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Introduction to
Modern Fiction
English 201
Spring 2000

CRN 25419
MWF 1:00-2:05
Bldg. 9, Room 217
Office: 24-224
Office Hours  MW 11:40-12:55; M 2:10-3:30
Telephone: 909-869-3979
E-mail: cmkaplan@csupomona.edu 

Course Description

This course includes a variety of readings in both short stories and novels, focusing on the works of many modern short story writers and of two modern novelists. You are required to attend regularly, to read the assignment carefully before class, to prepare analytical maps as specified, to participate fully in class discussions, and to give an oral presentation, either individually or as a member of a panel. For the first few class meetings and frequently thereafter, the course center on student-conducted discussions, making use of the "learning through discussion" method, as outlined in your handouts. Analytical maps and discussion questions are due on the date specified. Note: No late work will be accepted.

Course Responsibilities

You are expected to keep up with the reading. You may expect a quiz at any time on that day's reading. Since your participation in class is crucial, you will be allowed no more than three absences before your grade is lowered for non-attendance. I will take roll at the beginning of each class. If you enter late, let me know after class, because I will have marked you absent. No late papers will be accepted. No late or make-up examinations will be given, except in documented emergency.

Grades

Mid-Term 30%
Class participation, quizzes, and analytical maps of stories 20%
Oral Presentation 20%
Final 30%

Readings

Ann Charters, The Story and Its Writer. Bedford.
Laura Esquivel, Like Water for Chocolate.
Patrick Suskind, Perfume.
Handouts on "Learning Through Discussion" method.

Instructions on Oral Presentation:

In your oral presentation, begin by summarizing briefly the plot of the work you are comparing with the day's reading or the main points of the auxiliary reading. Spend most of your time discussing how the comparable literary work relates to the story we have read—both similarities and differences in setting, character, plot, symbol, and theme. Or, spend most of the time explaining how the auxiliary essay sheds light on the story we have read. You may quote briefly from the outside reading. Also prepare a handout sheet outlining key points in your presentation. At the end of your presentation, start the class discussion by asking one key question—this should be a question that generates a variety of interpretations and/or opinions. The question should be large and important enough to generate answers that help us to understand the story. Your oral presentation is your most individual contribution to the class and therefore your single most important responsibility. You MUST present on the day you have signed up for because your presentation forms an essential component in that day's course content.

Please limit your oral presentation to 15-20 minutes. Practice and time it at home. In addition to the handout sheet you prepare for all students in the class, you may use visual materials, if you think these will be helpful. If you fail to present on that day, you will not be able to make up the presentation and will receive a grade of F.

Reading Assignments

March 27 Introduction

Hand out and discuss syllabus, analytical map, and oral presentations.

March 29 Read O'Connor, "Guests of the Nation" 606 ff.
Prepare and bring to class analytical map for "Guests of the Nation" (Write one full paragraph for each of Steps One through Nine).
March 31 In Charters, read "What is a short story?"and "Reading Short Stories" pp.3-5; Updike, "A &P" 742-746.
Prepare and bring to class analytical map of "A &P" (Steps One through Nine).
Bring in Perfume and Like Water For Chocolate. Decide on topics for panel presentations. 
April 3 Lawrence, "The Rocking-Horse Winner," 477-488.
Oral presentation on another short story by Lawrence, comparing it to    "Rocking Horse Winner" for characters, subject matter, and theme.
April 5 de Maupassant, "The Necklace" 535-41.
Oral presentation comparing James' short story "Paste" with de Maupassant's, staling which you consider a better story and why. In making this decision, you may wish to consider de Maupassant's discussion of writing in "The Writer's Goal" 831-32.
April 7 Faulkner, "A Rose for Emily" 292 ff.
Oral presentation on Faulkner's comments, "The Meaning of 'A Rose for Emily"' as illuminating this story OR an oral presentation that compares Faulkner's "That Evening Sun" with "Emily." What part does the setting, that is, the post-Civil War, early twentieth-century American South, play in these two stories?
April 10 Welty, "A Worn Path" 716 ff.
Oral presentation on Eudora Welty's essay on this story, as illuminating its meaning, 872-874. Why, according to Welty, is it irrelevant to ask whether Phoenix Jackson's grandson is dead? Do you agree with her?  
April 12 O'Connor, "A Good Man is Hard to Find" 631-42.
Oral presentation on 0' Connor's essay "A Reasonable Use of the Unreasonable" 841-843, as throwing light on this short story.
April 14 Oates, "Where Are You Going, Where Have You Been?" 568 ff.
Oral presentation comparing the film "Smooth Talk" to the story. Plan to show a little of the film to make your points. Consult Oates' essay "Short Story Into Film" 913-916.
April 17 Mansfield, "The Garden-Party" 916.
Oral presentation on another short story by Katherine Mansfield, preferably "At The Bay" or "The Doll's House," in comparison with "The Garden-Party." Comment on similarities and differences in subject matter, characters, theme, etc.
April 19 Silko, "Yellow Woman" 680-88.
Oral presentation on Alien's "Whirlwind Man Steals Yellow Woman" 784-85, and Silko's "Language and Literature from a Pueblo Indian Perspective" 856-62, as throwing light on Silko's "Yellow Woman" 
April 21 Tan, "Two Kinds" 690-698.
Oral presentation on another chapter in The Joy Luck Club which illuminates this chapter, "Two Kinds."
April 24 *Carver, "What We Talk About When We Talk About Love" 117-126.
Oral presentation on another short story by Carver, comparing it with "What we talk about when we talk about Love", to illuminate the story we have all read.
April 26 Cisneros, "The House on Mango Street," "The Monkey Garden," and "Mango Says Goodbye Sometimes" 180-183.
Oral presentation on Cisnero's essay "Straw into Gold" 808-11, to illuminate the Mango Street stories.  
April 28 No class—I'll be attending a conference
May 1 Panel Presentation on Perfume
May 3 Panel Presentation on Perfume
May 5 Panel Presentation on Perfume
Handout: Topics for in-class mid-term
May 8 In-class Mid-Term  
May 10 In-class Mid-Term  
May 12 Gilman "The Yellow Wallpaper" 319-330.
Oral presentation on essay by Gilbert and Gubar 818-20 and on Gilman's memoir 820-22, to illuminate Gilman's short story.
May 15 Erdrich, "The Red Convertible" 267 ff.
Oral presentation on another chapter of Love Medicine, comparing it to "The Red Convertible." What additional understanding of "The Red Convertible" do you have after reading another chapter in the novel and seeing it as part of an entire novel?
May 17 Hemingway, "Hills Like White Elephants" 343-46.
Oral presentation on another short story by Hemingway, comparing it to"Hills" for characterization, subject matter, theme, and style.
May 19 O'Brien, "The Things They Carried" 605-18.
Oral presentation on Mason's essay 829-30, as throwing light on the qualities of O'Brien's story.
May 22 Panel presentations on Like Water for Chocolate
May 24 Panel presentations on Like Water for Chocolate
May 26 Panel presentations on Like Water for Chocolate
May 29 Holiday. 
May 31 Film: Like Water For Chocolate
Handout: Questions to prepare for final exam
June 2 Film: Like Water For Chocolate
June 5 Monday 11:30-1:30 Final Exam

                      

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Copyright ©  2001 Dr. Anne B. Simpson, Department of English and Foreign Languages, California Polytechnic University, Pomona.  All Rights Reserved.