Winter Quarter '04
English 303: History of Literary Criticism and
Theory I: Plato to 1900
Course Description: The goal of this
class is to introduce you to major theoretical positions taken towards
literature in the western tradition, beginning with Plato and ending
with Nietzsche and Wilde. We will be reading 18 or so different figures;
we will expect you at course end to know the significance of each, as
well as their relation to the other figures we will have read. And because
literary theory exists to explain and situate the reading of literature,
we will be reading a few literary texts as well, both so that we don’t
as a class lose touch with the actual texts our authors are trying to
describe, and so that you will be able to define in your own terms how
various theoretical issues can be productively explored in particular
works of literature.
Beyond simply knowing what people have said, however,
we also expect you to become better active readers of their writing,
and to help you learn to read these theoretical discourses critically
and analytically—developing for yourself a sense of what issues
they raise, and how they raise them—we will ask you to write a
short (2 pp) response paper for virtually every class period. Those
papers will become the basis for discussion in full-class sessions and
in groups. We will not collect your written work every period; you will
hand all of it, however, as part of your Course Portfolio on Monday
of Week 10.
So writing is one important part of this course. Attendance
is a second. This material is very challenging, and we will frequently
be doing group work of various kinds, so we need your presence as well
as your consistent preparation. If you are for any reason unlikely to
be able to attend class regularly or to keep current with the reading
and writing assignments, then you really should find yourself something
else to take.
Graded Work: You will be doing two midterms,
a precis paper, and a take-home final. You will also be submitting a
class Portfolio, described on page 4 of this syllabus.
Course Grading: 500 Points, apportioned
in the following way:
Truth in packaging disclosure:
1. In past quarters, most students have rated our classes
as useful and relevant. But when students haven't liked a class (and
that runs about 5% of those filling out forms), they have said that
they never understood what was being asked of them. We take that concern
very seriously, and in class we will try hard both to explain and to
demonstrate what we want. But active reading—especially of theoretical
texts—is not something that everyone will have done much of, and
many of you will find it very difficult. We encourage you to ask questions,
or to visit either one of us in our office hours. In the end, however,
it is your responsibility to come to us. Most of you will indeed finally
“get it,” though it may be the second midterm before it
clicks. But if you do NOT get it, then (to repeat) you must take an
active role in getting extra help.
2. This is a time- and work-intensive class. When we last
offered the course students reported working an average of 12-14 hours
per week. Some said they worked as much as 15-16 hours. That is higher
than average for English classes, though still within the range of 3
hours per credit (1 in class, 2 outside) which the University sets as
its standard for 5 credit classes.
3. The median grade (50% above, 50% below) in this class
has run anywhere from 3.1 to 3.3. That isn't the lowest grade—it
is the median grade. That means that some of you will indeed get a 2.5
or a 2.7 or a 3.0.
4. Attendance and Participation are required; moreover, they presuppose
engaged and timely completion of writing assignments. We take roll randomly
during the quarter; we also use our review of your portfolio work to
evaluate your class participation. You may miss two ungraded writing
assignments without penalty; beyond that you will lose points on your
portfolio grade and/or your participation grade.
The Daily Writing. Why So Much Writing? Several reasons.
First, writing is the single most effective way most of us have to make
learning active. The mere reading of assignments is an essentially passive
process. Though your mind goes through steps enough to make the reading
make sense, reading alone will not force your mind to build strong and
resilient connections to the conceptual frameworks you already have.
You will need to change the way you think about things for your learning
in this class to succeed, and active and engaged work with pen (or computer)
and paper is the most effective way we know to help this happen.
Second, the writing you do will also prepare you for class.
If you have been actively engaged in a writing project, class sessions
will move faster, group work will be much more efficient, and every
person in the class will be able to contribute to the whole. Our work
will be more interesting because you will have already made progress
on the day's work before class even begins.
Third, you will simply learn more. Having to write will
force you to confront what you don’t already know, and will give
you constant practice with the skills that the active reading of theoretical
texts (or any text, for that matter) requires.
Finally, writing well truly is central to education in
English. It is, after all, what the rest of the world thinks an English
major is all about—and will expect you to be able to do. You SHOULD
be doing constant writing for all your classes—so much so that
it doesn’t feel like quite such a big deal in the first place.
What We Want. Our criterion for the response
papers is ECI: “engaged critical intelligence.” You don't
have to be right, and you don’t have to be polished (though you
DO have to be intelligible!). You don’t even have to solve entirely
whatever problem we give you. But we do want to see real effort with
an engaged critical intelligence—even if it’s only to narrate
for us the difficulties you are having as you try to come to grips with
the assignment.
How Much Time Should You Spend Writing?
In the past some students have spent far too much time and developed
far too much anxiety on these responses. Please understand: we’re
not asking for a series of “English papers.” We call them
“response papers” to suggest that their purpose is to be
responding with an engaged critical intelligence to the reading and
to our question(s) about it. In specific terms that means that we expect
from you either TWO typed pages, or ONE hour of reflective writing beyond
your reading of the assignments. If you truly want to do more than that—fine.
But don’t go over two pages.
Our Response to Your Responses. The primary
usefulness of these papers is in the writing itself. We take it as axiomatic
that you will get much more from this class by having written regularly
throughout than you otherwise would—and student evaluations confirm
that most students from whom we've asked this kind of writing agree.
Moreover our intent is that these exercises will be useful
to you whether we actually read them or not. Indeed, we will not collect
every set of papers at the time you write them—though you will
be collecting them as you complete them, and turning them in for our
review as part of the course portfolio at quarter's end.
And when we do collect them, because the daily papers
are not supposed to be fully finished works, we will also not generally
read them with the same close attention we will give to your formal
work. Instead our comments will be of the “OK,” “good,”
or “We’d like to see more thinking going on here”
variety. (If you want more specific response to your work, we'd be happy
to talk with you during our office hours.)
Late Papers. We do not read late response
papers. With the 6 to 8 sets of response papers we will collect from
50 students (240-320 papers), plus 4 formal writing assignments (200
more papers), we will have trouble enough keeping them straight already.
Exceptions can be made only in cases of excused illness or family emergency.
Texts: Required:
Hazard Adams, Critical Theory Since Plato [rev. ed. (1992),
HBJ] Sophocles, Oedipus; Beckett, Waiting for Godot.
English 303/Comp Lit 400: Reading/Discussion
Schedule
(subject to change)
Jan 5 Introduction.
7 Plato, Ion, Republic (in CTSP, and handout). Response
(For one reading or the other)
12 Aristotle, Poetics. Sophocles, Oedipus, Part 1.
14 Horace, The Art of Poetry. Sophocles, Part 2.
19 Martin Luther King Day: No Class.
21 Sophocles, Part 3.
26 Sidney, An Apology for Poetry.
28 Review and First Midterm.
Feb 2 Dante, Letter to Can Grande;
Augustine, handout.
4 Boileau, The Art of Poetry.
9 Burke, A Philosophical Inquiry.
11 Hume, Of the Standard of Taste.
16 President’s Day. No Class.
18 Kant, Third Critique, Book 1.
23 Kant, Third Critique, Book 2.
25 Wordsworth, Preface to Lyrical Ballads. Handout
Second Midterm.
27 Precis Paper Due.
March 1 Wollstonecraft, Vindication
(Adams), handout. Second Midterm Due (no response
paper).
3 Arnold, The Function of Criticism at the Present Time.
Marx: The German Ideology.
8 Wilde, The Decay of Lying. Portfolio Due
10 Nietzsche, “Truth and Falsity in an Extramoral Sense.”
17 Take Home Final Due: 12 Noon, Wednesday,
March 17 (in B-537 Padelford)
History of Literary Criticism Portfolio
A portfolio for an English class is like many other portfolios:
a collection of the work you have done, together with a reflective essay
describing your experience in the course. This project thus offers you
a chance to review your quarter's work, as well as to put that work
into some kind of narrative perspective. Your portfolio must include:
1) A full item-by-item listing of the contents of the
Portfolio
2) All of the writing you have done for this class over the course of
the quarter.
3) A two- to three-page Self-Reflective Essay.
4) A one-page Self-evaluation.
The Self-Reflective essay should be about your experience
in this class. It may take a number of different forms. It may, for
example, be a narrative of your experience in this course—why
you took it, what problems and challenges it presented to you as it
progressed, and what you did to address them. Or it may discuss the
writing you have done this quarter, describing critically what you take
to be your work's strengths, and anything you think you still might
be able to improve. Or it may discuss how your attitudes about literary
theory have developed, changed, or not changed during the quarter: what
were you thinking when you came in, and how has that changed in the
ten weeks since? However you choose to set it out, the object of the
exercise is to provide an occasion for you both to reflect on your experience
in the course, and to do something towards evaluating and making sense
of that experience.
The Self-evaluation is an exercise in which you evaluate
your work for the course. What grade do you expect? How well does that
reflect your learning? Explain using the criteria we develop as a class—and,
to the extent they differ, your own. How did you do with respect to
your goals for this course, and what do you think about your effort
and your level of success? (Further detail will be supplied during the
term.)
The portfolio counts for a total of 100 points: Response
Papers 60, Self-Reflective Essay 30, Self-evaluation 10. The daily assignments
included in the Portfolio will be evaluated on the basis both of completeness
and Engaged Critical Intelligence. The SRE will be evaluated on the
basis of responsiveness and thoughtfulness as follows: