MLA Handbook, 7th ed. Written prospectus, including bibliography, and rough draft required. ENGLISH 253: CALENDAR Spring 2012 Jan. 30: Introduction to the Course. Feb. 6: Stein, Tender Buttons. Blaisdell, Imagist Poetry (focus: Aldington, H.D., Hulme, Joyce, Lowell, Pound, Stevens, Williams) Feb. 13: Eliot, The Waste Land: A Facsimile. Feb. 20: Pound, Selected Cantos. Feb. 27: Douglass, T. S. Eliot, Dante, and the Idea of Europe. Mar. 5: Toomer, Cane. **Seminar Paper Prospectus (Proposal) Due** Mar. 12: Hughes, The Weary Blues. Sitwell and Walton, Faade. Mar. 19: Steinbeck, Pastures of Heaven. **Exercise in Criticism Due** Mar. 26, 28: No classes: Spring Recess. Apr. 2: Crane, The Bridge. Apr. 9: Woolf, The Waves. Apr. 16: Faulkner, As I Lay Dying (the Corrected Text). Apr. 23: **Draft of Seminar Paper Due** Apr. 30: Barth, Lost in the Funhouse. May 7: Coover, Pricksongs and Descants. May 14: Carson, Autobiography of Red. 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