Units 5-7
Three Casebooks
Three Casebooks
Name of Assignment: B.3. Essay 3 |
Draft Due: 16 August 2007 (2 % of final grade) |
In an essay of 1000-1250 words ( 4-5 printed pages), write a paper that responds to one of the questions that we develop in class or that you propose to me in your writing. Your argument must engage with one (1) of the texts marked in the bibliography below with an asterisk (*); it may cite up to two (2) other primary texts that we have studied this year. Your argument must also engage with two (2) or three (3) secondary sources listed on the bibliography provided below. If you wish to consult more sources or others, you must obtain approval from me in writing.
The purpose of this assignment is to provide you with the opportunity…
1. …to develop your interest in a period or genre through research.
2. …to become familiar, through your research, of an even greater number of ways one might read or write about literary texts.
3. …to develop your critical thinking skills to meet the demands of engaging and citing other people’s ideas critically, effectively, and appropriately while sustaining your own argument.
4. …to demonstrate and apply knowledge and skills that you have learned throughout the course.
1. I expect you to read all of the expectations and requirements for this assignment and to ask questions if you have any problems understanding it. You may ask questions in class, during office hours, by telephone, or email.
2. I expect that you will develop a thesis and argue it, using class discussions to help you define and narrow your topic and drawing evidence both from the texts under your consideration and two or more of the secondary sources on the bibliographies provided for units 5-7.
3. I expect that you will use the peer review workshop to refine your own writing and to help someone else do the same.
4. I expect you to use terms that you understand and to understand the terms that you use. In addition to the material you have read for class, I expect you to use SGWL 368-379 (Appendix C. Glossary of Literary Terms) as a resource for this assignment.
5. I expect that both your draft and final essay will follow the Remarks about Manuscript Form (SGWL 280-285) and the conventions for writing a research paper (SGWL 287-321).
Draft (2 % of final grade): For more information about this part of your grade, please consult the course outline under Graded Writing Assignments. Credit for this part of the assignment is based on a draft essay that follows the Remarks about Manuscript Form (SGWL 280-285) brought to class for peer review on 16 August 2007. Although this part of the assignment will not be formally graded, your effort at this stage will likely indirectly affect your grade. Drafts that are deemed to be inadequate will receive no credit.
Final (18 % of final grade): Your final paper is due in or before class on 17 August 2007. Your final paper must be accompanied by a photocopy of your draft (keep your copy just in case). Before submitting your final paper, please review SGWL 280-285 and 287-321.
Your assignment’s format should make it as easy to read and to mark as possible. Your margins should be 2.54 cm (1 inch) on all sides. For your font, use either Garamond or Times New Roman in 12 point. If you are following these guidelines and double-spacing your text, I assume an average of 250 words per page (although your word count will tell you that you have slightly more than this). It is not a good idea to use a larger or smaller font to adjust for verbosity or a lack thereof: this practice will not make your assignment more pleasant to read or—perhaps more importantly—to mark. Use black ink on standard weight 8 1/2" X 11" white or recycled paper. In the first four lines at the top left of your paper, write your name, my name, the course name and number, and the due date of the assignment. Insert page numbers in the top right hand corner of each subsequent page, including your name with it (you may omit including this information on the first page).
Your paper should have a clearly identified title on its first page. Use your title effectively: it should indicate to your reader what text you will consider and what your approach will be. Titles can often tie into the concluding sentence for rhetorical impact, though this should never compromise clarity.
Papers at this level should strive for clarity and precision. They should present an organized argument through clearly articulated paragraphs, which should be marked by indentation. The first paragraph should grab your reader’s attention while introducing your topic and approach. It should provide information relevant to your particular argument.
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Casebook 1. Medieval “Mervayles” |
31-Jul |
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Sir Gawain and the Green Knight |
01-Aug |
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Sir Gawain and the Green Knight |
02-Aug |
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Sir Gawain and the Green Knight |
03-Aug |
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Sir Gawain and the Green Knight |
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Week 6 |
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Casebook 2. Romantic Revolutions |
06-Aug |
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Municipal Holiday |
07-Aug |
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Jane Austen, Pride and Prejudice |
08-Aug |
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Jane Austen, Pride and Prejudice |
09-Aug |
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Jane Austen, Pride and Prejudice |
10-Aug |
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Jane Austen, Pride and Prejudice |
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Week 7 |
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Casebook 3. Victorian Virtues and Vices |
13-Aug |
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Oscar Wilde, The Importance of Being Earnest |
14-Aug |
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Oscar Wilde, The Importance of Being Earnest |
15-Aug |
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Oscar Wilde, The Importance of Being Earnest |
16-Aug |
B3 (D) |
Writing Workshop |
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SGWL 254-285 (Grammar, Syntax, Style, and Format) |
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Casebook 4. Whose Tradition? |
17-Aug |
B3 (F) |
John Cleese and Graham Chapman, from Monty Python's Flying Circus. |
Critical Responses Length: 500 words or 2 pp. Value: 2% of final grade each
Purpose: Critical responses are a chance to ponder, digest, and respond to material. They should help you to prepare for detailed, thoughtful discussions in class in addition to providing you with a rich resource for writing your research paper and/or the final examination (there may be significant overlap between your critical response and Essay 3). I will provide comments on the style and content of your response, but I will not grade it. You will receive credit worth 2 % of your final grade for handing in the critical response on time. I will comment on late submissions, time permitting, but they will receive no credit. Choose two dates upon which the primary and secondary readings interest you (from Options A-C). Respond critically to one of the secondary readings using your own analysis of the primary text to support your point of view. Your response must identify a question for further research about the primary text.
Option A (Due: 03 August 2007)
Read either “On Fairy Stories” by J. R. R. Tolkien or “The Knight Sets Forth” by Erich Auerbach. Respond critically to this essay using your own analysis of one of the following texts to support your point of view: “Laüstic,” “Lanval,” “Sir Orfeo,” or SGGK.
Option B. (Due: 10 August 2007)
Read one of the articles marked with an asterisk in the Secondary Sources section for Unit 6. Romantic Revolutions. Respond critically to this essay using your own analysis of Pride and Prejudice.
Option C. (Due: 14 August 2007)
Read “Excised Portions of the Play” in the Norton edition of The Importance of Being Earnest (61-67). Then read and respond critically to the following essays: “From Faltering Arrow to Pistol Shot: The Importance of Being Earnest.” by Eva Thienpont and “The Four-Act Version of The Importance of Being Earnest” by E.H. Mikhail.
Bibliography for Unit 5. Medieval Mervayles
1. Primary Sources
*Marie de France. “Lanval” or “Laustic.” Broadview Anthology of British Literature Coursepack. Ed. Joseph Black et al. Peterborough: Broadview, 2007. 6-27.
Monty Python and the Holy Grail. Dir. Terry Gilliam and Terry Jones. Perf. Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin. Columbia TriStar 1974. Repr. 2003.
*“Sir Orfeo.” Trans. J. R. R. Tolkien. Sir Gawain and the Green Knight. Toronto: HarperCollins Canada, 1991.
*Sir Gawain and the Green Knight. Trans. J. R. R. Tolkien. Toronto: HarperCollins Canada, 1991.
2. Secondary Sources
Aers, David. “Community, Virtue, and Individual Identity in Sir Gawain and the Green Knight.” Middle English Literature: A Guide to Criticism. Ed. Roger Dalrymple. Oxford: Blackwell, 2004. 212-221.
*Auerbach, Erich. “The Knight Sets Forth.” Mimesis. Trans. Willard R. Trask. Princeton, NJ: Princeton UP, 1953. 123-142.
Astell, A.W. “Gawain: A Study in the Rhetoric of Romance.” JEGP 84 (1985): 188-202.
Bergner, H. “Sir Orfeo and the Sacred Bonds of Matrimony.” The Review of English Studies N.S. 30 (1979): 432-434.
Burrow, J. A. The Gawain Poet. Writers and their Work. Northcote House: Plymouth, UK. 2001.
Cargo, Robert T. “Marie de France’s Le Laustic and Ovid’s Metamorphoses.” ComparativeLiterature 18 (1966): 162-166.
Finlayson, J. “The Expectations of Romance in Gawain.” Genre 12 (1979): 1-24.
—. “Definitions of Middle English Romance.” The Chaucer Review 15 (1980-81): 44-62; 168-81.
Foulet, Lucien. “The Prologue of Sir Orfeo.” Modern Language Notes 21(1906): 46-50.
Ganim, John M. “Disorientation, Style, and Consciousness in Gawain..” PMLA 91 (1976): 376-84.
Longsworth, Robert. “Interpretative Laughter in Sir Gawain and the Green Knight.” Philological Quarterly 70 (1991): 141-47.
Mickel, Emanuel J. Jr. “A Reconsideration of the Lais of Marie de France.” Speculum 46 (1971): 39-65.
*Tolkien, J. R. R. “On Fairy Stories.” The Monsters and the Critics and Other Essays. London: HarperCollins, 1997. 109-161.
—. “Sir Gawain and the Green Knight.” The Monsters and the Critics and Other Essays. London: HarperCollins, 1997. 72-108.
Robertson, D. W. Jr. “Marie de France, Lais, Prologue, 13-16.” Modern Language Notes 64 (1949): 336-338.
Bibliography for Unit 6. Romantic Revolutions
1. Primary Sources
*Austen, Jane. Pride and Prejudice. Peterborough: Broadview, 2002. You may cite appendices as sources.
Pride and Prejudice. Dir. Simon Langton. Perf. Colin Firth, Jenniver Ehle. BBC, 2001.
Pride and Prejudice. Dir. Joe Wright. Perf. Keira Knightly, Matthew MacFadyen Universal, 2007.
Bride and Prejudice. Dir. Gurinder Chadha. Perf. Aishwarya Rai, Martin Henderson. Alliance Atlantis, 2005.
2. Secondary Sources
Auerbach, Nina. “Austen and Alcott on Matriarchy: New Women or New Wives?” Novel 10 (1976): 6-26.
—. “Waiting Together: Pride and Prejudice. Communities of Women: An Idea in Fiction. Cambridge: Harvard UP, 1978. 35-55.
Burlin, Katrin R. “‘Pictures in Perfection’ at Pemberley’: Art in Pride and Prejudice.” Jane Austen: New Perspectives. New Series 3.Ed. Janet Todd. New York: Holmes, 1983. 155-170.
*Griffin, Cynthia. “The Development of Realism in Jane Austen’s Early Novels.” ELH 30 (1963): 36-52.
Halladay, E. M. “Narrative Perspective in Pride and Prejudice.” Nineteenth-Century Fiction 15 (1960): 65-71.
Hennelly, Mark M. Jr. “The Eyes Have It.” Jane Austen: New Perspectives. New Series 3.Ed. Janet Todd. New York: Holmes, 1983. 187-207.
*Lacour, Claudia Brodsky. “Austen’s Pride and Prejudice and Hegel’s ‘Truth in Art’: Concept, Reference, and History.” ELH 59 (1992): 597-623.
Marcus, Mordecai. “A Major Thematic Pattern in Pride and Prejudice.” Nineteenth-Century Fiction 16 (1961): 274-79.
*McCann, Charles J. “Setting and Character in Pride and Prejudice.” Nineteenth-Century Fiction 19 (1964): 65-75.
Morgan, Susan. “Intelligence in ‘Pride and Prejudice.’” Modern Philology 73 (1975): 54-68.
Newton, Judith Lowder. “‘Pride and Prejudice’: Power, Fantasy, and Subversion in Jane Austen.” Feminist Studies 4 (1978): 27-42.
Satz, Martha. “An Epistemological Understanding of Pride and Prejudice: Humility and Objectivity.” Jane Austen: New Perspectives. New Series 3.Ed. Janet Todd. New York: Holmes, 1983. 171-186.
*Sherry, James. “Pride and Prejudice: The Limits of Society.” Studies in English Literature 19 (1979): 609-22.
Van Ghent, Dorothy. “On Pride and Prejudice.” The English Novel, Form and Function New York: Holt, Rinehart and Winston, 1953. 99-111.
Bibliography for Unit 7. Victorian Virtues and Vices
1. Primary Sources
*Wilde, Oscar. The Importance of Being Earnest. Ed. Michael Patrick Gillespie. New York: W. W. Norton, 2005. You may cite any of the secondary texts provided in this edition of the play.
The Importance of Being Earnest. Dir. Oliver Parker. Perf. Rupert Everett, Colin Firth, Frances O’Connor, Resse Witherspoon, Judi Dench, and Tom Wilkinson. Alliance Atlantis, 2002.
2. Secondary Sources
Cohen, Ed. “Writing Gone Wilde: Homoerotic Desire in the Closet of Representation.” PMLA 102 (1987: 801-813.
Hill, Marylu. “‘Eat Me, Drink Me, Love Me”: Eucharist and the Erotic Body in Christina Rossetti's ‘Goblin Market.’” Victorian Poetry 43 (2005): 455-72.
Marsh, Jan. “Christina Rossetti's Vocation: The Importance of Goblin Market.” Victorian Poetry 32 (1994): 233-48.
Mendoza, Victor Roman. “‘Come Buy’: The Crossing of Sexual and Consumer Desire in Christina Rossetti's Goblin Market.” ELH 73 (2006): 913-47.
*Mikhail, E. H. “The Four-Act Version of The Importance of Being Earnest.” The Importance of Being Earnest. Ed. Michael Patrick Gillespie. New York: W. W. Norton, 2005. 102-105.
Stetz, Margaret Diane. “The Bi-Social Oscar Wilde and ‘Modern’ Women.” Nineteenth-Century Literature 55 (2001): 515-537.
*Thienpont, Eva. “From Faltering Arrow to Pistol Shot: The Importance of Being Earnest.” The Importance of Being Earnest. Ed. Michael Patrick Gillespie. New York: W. W. Norton, 2005. 106-115.
David Watt, Assistant Professor of English