{"id":411,"date":"2020-01-19T23:26:55","date_gmt":"2020-01-19T23:26:55","guid":{"rendered":"http:\/\/sites.rutgers.edu\/jack-lynch\/?page_id=411"},"modified":"2020-03-24T20:13:01","modified_gmt":"2020-03-24T20:13:01","slug":"english-308-spring-2020","status":"publish","type":"page","link":"https:\/\/sites.rutgers.edu\/jack-lynch\/english-308-spring-2020\/","title":{"rendered":"English 308, Spring 2020"},"content":{"rendered":"<h1 align=\"center\">Foundations of Literary Study<\/h1>\n<h2 align=\"center\">English 308, Spring 2020<\/h2>\n<h2 align=\"center\"><a href=\"https:\/\/sites.rutgers.edu\/jack-lynch\/\">Prof. Jack Lynch<\/a><\/h2>\n<h3 style=\"text-align: center\">Revised Syllabus for COVID-19 Shutdown<\/h3>\n<hr \/>\n<p align=\"left\"><strong>Office:<\/strong> (973) 353-5444; 501 Hill Hall.<\/p>\n<p><strong>Hours:<\/strong> By appointment.<\/p>\n<p><strong>E-mail:<\/strong> jlynch@newark.rugers.edu<\/p>\n<hr \/>\n<h2 align=\"center\">Course Description and Goals<\/h2>\n<p>Foundations of Literary Study is designed to introduce English majors and minors to the fundamental principles of literary interpretation. This class has a comparatively small number of primary readings (some short poems, one play, three short works of fiction, two novels), but will focus on different ways of interpreting them and making arguments about them.<\/p>\n<p>By semester\u2019s end, you should be able:<\/p>\n<ul>\n<li>To engage in close-reading literature with a new degree of attention;<\/li>\n<li>To understand something about the history of the English language;<\/li>\n<li>To understand the rudiments of different schools of interpretation;<\/li>\n<li>To formulate clear theses about these works of literature.<\/li>\n<\/ul>\n<p>This course is required of all English majors and minors.<\/p>\n<h2 align=\"center\">Requirements<\/h2>\n<h3>Readings<\/h3>\n<p>For each class meeting I identify three things to pay attention to:<\/p>\n<ul>\n<li>The primary reading for the day<\/li>\n<li>A few critical terms found in Baldick&#8217;s\u00a0<em>Oxford Dictionary of Literary Terms<\/em><\/li>\n<li>A critical article (or book chapter), sometimes directly related to the day&#8217;s readings, sometimes related more tangentially<\/li>\n<\/ul>\n<p>On a good day we&#8217;ll discuss all of them, though you&#8217;re responsible for reading them even when we don&#8217;t discuss them in class.<\/p>\n<p>Four books are available from the Rutgers Bookstore:<\/p>\n<ul>\n<li>William Shakespeare, <cite>The Tempest<\/cite>, Norton Critical Edition, 2nd ed., ISBN 978-0393265422<\/li>\n<li>Jane Austen, <cite>Pride and Prejudice<\/cite>, Norton Critical Edition, 4th ed., ISBN 978-0393264883<\/li>\n<li>Octavia Butler, <cite>The Parable of the Sower<\/cite>, ISBN 978-1472263667<\/li>\n<li>Chris Baldick, <cite>The Oxford Dictionary of Literary Terms<\/cite>, ISBN 978-0198715443<\/li>\n<\/ul>\n<p>You\u2019re welcome to buy them from any source that suits you, but try to get the right editions so we\u2019re all working with the same text (the ISBNs will point you toward the right versions). Some of the readings will also be available in some electronic form or other, but these E-texts won\u2019t have the same page numbers, notes, and supplementary materials. It\u2019s much better to get the hard copy. But if cash is tight, well, I\u2019ll understand.<\/p>\n<p>One tool that\u2019s indispensable: a good dictionary. I\u2019ll introduce you to the <cite>Oxford English Dictionary<\/cite> in class, but you\u2019ll want something you can use all the time. The best bet: <cite><a href=\"https:\/\/www.merriam-webster.com\/apps\">Merriam Webster\u2019s 11th Collegiate<\/a><\/cite> is available for free on your phone or tablet, and it works even when you don\u2019t have an Internet connection. It won\u2019t contain all the obscure words and senses you\u2019ll encounter in this class (for that you\u2019ll need the <cite>OED<\/cite>), but it\u2019ll help with a lot of it, and you should get into the habit of looking up unfamiliar words.<\/p>\n<h3>Written Assignments<\/h3>\n<p>This class is primarily for English majors and minors. I\u2019ll expect some degree of familiarity with what goes into college-level English papers, but still we\u2019ll spend a lot of class time discussing what I look for when I grade them. If you\u2019re not certain what a good college English paper looks like, talk to me any time.<\/p>\n<p>There are four papers of different lengths and natures. Since this is a writing-intensive class, I&#8217;ll give you comments on them when you hand them in, but those grades are strictly provisional. You&#8217;ll have the chance to revise them, and you can submit the revised versions at the end of the semester. The grades on the revised version are the ones that count.<\/p>\n<p>Your final paper will be marked with category grades for the <em>thesis<\/em>, the <em>organization<\/em>, the <em>close reading<\/em>, the <em>research<\/em>, and the <em>grammar, style, and mechanics<\/em>. These category grades are spelled out in my <a href=\"http:\/\/jacklynch.net\/rubric.pdf\">grading rubric<\/a>; they\u2019re assigned on an A\u2013F scale, and are meant to tell you where to direct your energy in the revision. The overall grade on a paper is assigned holistically, based on how well all the parts come together, and may or may not be a mathematical average of the various category grades. We\u2019ll discuss all of this in class as the papers draw near. My (still-incomplete) guide to my <a href=\"http:\/\/JackLynch.net\/EngPaper\/\">expectations on English papers<\/a> is available online.<\/p>\n<h3>Attendance<\/h3>\n<p>Once the roster settles down, I\u2019ll pass around a sign-in sheet at the beginning of each class, with names down the side and dates across the top. All you have to do is initial the right box each day. Multiple copies of the sheet will go around to make things go faster; you need to mark only one of them.<\/p>\n<p>University students are grownups, and I understand that life sometimes gets busy. Almost any excuse, therefore, given either <em>in advance<\/em> or <em>immediately after<\/em> a class (in person, by phone, or by E-mail), will receive my blessing. Absences not excused in advance will be frowned upon, and <em>I reserve the right to lower your final grade<\/em> by half a grade (A to B+, B+ to B, and so on) for each unexcused absence. The same policy applies to late assignments: I\u2019ll grant extensions, but <em>only<\/em> if you talk to me before the due date. After that, they may be docked a half-grade for each class day.<\/p>\n<p>If you have to miss a class, you\u2019re responsible for getting the notes. Assume that in each class I\u2019ll cover exactly what\u2019s on the syllabus; any time I have to depart from it, I\u2019ll announce it on Blackboard.<\/p>\n<h3>Class Participation<\/h3>\n<p>Regular and active class participation is essential. I\u2019ve worked to keep the readings manageable and affordable, but you have to hold up your end of the bargain by doing the readings every day and participating in the discussions.<\/p>\n<p>This is a smallish class, so there will be opportunities to talk. I&#8217;d like everyone to come to class with <em>at least one question<\/em> about each day&#8217;s readings in mind, whether the primary text, the critical article, or the literary terms. If class lags, I may call on you to ask your question, so be prepared.<\/p>\n<p>I also expect the following in all classes:<\/p>\n<ul>\n<li>On-time arrival. A few minutes into the class I\u2019ll collect the attendance sheets; late arrivals will sign a separate sheet at the end of class.<\/li>\n<li>Careful attention to the readings. I\u2019ve worked to keep the readings manageable, but that means you\u2019re expected to <em>do<\/em> them, and to do them <em>carefully<\/em>. Skimming is not good enough. Read attentively with a dictionary at hand. If you don\u2019t understand a word, <em>look it up<\/em>. That\u2019s a habit you should work hard to acquire, because it will serve you well in all your classes and for life in the \u201creal world.\u201d<\/li>\n<li>Maturity. Some of the discussions will touch on controversial material. You\u2019re expected to behave like adults. No topics are off-limits. Don\u2019t be quick to take offense, and when you speak, choose your words with care to avoid offending others.<\/li>\n<li>No disruptive talking during class.<\/li>\n<li>Electronic devices of whatever sort \u2014 laptops, tablets, e-books, and so on \u2014 can be used <em>only for class-related purposes<\/em>. No Snapchat, no Instagram, no nothin\u2019 else.<\/li>\n<li><em>No texting, ever.<\/em> This does <em>not<\/em> constitute cruel and unusual punishment under the U.S. Constitution or the Geneva Conventions: I checked. Put your phone away. (And don\u2019t think you\u2019re fooling your professors when you read and send surreptitious texts \u2014 we know.)<\/li>\n<\/ul>\n<h3>Plagiarism and Academic Integrity<\/h3>\n<p>It <em>should<\/em> go without saying, but all work in this class must be your own. You\u2019re responsible for knowing and abiding by the <a href=\"https:\/\/www.ncas.rutgers.edu\/oas\/ai\">Rutgers Academic Integrity Policy<\/a>. If you haven\u2019t read at least the first four pages of the policy, I encourage you to do it now.<\/p>\n<p>If I determine you\u2019ve violated the policy \u2014 say, by copying work from the Internet, by working together when you\u2019re supposed to work on your own, by getting someone to do your work for you \u2014 you\u2019ll get an F for the class, with no second chance. I\u2019m a pushover in many respects and I used to be similarly laid back about this, but no longer: I <em>will<\/em> report <em>every<\/em> violation. If you have even an inkling of a doubt about what\u2019s legitimate or how to cite something, see me <em>before<\/em> handing in the paper.<\/p>\n<h3>Accommodations<\/h3>\n<p>I\u2019m committed to being inclusive, and of course I\u2019ll provide all necessary accommodations for students with documented disabilities. Get in touch with <a href=\"https:\/\/myrun.newark.rutgers.edu\/disability-services\">Disability Services<\/a> for details on the procedures; if anything is unclear, talk to me.<\/p>\n<h3>Grades<\/h3>\n<p>Above I describe the way individual papers are graded. This breakdown shows the starting point for my grading for the semester as a whole:<\/p>\n<ul>\n<li>Four papers: 20% \u00d7 4 = 80%<\/li>\n<li>Participation: 20%<\/li>\n<\/ul>\n<p>I don\u2019t believe in penalizing students for not being proficient in writing English papers before they\u2019ve taken an English class, so I\u2019ll evaluate your performance over the course of the whole semester before I submit a final grade. If an early lapse is compensated for by better performance later in the semester, I\u2019m happy to ignore a bad grade on an assignment. My usual approach is to examine all the marks and to ask what is the highest grade I can give in good conscience. After I finish wrestling with my conscience, though, <em>grades are final<\/em>, and I\u2019ll change a grade only if I made an error in calculation. If you\u2019re worried about your performance \u2014 if you \u201cneed a B\u201d or some such concern \u2014 talk to me <em>before<\/em> you hand something in, not after you get the grade. I\u2019m always happy to look at provisional theses, rough drafts, and so on.<\/p>\n<h3>Summary<\/h3>\n<h4>Cool:<\/h4>\n<ul>\n<li>Asking questions, even if that means interrupting me<\/li>\n<li>Asking questions you think are too simple<\/li>\n<li>Curiosity<\/li>\n<li>Taking some intellectual risks<\/li>\n<li>Pursuing what interests you<\/li>\n<li>Standing up for what you believe in, including disagreeing (politely) with other students and (especially) with me<\/li>\n<li>Admitting some of the readings don\u2019t interest you<\/li>\n<\/ul>\n<h4>Not Cool:<\/h4>\n<ul>\n<li>Being late \u2014 especially chronically late \u2014 to class<\/li>\n<li>Blowing off the readings<\/li>\n<li>Telling me what you think I want to hear<\/li>\n<li>Dishonesty of any sort \u2014 I\u2019m a forgiving guy, and will tolerate pretty much anything so long as you don\u2019t try to deceive me<\/li>\n<li>Rudeness directed to other students in the class<\/li>\n<\/ul>\n<hr \/>\n<h2 align=\"center\">Schedule of Class Meetings<\/h2>\n<dl>\n<dt>Thursday, 23 January<\/dt>\n<dd>Class business, &amp;c.; Percy Bysshe Shelley, \u201c<a href=\"http:\/\/jacklynch.net\/Texts\/ozymandias.html\">Ozymandias<\/a>\u201d (1818)<\/dd>\n<dt>Monday, 27 January<\/dt>\n<dd><a href=\"http:\/\/jacklynch.net\/lordsprayer.html\">The Lord&#8217;s Prayer<\/a> (Old and Middle English)<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>Old English<\/em>, <em>Middle English<\/em>,\u00a0<em>diction<\/em><\/li>\n<li><strong>Article:<\/strong> Richard Hogg and David Denison, \u201cOverview,\u201d from <cite>A History of the English Language<\/cite> (Canvas)<\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 30 January<\/dt>\n<dd>Thomas Malory, <a href=\"http:\/\/jacklynch.net\/Texts\/malory.html\"><cite>Syr Lancelot du Lake<\/cite><\/a> (1485)<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>romance<\/em>, <em>Arthurian literature<\/em>, <em>chivalric romance<\/em><\/li>\n<li><strong>Article:<\/strong> Alexandra Gillespie, \u201cFiction and the Origins of Print\u201d (Canvas)<\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 3 February<\/dt>\n<dd>Homer, the Cyclops episode from the <cite>Odyssey<\/cite>, book 9, in translations by Alexander Pope (1725), S. H. Butcher &amp; A. Lang (1879), E. V. Rieu (1946), Robert Fitzgerald (1961), and Richmond Lattimore (1967) (Canvas)<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>epic<\/em>, <em>formulaic<\/em>, <em>epithet<\/em><\/li>\n<li><strong>Article:<\/strong> Teju Cole, \u201c<a href=\"https:\/\/www.nybooks.com\/daily\/2019\/07\/05\/carrying-a-single-life-on-literature-translation\/\">Carrying a Single Life: On Literature and Translation<\/a>\u201d<\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 6 February<\/dt>\n<dd>John Donne, \u201c<a href=\"https:\/\/rpo.library.utoronto.ca\/poems\/good-morrow\">The Good-Morrow<\/a>\u201d (1633); Andrew Marvell, \u201c<a href=\"https:\/\/rpo.library.utoronto.ca\/poems\/his-coy-mistress\">To His Coy Mistress<\/a>\u201d (written <em>c.<\/em> 1650; pub. 1681); Sharon Olds, \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=EksRRmifvNw\">Topography<\/a>\u201d (1987)<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>close reading<\/em>, <em>New Critics<\/em>, <em>distant reading<\/em>, <em>lyric<\/em>, <em>couplet<\/em>, <em>carpe diem<\/em>, <em>metaphysical poets<\/em>, <em>conceit<\/em><\/li>\n<li><strong>Article:<\/strong> W. K. Wimsatt, Jr. and Monroe C. Beardsley, \u201cThe Intentional Fallacy\u201d (Canvas)<\/li>\n<li><strong>Assignment:<\/strong> First paper due: choose any five words from readings on the syllabus up to this point, investigate them thoroughly in the\u00a0<cite>Oxford English Dictionary<\/cite>, and tell the story of these words in about five pages. There&#8217;s no need for an introduction, conclusion, or thesis statement; just tell the story of the words, focusing on the historical information in the\u00a0<em>OED<\/em>.<\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 10 February<\/dt>\n<dd>John Milton, \u201c<a href=\"https:\/\/rpo.library.utoronto.ca\/poems\/sonnet-xix-when-i-consider-how-my-light-spent\">When I Consider How My Light Is Spent<\/a>\u201d (written <em>c.<\/em> 1655; pub. 1673); John Donne, \u201c<a href=\"https:\/\/rpo.library.utoronto.ca\/poems\/holy-sonnets-death-be-not-proud\">Death, Be Not Proud<\/a>\u201d (written 1609, pub. 1633); Dylan Thomas, \u201c<a href=\"https:\/\/poets.org\/poem\/do-not-go-gentle-good-night\">Do Not Go Gentle into That Good Night<\/a>\u201d (1951); Elizabeth Bishop, \u201c<a href=\"http:\/\/staff.washington.edu\/rmcnamar\/383\/bishop.html\">Sestina<\/a>\u201d (1965)<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>foot<\/em>, <em>metre<\/em>, <em>fixed forms<\/em>, <em>sonnet<\/em>, <em>quatrain<\/em>, <em>sestet<\/em>, <em>octave<\/em>, <em>villanelle<\/em>, <em>sestina<\/em><\/li>\n<li><strong>Article:<\/strong> Ben Burton, \u201cThe Work of Form&#8221; (Canvas)<\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 13 February<\/dt>\n<dd>Jericho Brown, \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=Jlbmzx_Oq0E\">Duplex: Cento<\/a>\u201d (2014; just the second poem, starting at 1:20)<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>free verse<\/em>, <em>open form<\/em>, <em>cento<\/em>,\u00a0<em>pastiche<\/em>,\u00a0<em>plagiarism<\/em><\/li>\n<li><strong>Article:<\/strong> Jericho Brown, \u201c<a href=\"https:\/\/www.poetryfoundation.org\/harriet\/2019\/04\/invention\">Invention<\/a>\u201d<\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 17 February<\/dt>\n<dd>No class! I\u2019ll be traveling. Behave yourselves.<\/dd>\n<dt>Thursday, 20 February<\/dt>\n<dd>William Shakespeare, <a href=\"https:\/\/internetshakespeare.uvic.ca\/doc\/Tmp_M\/complete\/index.html\"><cite>The Tempest<\/cite><\/a> (written <em>c.<\/em> 1610, pub. 1623), act 1<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>drama<\/em>, <em>comedy<\/em>, <em>tragedy<\/em><\/li>\n<li><strong>Article:<\/strong> Andrew Hadfield, \u201c\u2018All My Travels&#8217; History\u2019: Reading the Locations of Renaissance Plays&#8221; (Canvas)<\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 24 February<\/dt>\n<dd>Shakespeare, <cite>The Tempest<\/cite>, act 2<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>soliloquy<\/em>,\u00a0<em>monologue<\/em>,\u00a0<em>dramatic monologue<\/em><\/li>\n<li><strong>Article:<\/strong> William H. Sherman, \u201cShakespearean Somniloquy: Sleep and Transformation in <cite>The Tempest<\/cite>\u201d (Norton Edition)<\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 27 February<\/dt>\n<dd>Shakespeare, <cite>The Tempest<\/cite>, act 3<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>postcolonial literature<\/em><\/li>\n<li><strong>Article:<\/strong> Julia Reinhard Lupton, \u201cCreature Caliban\u201d (Norton Edition)<\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 2 March<\/dt>\n<dd>Shakespeare, <cite>The Tempest<\/cite>, act 4<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>masque<\/em>, <em>mise-en-sc\u00e8ne<\/em><\/li>\n<li><strong>Article:<\/strong> John Gillies, \u201cThe Figure of the New World in <cite>The Tempest<\/cite>\u201d (Norton Edition)<\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 5 March<\/dt>\n<dd>Shakespeare, <cite>The Tempest<\/cite>, act 5<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>unities<\/em>,\u00a0<em>decorum<\/em>,\u00a0<em>convention<\/em><\/li>\n<li><strong>Article:<\/strong> Stephen Orgel, \u201cProspero\u2019s Wife\u201d (Norton Edition)<\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 9 March<\/dt>\n<dd>William Butler Yeats, \u201c<a href=\"https:\/\/rpo.library.utoronto.ca\/poems\/second-coming\">The Second Coming<\/a>\u201d (1920)<\/dd>\n<\/dl>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>symbol<\/em>, <em>metaphor<\/em>,\u00a0<em>tenor<\/em>,\u00a0<em>imagery<\/em><\/li>\n<li><strong>Article:<\/strong> Paul D. Deane, \u201cMetaphors of Center and Periphery in Yeats&#8217; <cite>The Second Coming<\/cite>\u201d<\/li>\n<\/ul>\n<dl>\n<dt>Thursday, 12 March<\/dt>\n<dd>Eliza Haywood, <a href=\"http:\/\/jacklynch.net\/Texts\/fantomina.html\"><cite>Fantomina<\/cite><\/a> (1725)<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>novel<\/em>, <em>picaresque novel<\/em>,\u00a0<em>episodic<\/em>,\u00a0<em>narrative<\/em>,\u00a0<em>narration<\/em><\/li>\n<li><strong>Article:<\/strong> Kate Levin, \u201c\u2018The Course of Her Whimsical Adventures\u2019: \u2018Fantomina\u2019 and Trigger Warnings at a Women\u2019s College\u201d (Canvas)<\/li>\n<li><strong>Assignment:<\/strong> Second paper due: a close reading of any of the poems on the syllabus in five to eight double-spaced pages. Again, no need for a thesis, an introduction, a conclusion, or outside sources; just take me through a poem in detail, as we\u2019ve done in class. Be sure to make use of the <cite>Oxford English Dictionary<\/cite>.<\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 16 March<\/dt>\n<dd>No class! Spring break<\/dd>\n<dt>Thursday, 19 March<\/dt>\n<dd>No class! Spring break<\/dd>\n<dt>Monday, 23 March<\/dt>\n<dd>Meeting by WebEx to discuss plans for the rest of the semester<\/dd>\n<dt>Thursday, 26 March<\/dt>\n<dd>Jane Austen, <a href=\"http:\/\/jacklynch.net\/Texts\/pride.html\"><cite>Pride and Prejudice<\/cite><\/a> (1813), vol. 1, chapters 1\u201312<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>novel<\/em>, <em>episodic<\/em>, <em>narrative<\/em>, <em>narration<\/em>, <em>implied author<\/em>, <em>free indirect style<\/em>,\u00a0<em>third-person narrative<\/em>,\u00a0<em>omniscient narrator<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 30 March<\/dt>\n<dd>Austen, <cite>Pride and Prejudice<\/cite>, vol. 1, chapters 13\u201323<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>realism<\/em>, <em>irony<\/em>,\u00a0<em>litotes<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 2 April<\/dt>\n<dd>Austen, <cite>Pride and Prejudice<\/cite>, vol. 2, chapters 1\u201310<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>feminist criticism<\/em>,\u00a0<em>gynocritics<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 6 April<\/dt>\n<dd>Austen, <cite>Pride and Prejudice<\/cite>, vol. 2, chapters 11\u201319<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>Marxist criticism<\/em>,\u00a0<em>socialist realism<\/em>,\u00a0<em>cultural materialism<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 9 April<\/dt>\n<dd>Austen, <cite>Pride and Prejudice<\/cite>, vol. 3, chapters 1\u201310<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>preromanticism<\/em>,\u00a0<em>Romanticism<\/em>, <em>aesthetics<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 13 April<\/dt>\n<dd>Austen, <cite>Pride and Prejudice<\/cite>, vol. 3, chapters 11\u201319<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>semiotics<\/em>, <em>sign<\/em>,\u00a0<em>signifier<\/em>,\u00a0<em>signified<\/em>,\u00a0<em>exegesis<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 16 April<\/dt>\n<dd>Octavia Butler, <cite>The Parable of the Sower<\/cite> (1993), chapters 1\u20135<\/p>\n<ul>\n<li><strong>Terms:<\/strong> <em>canon<\/em>, <em>genre fiction<\/em>, <em>science fiction<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 20 April<\/dt>\n<dd>Butler, <cite>Parable<\/cite>, chapters 6\u201310<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>utopia<\/em>,\u00a0<em>dystopia<\/em><\/li>\n<li><strong>Assignment:<\/strong> Paper due: put all the pieces together and write an eight-to-ten-page <em>thesis-driven<\/em> paper about any of the works on the syllabus. Be sure to make good use of the <em>Oxford English Dictionary<\/em>, close-reading, and engagement with at least one critical article.<\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 23 April<\/dt>\n<dd>Butler, <cite>Parable<\/cite>, chapters 11\u201315<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>ecocriticism<\/em>,\u00a0<em>narratology<\/em>,\u00a0<em>plot<\/em>,\u00a0<em>story<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 27 April<\/dt>\n<dd>Butler, <cite>Parable<\/cite>, chapters 16\u201320<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>parable<\/em>,\u00a0<em>allegory<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Thursday, 30 April<\/dt>\n<dd>Butler, <cite>Parable<\/cite>, chapters 21\u201325<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>apocalyptic<\/em>, <em>eschatology<\/em><\/li>\n<\/ul>\n<\/dd>\n<dt>Monday, 4 May<\/dt>\n<dd>Marianne Moore, \u201c<a href=\"https:\/\/poets.org\/poem\/poetry\">Poetry<\/a>\u201d (1924\u20131967); Archibald MacLeish, \u201c<a href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/17168\/ars-poetica\">Ars Poetica<\/a>\u201d (1926)<\/p>\n<ul>\n<li><strong>Terms:<\/strong>\u00a0<em>paraphrase<\/em>,\u00a0<em>ambiguity<\/em>,\u00a0<em>speech act theory<\/em><\/li>\n<li><strong>Assignment:<\/strong> Hand in final versions of all four papers<\/li>\n<\/ul>\n<\/dd>\n<\/dl>\n","protected":false},"excerpt":{"rendered":"<p>Foundations of Literary Study English 308, Spring 2020 Prof. Jack Lynch Revised Syllabus for COVID-19 Shutdown Office: (973) 353-5444; 501 Hill Hall. Hours: By appointment. E-mail: jlynch@newark.rugers.edu Course Description and &hellip; <a href=\"https:\/\/sites.rutgers.edu\/jack-lynch\/english-308-spring-2020\/\" class=\"\">Read More<\/a><\/p>\n","protected":false},"author":419,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-411","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>English 308, Spring 2020 - Jack Lynch<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.rutgers.edu\/jack-lynch\/english-308-spring-2020\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"English 308, Spring 2020 - Jack Lynch\" \/>\n<meta property=\"og:description\" content=\"Foundations of Literary Study English 308, Spring 2020 Prof. Jack Lynch Revised Syllabus for COVID-19 Shutdown Office: (973) 353-5444; 501 Hill Hall. 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Hours: By appointment. 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