English 104 - Cora Agatucci
Introduction to Literature:
Fiction
Assignments (2) - Fall 2001
Online versions of Eng
104 Assignments will be webposted or linked here after they are discussed in class.
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Cuts on this Webpage:
Week #5:
Seminar #3 (Conrad's Heart of
Darkness)
Weeks #6 & #7:
Seminar
#4 (Hemingway and Faulkner)
Week #10: Seminar
#5 (Atwood, Kincaid, Oates, Smooth Talk);
Response #3 (Notes + Class Contribution - Carver, T.
O'Brien, Erdrich)
NOTE: Response
#3 can be submitted electronically to Cora for webposting
Week #11 & Finals Week: Go to
ENG 104 Take-Home Final
(Online handouts)
including ENG 104 Self-Assessment
& Course Reflections (Online handout)
URL: http://www.cocc.edu/cagatucci/classes/eng104/Final.htm
Go to Response
Writings for Response Writings #1 & #2
URL: http://www.cocc.edu/cagatucci/classes/eng104/ResponseWritings.htm
Weeks #1 - 3: Go to Assignments
(1)
URL:
http://www.cocc.edu/cagatucci/classes/eng104/assignments.htm
Week #4: Go to Midterm
Discussion Paper (Online handouts)
URL:
http://www.cocc.edu/cagatucci/classes/eng104/Midterm.htm
Go to Example Student
Writing ~ Fall 2001
URL:
http://www.cocc.edu/cagatucci/classes/eng104/studwrtgf01.htm
See also Fall 2001 ENG
104 Course
Plan
for hyperlinked week-by-week Assignments
& Deadlines.
Seminar #3: Conrad's Heart of
Darkness
Seminar #3 is worth 6
points possible: To gain full Preparation/Participation Credits for this
assignment you must (a) Prepare individual written notes on your selected
Seminar #3 topic, on separate sheet(s) of
paper to be turned in, and (b) Be in class on Wed. 10/17 to participate in
Seminar #3.
Directions: Choose one
of the following topics and
prepare for Seminar #3 by following the directions and taking notes on your
selected topic. Be sure to
support and/or illustrate your points and interpretations by citing part & page
number (in Charters), interpreting specific passages from Heart of Darkness
and other relevant sources as relevant.
Seminar #3 Topic Choices
TOPIC
1: Narrative Frame &
Point(s) of View
Resources: “Study Guide: Heart of Darkness”: Part I: #1,
#2, #3; #12; Part II: #21; Part III: #39.
a. Describe
the “narrative frame” of Heart of Darkness:
e.g. What is
the setting and narrative story-telling situation on board the Nellie?
Who is the fictionalized audience for Marlow’s tale?
How does the unnamed narrator describe Marlow and his tales? Why aren't
the first unnamed narrator and listeners aboard the Nellie not called by
personal names?
b. Later in the narrative, and at the close of the novel,
Marlow’s narration is interrupted, we are returned to the “narrative
present,” reminded of the presence of Nellie’s listeners, and hear again from the
unnamed narrator. Cite and examine these
moments when Marlow's narration is interrupted and we are returned to the
"narrative present" situation. Then speculate on why
Conrad chooses to do this: i.e. how does the narrative frame function to shape our reading
experience and/or contribute to the novel's themes/impact? (Or…put another way, what might be lost (and/or gained) if there were
no gloomy narrative frame, no Nellie, no unnamed narrator and fictionalized
listeners—but just Charlie Marlow’s voice telling his story?)
TOPIC
2. African
Setting, Characters, and the Question of Racism
Resources: Chinua Achebe's "An Image
of Africa: Conrad's Heart of Darkness" (Charters 779-784); and “Study Guide:
Heart of Darkness” Part I: #5, #6,
#8, #9, #11, #12; Part II: #14, #15, #16.
a.
Read and summarize main points presented in Chinua Achebe's "An Image of
Africa: Conrad's Heart of Darkness" (Charters 779-784).
b. Find
and cite (by part and page number) in our Charters' text of Heart of Darkness,
the key passages that are cited by Achebe in
his article. Also identify any other passages in Heart of Darkness
that you feel are relevant to deciding whether you agree or disagree with
Achebe's interpretations and evaluation.
c. Is Heart of Darkness racist? Respond to this question and explain
why you agree and/or disagree with Achebe.
TOPIC
3. Main
Characters: The Relationship of Marlow
and Kurtz
Resources: “Study Guide: Heart of Darkness” Part I: #5, #6,
#8, #9, #11, #12; Part II: #14, #15, #16, #18 (see indented paragraphs),
#21, #22; Part III: #26, #29, #30, #31, #32, #34.
a. Identify
and analyze at least three key passages in the novel that seem especially
significant in understanding the nature of Marlow’s relationship with Kurtz.
(You may also wish to consider similarities between Marlow and Kurtz--e.g., in their characters, their motives, their journeys out to Africa,
their experiences in the Congo, the ways others regard these two men, and/or the
ways Marlow distinguishes Kurtz from other Europeans in the Congo.)
b. Then
speculate on possible reason(s) for Marlow’s growing feelings of kinship with
and loyalty to Kurtz--reasons that would take Marlow even to the point of
lying--(which Marlow says he detests)--for Kurtz.
TOPIC
4. "The
horror! The horror!"
Resources: Lionel Trilling's "The Greatness
of Conrad's 'Heart of Darkness'" (Charters 865-866); and
Study Guide: Heart of Darkness” Part I: #2, #5; Part II: #14, #18 (see indented paragraphs), #21
(see indented paragraph), #22; Part
III: #26, #27, #29, #30, #31, #33, #34.
a. Read
and summarize main points presented in Lionel Trilling's "The Greatness of
Conrad's 'Heart of Darkness'" (Charters 865-866).
b. How do
you interpret Kurtz's final words, "The horror! The
horror!"? Consider what has happened to Kurtz and what he has done in
the "heart of darkness." Do you share Trilling's uncertainty
about whether Kurtz's last words refer "to the approach of his death
or to his experience of savage life" (Charters 866)?
c. Why do you think that Marlow calls Kurtz's deathbed words "an
affirmation, a moral victory"? Do you believe Marlow concludes that
Kurtz is some kind of "hero of the spirit," despite often treating
Kurtz "with hostile irony" in the novel (see Trilling in Charters
866)? Explain your interpretation
TOPIC
5. Marlow's
Lie
Resources:
“Study Guide: Heart of Darkness” Part I: #2, #6, #12; Part II: #23;
Part III: #28, #36, #37, #38.
a.
Explain Marlow's expressed attitudes toward women like his aunt and the
"Intended," citing relevant support passages from the novel. In
particular, how does Marlow assess the character of the "Intended" in
the final dramatic scene? (You may also find it instructive to
compare/contrast Marlow's view of the "Intended" to his
characterization of Kurtz's black African mistress.)
b. In his
interview with Kurtz's "Intended" in the final dramatic scene, Marlow
lies to her despite his declared hatred of lies. What is the lie?
And--more importantly--why does Marlow lie to the Intended?
c. Reread
the novel's introduction (Part I: 187-188), wherein Marlow offers a pessimistic
view of world conquest, but suggests that such conquest might be redeemed by an
"idea." After reading the entire novel, considering the
questions above, and rereading this introduction, what redeeming
"idea" do you think Marlow has in mind?
Seminar
#4: Hemingway & Faulkner
Seminar #4 is worth 6 points possible: To gain full
Preparation/Participation Credits for this assignment you must (a)
Prepare individual written notes on your selected Seminar #4 topic, on separate sheet(s) of
paper to be turned in, and (b)
Be in class on Mon. 10/29 to participate in Seminar #4.
Directions:
Choose one of the following
topics and prepare for Seminar #4 by following the directions and taking notes
on your selected topic. Be sure to support and/or illustrate your points
and interpretations by citing page numbers & sources.
TOPIC
1: Aesthetics and Practice
a.
List key features of Hemingway’s aesthetics of prose fiction—as given
in course resources (e.g. Charters’ intro to Hemingway, pp. 342-343; relevant
Course Pack quotations, p. 40; & relevant elements of literary Modernism
given in class presentation & Course Pack).
Then illustrate Hemingway’s aesthetics with examples from his practice
in “Hills Like White Elephants.”
b.
Summarize
key points of Faulkner’s own interpretation of his short story in “The
Meaning of ‘A Rose for Emily’” (pp. 816-817).
Add to your list of points, those made in Faulkner’s quoted statements
given in Course Pack, p. 40. Then
compare Faulkner’s statements to his actual practice in “A Rose for
Emily,” identifying passages from the short story that seem to support and/or
contradict Faulkner’s interpretations and statements of his own work.
TOPIC
2: Modernist Experiments in Form
a.
Identify
experiments in form (e.g., in point of view, plot construction,
characterization, setting, symbol/images, style/tone) that you see at work in
“Hills Like White Elephants” and “A Rose for Emily.” To help you identify what is new in Hemingway’s and
Faulkner’s techniques, you may also wish to compare/contrast their stories to
those of Poe and/or Maupassant.
b.
Illustrate
your points with specific examples from these two short stories.
TOPIC 3: Literature
into Film
a.
List some
of the changes or differences that you noticed between the original short
stories and the film adaptations of “Hills Like White Elephants” and “A
Rose for Emily.” You might also
list any similarities that you noticed.
b.
In each
case, state whether you preferred the film adaptation or the original short
story. Then explain your reasons
why.
c.
Film and
Short Story are two different art mediums—each might be approached as having
its strengths (what it can do well) and its limitations in telling stories.
What are the strengths and limitations of each medium?
E.g. what can or must one medium do, that the other medium can or does
not do? Consider also the fact that
film is a collaborative product of many people, whereas short story writing is
the work of one individual.
TOPIC 4: Comparison/Contrast
of two writers and their short stories
a.
Compare/Contrast
Hemingway and “Hills Like White Elephants” or Faulkner and “A Rose for
Emily” to one of the other prose writers that we have studied thus far in Eng
104. (I.e., Poe, Maupassant,
Chopin, Gilman, or Conrad. Or if you prefer, you can compare/contrast
Hemingway to Faulkner.) Develop a
chart listing similarities/differences that seem significant to you from your
comparison/contrast of the two writers and their narratives.
b.
Illustrate
your comparative points with specific examples from the two literary work(s)
being considered, and comment on why you consider listed
similarities/differences significant.
Seminar
#5: Atwood, Kincaid, Oates, Smooth Talk
Seminar #5 is worth 6 points possible: To gain full
Preparation/Participation Credits for this assignment you must (a) Prepare
individual written notes on your selected Seminar #5 topic, on separate
sheet(s) of paper to be turned in, and (b) Be in class on Mon. 11/19 to
participate in Seminar #5. Directions:
Choose one of the following topics and prepare for Seminar #5 by following
the directions and taking notes on your selected topic. Be sure to
support and/or illustrate your points & interpretations with specific
examples - citing sources & page numbers.
TOPIC 1: Aesthetics and
Practice
a.
Compare/Contrast Margaret Atwood’s story “Happy Endings” to her
statements about storytelling offered in “Reading Blind.”
List significant differences and/or similarities. Would you call
“Happy Endings” an anti-story? Explain.
b. Consider Joyce
Carol Oates’s statements about the sources of her ideas, changes she made in
(re)writing the story, and her interpretation of her short story in “Smooth
Talk: Short Story into Film.” Then
apply her statements to develop your own reading and interpretation of
selected aspects of Oates’s short story “Where Are You Going, Where Have
You Been?”
c. Be sure to
illustrate your points with specific examples from the literary works.
TOPIC 2:
(Post)Modernist Experiments in Form
a.
Identify experiments in form (e.g., in point of view, plot
construction, characterization, setting, symbol/images, style/tone) and
content that you see at work in “Happy Ending,” “Girl,” and “Where
Are You Going, Where Have You Been?” To help you identify what is new and/or
(Post) Modernist in Atwood’s, Kincaid’s and Oates’s techniques, you may
also wish to compare/contrast aspects of their stories to those of earlier
writers we have studied in Eng 104.
b.
Illustrate your points with specific examples from the literary works.
TOPIC 3: Literature
into Film
a.
Draw upon Joyce
Carol Oates’s essay on Smooth Talk and Cora’s handout “Film
Basics…” to identify some of the creative differences between film and written
literature that seem most significant to you.
You may also wish to draw upon previous film adaptations we have viewed
in Eng 104 to help you develop your list of differences.
b.
List
some of the key changes or differences that you noticed between the original
short story “Where Are You Going, Where Have You Been?” and the film
adaptation Smooth Talk. You
might also list any similarities that you noticed.
c.
Evaluate
Smooth Talk by applying one of the three approaches described by critic
Karen E. Kline: Film
critics' differences of opinion on film adaptations of literature, especially
novels, "stem from the critics' adoption of differing paradigms for
evaluating the film adaptation." Kline identifies four such
critical paradigms: (1) "translation" critics judge "the
film's effectiveness primarily in terms of its literal
'fidelity' to the novel"; (2) "pluralist" critics
allow that film exists and presents a "coherent fictive world" in
its own right, but expect film to remain loyal to the novel's
"spirit"--e.g. to the novel's mood, tone, and values"; (3)
"transformation" critics assume that novel and film are
"separate, autonomous arts," "consider the novel raw material
which the film alters significantly," and often privilege film over text,
in approaching the film as "an artistic work in its own right.”
Source: Kline,
Karen E. "The Accidental Tourist on Page and on Screen:
Interrogating Normative Theories about Film Adaptation." Literature Film Quarterly
24.1 (1996): 70 (14pp). EBSCOhost
Academic Search Elite Article No.
9605150332
Response
#3 (Notes +
Class Contribution)
Carver, T. O'Brien, Erdrich
Verbal
Directions were given in class on Mon., 11/19; Due:
Wed., 11/21
Response #3 is worth 5 points: 3 pts. for Notes, 2 pts. for Class
Contribution.
Take
thoughtful, detailed notes on both of the following topics:
1.
Comparison/Contrast (may be in list or chart form) of two authors and short
stories, one of which must be Carver & "Cathedral," T. O'Brien
and "The Things They Carried," or Erdrich and "The Red
Convertible."
Complete notes should include:
a.
Some Points of similarity and/or difference that seem significant to you;
b. Specific examples and/or passages (with citations) from
the stories (and any other relevant sources) that best illustrate the points
of similarity and/or difference;
c. Explanation of the significance of each
point of similarity and/or difference
2.
Evaluation of two short stories, one of which must be
"Cathedral," "Things They Carried," or "The Red
Convertible." Develop relevant, critical evaluation criteria, using
these sources to help you:
Evaluating Fiction (Handout)
- Also recommended, courtesy of Prof. John Lye (Dept. of English, Brock
Univ.): Depth,
Complexity, Quality
http://www.brocku.ca/english/courses/1F95/depth-etc.html
On
the Uses [or Value] of Studying Literature
http://www.brocku.ca/english/jlye/uses.html
Complete
notes should include:
a.
At least two relevant critical evaluation criteria, explicitly stated
(and cited if applicable);
b. Demonstration that the two stories under
discussion do or do not meet each of your selected evaluation criteria;
and
c. Citation and analysis of specific
examples/passages from the short stories that support your evaluations.
CLASS CONTRIBUTION: Come
to class on Wed., 11/21, prepared to share one or two of your
comparative interpretations and/or evaluations, based on your notes.
Notes will be collected at the end of class.
Another Option was to
submit Response #3 electronically to Cora, to be webposted here for
general class review here:
Students'
Response #3 Notes & Class Contribution:
http://www.cocc.edu/cagatucci/classes/eng104/response3.htm
Fall 2001 ENG 104 Syllabus
| Course
Plan | Course
Pack Table of Contents |
| Assignments (1) | Assignments (2) | Site
Map
ENG 104 Author Links Table of Contents | (1)
A - E | (2)
F - L | (3) M - Z
Literature
Links | Contexts:
Literary History & Movements | Genre
Studies: Fiction | Film Basics
ENG 104 Course Home
Page
YOU ARE HERE ~
ENG 104 Assignments (2) ~ Fall 2001
URL of this webpage:
http://www.cocc.edu/cagatucci/classes/eng104/assignments2.htm
Last Updated: 03 July 2003
This webpage is maintained by Cora
Agatucci, Professor of English,
Humanities Department, Central Oregon
Community College
I welcome comments: cagatucci@cocc.edu
© Cora Agatucci, 1997-2001
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