Studies in Fiction
English 571
Spring 2001

CRN 25419
Wednesdays  5:30-9:20
Bldg. 24, Room 107
Office: 24-224
Office Hours  T 10-12, 1-5, W 9-3
Telephone: 909-869-3979
E-mail: cmkaplan@csupomona.edu 

Course Description

In this course, we will explore the particulars and problematics of fiction as a literary form.  We will begin by exploring such features as point of view, tone, narrative reliability, structure, and style. In addition, we will consider the ideology of fictional works, concentrating on issues of politics, class, “race,” and gender.  Students will be asked to interpret individual literary works from a variety of theoretical perspectives, working from the assumptions and employing the insights of reader-response criticism (including psychoanalytic reader-response criticism), feminism and gender studies, deconstruction, new historicism, and cultural criticism. We will begin with a consideration of Heart of Darkness from the five above-mentioned theoretical perspectives. Then, for subsequent readings, each student will adopt one of these theoretical strategies for the purposes of class discussion of the work.  In his or her research-critical paper, each student will pursue in greater depth and detail the analysis of one of these fictional works (likely, but not necessarily, the work on which s/he led class discussion), from one of these theoretical vantage points (likely, but not necessarily, the one the student has been working from throughout the quarter). It is also possible to write the term paper from a composite theoretical perspective, e. g. feminist/deconstructive or gender studies/cultural criticism. In addition, each student will take the role of “Professor for a Day,” leading the class in discussion of the assigned work.  The student will begin with a presentation on key components of the text which, when more fully considered in class discussion, will help us to determine what the work is about, what fictional strategies it enlists to present its concerns, what are its strengths, what are its shortcomings.  In making this presentation, the student will draw upon a variety of supplementary materials for illuminating the work, including theoretical readings, literary criticism, biographies, and non-fictional writings by the author, including letters.     

Course Responsibilities

Each student will take a turn leading the discussion of one work of literature. You will in effect be “Professor for a Day,” attempting to focus our attention on central issues of the text.  What is this text trying to say? What techniques of fiction or narrative strategies does the text employ for saying it? Are there any particular stylistic features of the text that we should focus on—e.g. an unreliable narrator, time shifts, patterns of symbolism and imagery, a particular tone (satiric, humorous, ominous, ironic), an unusual point of view (that of a space alien, a god, a child, a passerby). How successfully does the work do what it sets out to do? What obstacles to our understanding does the text present? What five crucial questions should we address in our class discussion of this text? (After thinking carefully about the work, you as leader will write out five key questions that are likely to generate a good discussion in which we work together to explicate the work. You, in your role as class leader, will distribute copies of these five questions to all seminar participants.) 

In addition, each student will choose one theoretical perspective in which to specialize, based on our initial discussions (in the first three weeks) of a variety of approaches in considering Heart of Darkness.  For each subsequent work, each student will be prepared to do a brief presentation, pointing out material in the literary work from the perspective of one particular theoretical approach. To deepen your knowledge of the particular theoretical school you have chosen, you will read the appropriate chapters in Tyson and at least two other theoretical pieces, either articles or chapters in books (choosing from readings listed in the bibliography that follows each of the essays on Heart of Darkness).  In preparation for each class, you will write a substantial entry on the reading for the day in a reading journal, which you will bring to class. You will use the observations in this journal as the basis for your in-class presentation on the work under consideration (from the particular theoretical perspective you have chosen). Your reading-journal entries should include notes on Tyson and on each supplementary theoretical essay you read. You should  attempt to relate the insights of these theoretical readings to the particular literary work under consideration in class.  You may expect to be called upon to present your interpretation through the lens of your particular theoretical perspective in class at least every other week.  In addition, you are strongly encouraged to respond to the interpretations of other seminar participants at each class meeting. NOTE: You must be in class on the day you are to be discussion leader. Only an extremely compelling written and verifiable excuse—e.g. severe illness or family emergency, about which you notify me before class--will mitigate such an absence (which will otherwise result in a failing grade).  Also, if you miss the final, there will be no make-up exam. Because we have so few meetings in the course, regular attendance is crucial: more than one absence will lower your grade in the course.  

Grades

1. Journal of reading responses—about 750-1,000 words or 2-3 typed pages a week (including detailed notes on at least two supplemental theoretical readings as well as responses to the literary work under consideration that week). Bring this journal to class every meeting. 15% 

2. Leadership of class discussion as “Professor for a Day.” 20% 

3. Class participation, drawing upon your notes on and understanding of the text from the particular theoretical perspective you have chosen as well as responding to the comments of others. 15% 

4. Term Paper (12-15 double-spaced typed pages) on the work about which you led class discussion, integrating the perspective on a particular theoretical school with your interpretation of one aspect of a literary work. This paper must draw upon a minimum of five outside sources, both theoretical and critical (also possibly biographical, including letters). 30% 

5. Final Examination- This will be an essay examination that parallels the form of the master’s examination, i.e. one focused essay, dealing in depth with a single literary work; and one broader essay on several literary works, enlisting various theoretical perspectives. 20%

Readings

Lois Tyson, Critical Theory Today: A User-Friendly Guide. Garland.
Joseph Conrad, Heart of Darkness. St. Martin’s/Bedford.
Joseph Conrad, The Secret Agent.  Penguin.
Joseph Conrad, Under Western Eyes. Penguin.
E. M. Forster, Where Angels Fear to Tread. Dover.
E. M. Forster, A Room With A View. Dover.
Christopher Isherwood, A Single Man. Farrar, Strauss, Giroux.
Christopher Isherwood, A Meeting by the River. Farrar, Strauss, Giroux.

Reading Assignments