This document provides the syllabus for an undergraduate course titled "Literary Hauntings" being offered during the summer of 2014. The course will examine how ghosts and hauntings are employed in 19th and 20th century American literature. Over the course of 15 classes, students will read and discuss short stories and novels that incorporate supernatural elements. They will consider why American and Southern literature features ghosts prominently and what historical factors have led to this. The course will address representations of race, gender, and sexuality in relation to spiritual themes. Assessment will include participation in class discussions and debates, presentations, two focus essays, and a final exam.
The document provides an overview of a class discussion on the novel The Road by Cormac McCarthy. It includes definitions of key terms from the novel like "the apocalypse" and "themes." It also presents discussion questions about the novel related to concepts like trust, innocence, and symbols. The document outlines the class agenda, including a discussion of The Road, student self-assessment of their blog posts on the novel, and preparation for the final exam by revising their first essay and completing their second essay.
The document describes a book club for grades 9-11. It includes profiles of the book club members, lists of recommended books for each grade level, and activities to accompany each book. For grade 9, books such as The Hobbit, Of Mice and Men, and To Kill a Mockingbird are recommended. Accompanying activities for The Hobbit include writing a newspaper article, creating epithets based on members' names, and comparing the book to fairy tales. Grade 10 books lean towards those that may appeal more to male students, and include Lord of the Flies. Activities for Lord of the Flies involve mapping the island, publishing a book cover, and creating a soundtrack. Books recommended for grade 11 aim
This document provides instructions and prompts for an essay assignment on postmodern literature. Students are asked to write a 3-6 page thesis-driven essay responding to one of several prompts about works they have read in the course. The prompts cover topics like postmodernism and manifestos, themes in specific works, and analyzing passages through different theoretical lenses. The essay should demonstrate clear writing, rhetorical skills, and use MLA style formatting with citations. The document provides learning objectives, introduction to the assignment, and detailed prompts to choose from as well as formatting and submission requirements.
The document provides a book club presentation and reading list for grades 8 through 12. It includes novel summaries and rationale for novels chosen, as well as potential teaching activities. For The Boy in the Striped Pajamas, it outlines the plot in 3 sentences, provides 3 teaching activity ideas, and lists supplementary readings to pair with the novel. For The Hunger Games, it lists major themes and 2 teaching activity ideas focusing on connections to the Holocaust.
This document provides information about a class on the genre of Jane Eyre. It discusses several genres that were popular in the Victorian period, including realism, Bildungsroman, Christian pilgrimage novel, gothic novel, sensation novel, and domestic novel. It then has students participate in a group activity to identify elements of these genres in Jane Eyre by finding relevant scenes and chapters. The document emphasizes that genres are not mutually exclusive and Victorian novels often combined multiple genres.
This document provides an agenda and background information for an EWRT 1C class discussion on the novel Room by Emma Donoghue. It includes a brief biography of Donoghue, discusses some of her inspirations for Room, provides historical context about the Fritzl case, and summarizes Donoghue's literary style in Room. It also lists several discussion questions (QHQs) about themes and events in the novel that the class will analyze.
This document contains a weekly schedule for an American Literature class from 1914-1945. It lists the in-class activities and homework assignments for each week. The in-class activities include lectures on literary works and theories, discussions of questions posted by students, and introductions to new authors. The assigned readings include works by Fitzgerald, Glaspell, Cather, Pound, Williams, Stevens, Loy, and Faulkner. Students are required to post discussion questions on the readings and respond to prompts analyzing symbols, characters, and the works' connections to literary theories and modernist manifestos.
Based on the audience research and feedback, here are some key points I would include in my story and production:
- The story genre will be fantasy/adventure set primarily in a forest setting
- The narration will be at a normal speaking pace to immerse the audience
- Sound effects and music will be included to enhance the listening experience
- Characters, language, and themes will be accessible to both male and female listeners of various ages
- Descriptions, plot points, and character development will keep the audience engaged and wanting to listen to the next part of the story
By incorporating this audience feedback, I believe the finished audiobook product will successfully appeal to and entertain the target demographics
The document provides an overview of a class discussion on the novel The Road by Cormac McCarthy. It includes definitions of key terms from the novel like "the apocalypse" and "themes." It also presents discussion questions about the novel related to concepts like trust, innocence, and symbols. The document outlines the class agenda, including a discussion of The Road, student self-assessment of their blog posts on the novel, and preparation for the final exam by revising their first essay and completing their second essay.
The document describes a book club for grades 9-11. It includes profiles of the book club members, lists of recommended books for each grade level, and activities to accompany each book. For grade 9, books such as The Hobbit, Of Mice and Men, and To Kill a Mockingbird are recommended. Accompanying activities for The Hobbit include writing a newspaper article, creating epithets based on members' names, and comparing the book to fairy tales. Grade 10 books lean towards those that may appeal more to male students, and include Lord of the Flies. Activities for Lord of the Flies involve mapping the island, publishing a book cover, and creating a soundtrack. Books recommended for grade 11 aim
This document provides instructions and prompts for an essay assignment on postmodern literature. Students are asked to write a 3-6 page thesis-driven essay responding to one of several prompts about works they have read in the course. The prompts cover topics like postmodernism and manifestos, themes in specific works, and analyzing passages through different theoretical lenses. The essay should demonstrate clear writing, rhetorical skills, and use MLA style formatting with citations. The document provides learning objectives, introduction to the assignment, and detailed prompts to choose from as well as formatting and submission requirements.
The document provides a book club presentation and reading list for grades 8 through 12. It includes novel summaries and rationale for novels chosen, as well as potential teaching activities. For The Boy in the Striped Pajamas, it outlines the plot in 3 sentences, provides 3 teaching activity ideas, and lists supplementary readings to pair with the novel. For The Hunger Games, it lists major themes and 2 teaching activity ideas focusing on connections to the Holocaust.
This document provides information about a class on the genre of Jane Eyre. It discusses several genres that were popular in the Victorian period, including realism, Bildungsroman, Christian pilgrimage novel, gothic novel, sensation novel, and domestic novel. It then has students participate in a group activity to identify elements of these genres in Jane Eyre by finding relevant scenes and chapters. The document emphasizes that genres are not mutually exclusive and Victorian novels often combined multiple genres.
This document provides an agenda and background information for an EWRT 1C class discussion on the novel Room by Emma Donoghue. It includes a brief biography of Donoghue, discusses some of her inspirations for Room, provides historical context about the Fritzl case, and summarizes Donoghue's literary style in Room. It also lists several discussion questions (QHQs) about themes and events in the novel that the class will analyze.
This document contains a weekly schedule for an American Literature class from 1914-1945. It lists the in-class activities and homework assignments for each week. The in-class activities include lectures on literary works and theories, discussions of questions posted by students, and introductions to new authors. The assigned readings include works by Fitzgerald, Glaspell, Cather, Pound, Williams, Stevens, Loy, and Faulkner. Students are required to post discussion questions on the readings and respond to prompts analyzing symbols, characters, and the works' connections to literary theories and modernist manifestos.
Based on the audience research and feedback, here are some key points I would include in my story and production:
- The story genre will be fantasy/adventure set primarily in a forest setting
- The narration will be at a normal speaking pace to immerse the audience
- Sound effects and music will be included to enhance the listening experience
- Characters, language, and themes will be accessible to both male and female listeners of various ages
- Descriptions, plot points, and character development will keep the audience engaged and wanting to listen to the next part of the story
By incorporating this audience feedback, I believe the finished audiobook product will successfully appeal to and entertain the target demographics
This document discusses strategies for selecting books that will appeal to readers of all ages, including using award lists, reviewing top ten lists, and surveying students. It also describes types of humor and nonfiction that are appropriate for different ages. Formats like graphic novels and plays are also mentioned as new formats that can engage readers. The focus is on choosing materials that will help build strong, enthusiastic readers.
Kai Strand is a writer of fiction for kids and teens. Some key facts about her include that she reads over 100 books per year, has lived in several states, and spent time in France as a teenager. She writes the Worth the Effort and Weaver Tales series. The document provides background on Kai Strand and an excerpt from her book Worth the Effort: Ella's Story, in which the main character Ella walks alone at night and feels vulnerable and afraid in the shadows. Students are tasked with analyzing the excerpt and preparing questions for a potential interview with Kai Strand.
This document provides revision resources and guidance for studying John Steinbeck's novella "Of Mice and Men" for the WJEC English Literature exam. It outlines the assessment objectives, describes the structure of the exam including a short extract question and whole text essay question, and offers advice on how to approach different question types. Key themes of the novella like friendship, loneliness, and masculinity are discussed. The relationship between form and meaning is also addressed.
This document provides definitions and examples of the terms "hence", "thus", and "therefore". Hence means from this place or because of a preceding fact. It is used to show reason or cause. Thus means in this or that manner or way, as an example. It is used to draw a conclusion. Therefore means for that reason or because of that; it directly relates to reasoning. The document provides examples of sentences using each term to demonstrate their meanings.
George and Lennie arrive at their new ranch jobs. [1] They meet their boss and are shown to their bunk by Candy. [2] George warns Lennie to avoid Curley, the boss's son, and his flirtatious wife. [3] They also meet some of the other ranch hands, establishing the characters and social dynamics that will be important in the story.
This document provides an introduction to American author Katie L. Caroll and summarizes her background, writing experience, and interests. It notes that she began writing after the unexpected passing of her 16-year old sister and has had various jobs including newspaper delivery, basketball coach, and puzzle magazine editor. The document includes an excerpt from her YA fantasy novel Elixir Bound and directs students to analyze the excerpt and genre, take notes, and prepare questions for a Skype interview with the author about her influences, creative process, and the excerpt.
Genres Introduction for Lower Elementary Studentsgherm6
This document discusses different genres of fiction including adventure, fantasy, historical fiction, horror, humor, mystery, realistic fiction, science fiction, sports fiction, and graphic novels. It provides examples of movies and television shows that fall within each genre to help readers identify genres they may enjoy based on media they like. Each genre section also gives a brief description of common themes or elements for that type of fiction.
This document outlines learning goals and lesson plans for a unit on the play A Streetcar Named Desire by Tennessee Williams. The unit goals include understanding key aspects of the Modern literary era, identifying elements of the Southern Gothic genre, analyzing word choice and literary techniques in the play, and applying literary theories. The lesson plans provide historical and literary context, define important terms, assign readings from the play, and include discussion questions. They introduce the author, themes, characters, setting, and symbols/motifs of the play.
This document provides information on 14 young adult authors, including their websites and lists of genres and titles of some of their works. For each author, it lists genres they write in such as historical fiction, contemporary fiction, sports fiction, and mysteries. It provides 1-3 examples of titles and series for most of the authors. The authors are Susan Campbell Bartoletti, Gennifer Choldenko, Andrew Clements, Caroline B. Cooney, John Coy, Frances O'Roark Dowell, John Feinstein, Candace Fleming, Helen Frost, Lisa Graff, Margaret Peterson Haddix, Will Hobbs, Jennifer Holm, and Anthony Horowitz.
This document provides an overview of different types of irony and paradoxes in literature. It begins by defining verbal irony as when the intended meaning of words is contrary to their literal interpretation. It then discusses the historical development of irony in works by authors like Chaucer, Shakespeare, and Swift. It distinguishes between dramatic, situational, and verbal irony. It also covers paradoxes, Socratic irony, tragic irony, and provides examples from works like Catch-22 to illustrate different ironic concepts. In summary, the document analyzes irony and paradoxes across various literary works and time periods.
This document provides descriptions of different fiction genres including classics, fantasy, science fiction, horror/supernatural, realistic fiction, romance, historical fiction, and mystery. It then has a 7 question multiple choice quiz to test the reader's knowledge of the genres. The genres are defined with 1-2 sentences describing common characteristics. For example, classics are defined as books written before the 20th century that have stood the test of time, while fantasy includes magical creatures and the personification of objects. The document concludes by congratulating the reader on learning about the genres and encouraging them to find a book in a genre that interests them.
The document provides an overview of a lesson on comparing and contrasting 21st century literary genres with earlier genres/periods. It introduces key concepts like literary genre and discusses examples of genres from the 21st century like blogs, chick lit, flash fiction and science fiction. It also presents genres from the pre-colonial period like folk narratives, proverbs, riddles and songs. The lesson asks students to analyze samples of different genres including a coconut riddle, a graphic novel on a historical battle, and excerpts from novels and a lullaby. The goal is for students to understand the elements, structures and traditions of various literary genres over time.
The document contains summaries of several children's books from different genres including historical fiction, biography, and informational texts. Strategies are suggested for using each book in an educational setting, such as read alouds, writing prompts, research activities, and connecting to curricular standards.
This chapter introduces Stephen as a young boy attending boarding school. He feels isolated from his peers and longs to return home. At a family Christmas dinner, Stephen witnesses tension between his Catholic and nationalist relatives as they argue about politics and religion. This leaves Stephen feeling confused about his own identity and the adult world.
When the wasps drowned’ by clare wigfallthemerch78
Three children are left alone for the summer while their mother works. The youngest, Therese, is attacked by wasps after disturbing their nest. Later, the children discover a teenager's buried arm in their neighbor's garden, indicating they have been murdered. The story explores themes of childhood naivety, danger, and family relationships against a backdrop of ominous weather that reflects the threatening events. Literary devices like metaphor, personification and pathetic fallacy are used to describe the wasp attack and buried body in a way that builds an unsettling atmosphere and foreshadows danger.
Avatar Dolly provides an overview of different genres of writing, separating them into two main categories: fiction and non-fiction. Fiction includes subgenres like realistic fiction, historical fiction, fantasy, mystery, science fiction, and folklore. Non-fiction includes genres like informational texts, biography, and poetry. Examples are given for each genre to illustrate the types of stories or information that fall into each category.
Louise Erdrich is a Native American author born in 1954 in North Dakota. She comes from a family involved with Native American culture and wrote novels, poems, and children's books exploring Native American themes. Her most famous work, Love Medicine, won the National Book Critics Circle Award in 1984. Erdrich currently lives in Minnesota where she owns a bookstore. The story takes place in a town near a lake on a Native American reservation and focuses on the character Fleur Pillager, a Chippewa woman with magical powers who is both feared and disliked by the townspeople.
The document discusses different types of leads or opening sentences that can be used when writing a story. It provides examples of action leads, snapshot leads, dialogue leads, thinking leads, misleading leads, and setup leads. It also discusses the Bulwer-Lytton Fiction Contest, which challenges entrants to write intentionally bad opening sentences. The document advises against using question leads and encourages experimenting with different lead types when writing fairytales like Little Red Riding Hood or Goldilocks.
This document discusses Northrup Frye's four literary modes - romance, comedy, mimetic/realism, and tragedy/irony - which are symbolized by the four seasons. Romance is associated with spring and involves an exaggerated quest narrative. Comedy, linked with summer, has an optimistic tone and happy ending. Mimetic/realism, tied to autumn, depicts reality in a less idealized way. Tragedy/irony, connected to winter, features pessimism, darkness and death. The document provides examples of works that fit each mode and transition between them. It also examines how different genres like picaresque novels employ humor within the four modes framework.
The document defines genres and subgenres of writing. The 5 main genres are nonfiction, fiction, folklore, drama, and poetry. Nonfiction includes persuasive writing, informational writing, autobiography, and biography. Fiction includes historical fiction, science fiction, realistic fiction, and fantasy. Folklore includes myth, legend, tall tale, fairy tale, and fable. Drama includes comedy and tragedy. Examples and definitions of each subgenre are provided.
The document defines the main genres and subgenres of writing. The five main genres are nonfiction, fiction, folklore, drama, and poetry. Nonfiction includes subgenres like persuasive writing, informational writing, autobiography and biography. Fiction subgenres are historical fiction, science fiction, realistic fiction and fantasy. Folklore subgenres are myths, legends, tall tales, fairy tales and fables. Drama consists of comedies and tragedies. Examples are provided for each subgenre.
This document discusses strategies for selecting books that will appeal to readers of all ages, including using award lists, reviewing top ten lists, and surveying students. It also describes types of humor and nonfiction that are appropriate for different ages. Formats like graphic novels and plays are also mentioned as new formats that can engage readers. The focus is on choosing materials that will help build strong, enthusiastic readers.
Kai Strand is a writer of fiction for kids and teens. Some key facts about her include that she reads over 100 books per year, has lived in several states, and spent time in France as a teenager. She writes the Worth the Effort and Weaver Tales series. The document provides background on Kai Strand and an excerpt from her book Worth the Effort: Ella's Story, in which the main character Ella walks alone at night and feels vulnerable and afraid in the shadows. Students are tasked with analyzing the excerpt and preparing questions for a potential interview with Kai Strand.
This document provides revision resources and guidance for studying John Steinbeck's novella "Of Mice and Men" for the WJEC English Literature exam. It outlines the assessment objectives, describes the structure of the exam including a short extract question and whole text essay question, and offers advice on how to approach different question types. Key themes of the novella like friendship, loneliness, and masculinity are discussed. The relationship between form and meaning is also addressed.
This document provides definitions and examples of the terms "hence", "thus", and "therefore". Hence means from this place or because of a preceding fact. It is used to show reason or cause. Thus means in this or that manner or way, as an example. It is used to draw a conclusion. Therefore means for that reason or because of that; it directly relates to reasoning. The document provides examples of sentences using each term to demonstrate their meanings.
George and Lennie arrive at their new ranch jobs. [1] They meet their boss and are shown to their bunk by Candy. [2] George warns Lennie to avoid Curley, the boss's son, and his flirtatious wife. [3] They also meet some of the other ranch hands, establishing the characters and social dynamics that will be important in the story.
This document provides an introduction to American author Katie L. Caroll and summarizes her background, writing experience, and interests. It notes that she began writing after the unexpected passing of her 16-year old sister and has had various jobs including newspaper delivery, basketball coach, and puzzle magazine editor. The document includes an excerpt from her YA fantasy novel Elixir Bound and directs students to analyze the excerpt and genre, take notes, and prepare questions for a Skype interview with the author about her influences, creative process, and the excerpt.
Genres Introduction for Lower Elementary Studentsgherm6
This document discusses different genres of fiction including adventure, fantasy, historical fiction, horror, humor, mystery, realistic fiction, science fiction, sports fiction, and graphic novels. It provides examples of movies and television shows that fall within each genre to help readers identify genres they may enjoy based on media they like. Each genre section also gives a brief description of common themes or elements for that type of fiction.
This document outlines learning goals and lesson plans for a unit on the play A Streetcar Named Desire by Tennessee Williams. The unit goals include understanding key aspects of the Modern literary era, identifying elements of the Southern Gothic genre, analyzing word choice and literary techniques in the play, and applying literary theories. The lesson plans provide historical and literary context, define important terms, assign readings from the play, and include discussion questions. They introduce the author, themes, characters, setting, and symbols/motifs of the play.
This document provides information on 14 young adult authors, including their websites and lists of genres and titles of some of their works. For each author, it lists genres they write in such as historical fiction, contemporary fiction, sports fiction, and mysteries. It provides 1-3 examples of titles and series for most of the authors. The authors are Susan Campbell Bartoletti, Gennifer Choldenko, Andrew Clements, Caroline B. Cooney, John Coy, Frances O'Roark Dowell, John Feinstein, Candace Fleming, Helen Frost, Lisa Graff, Margaret Peterson Haddix, Will Hobbs, Jennifer Holm, and Anthony Horowitz.
This document provides an overview of different types of irony and paradoxes in literature. It begins by defining verbal irony as when the intended meaning of words is contrary to their literal interpretation. It then discusses the historical development of irony in works by authors like Chaucer, Shakespeare, and Swift. It distinguishes between dramatic, situational, and verbal irony. It also covers paradoxes, Socratic irony, tragic irony, and provides examples from works like Catch-22 to illustrate different ironic concepts. In summary, the document analyzes irony and paradoxes across various literary works and time periods.
This document provides descriptions of different fiction genres including classics, fantasy, science fiction, horror/supernatural, realistic fiction, romance, historical fiction, and mystery. It then has a 7 question multiple choice quiz to test the reader's knowledge of the genres. The genres are defined with 1-2 sentences describing common characteristics. For example, classics are defined as books written before the 20th century that have stood the test of time, while fantasy includes magical creatures and the personification of objects. The document concludes by congratulating the reader on learning about the genres and encouraging them to find a book in a genre that interests them.
The document provides an overview of a lesson on comparing and contrasting 21st century literary genres with earlier genres/periods. It introduces key concepts like literary genre and discusses examples of genres from the 21st century like blogs, chick lit, flash fiction and science fiction. It also presents genres from the pre-colonial period like folk narratives, proverbs, riddles and songs. The lesson asks students to analyze samples of different genres including a coconut riddle, a graphic novel on a historical battle, and excerpts from novels and a lullaby. The goal is for students to understand the elements, structures and traditions of various literary genres over time.
The document contains summaries of several children's books from different genres including historical fiction, biography, and informational texts. Strategies are suggested for using each book in an educational setting, such as read alouds, writing prompts, research activities, and connecting to curricular standards.
This chapter introduces Stephen as a young boy attending boarding school. He feels isolated from his peers and longs to return home. At a family Christmas dinner, Stephen witnesses tension between his Catholic and nationalist relatives as they argue about politics and religion. This leaves Stephen feeling confused about his own identity and the adult world.
When the wasps drowned’ by clare wigfallthemerch78
Three children are left alone for the summer while their mother works. The youngest, Therese, is attacked by wasps after disturbing their nest. Later, the children discover a teenager's buried arm in their neighbor's garden, indicating they have been murdered. The story explores themes of childhood naivety, danger, and family relationships against a backdrop of ominous weather that reflects the threatening events. Literary devices like metaphor, personification and pathetic fallacy are used to describe the wasp attack and buried body in a way that builds an unsettling atmosphere and foreshadows danger.
Avatar Dolly provides an overview of different genres of writing, separating them into two main categories: fiction and non-fiction. Fiction includes subgenres like realistic fiction, historical fiction, fantasy, mystery, science fiction, and folklore. Non-fiction includes genres like informational texts, biography, and poetry. Examples are given for each genre to illustrate the types of stories or information that fall into each category.
Louise Erdrich is a Native American author born in 1954 in North Dakota. She comes from a family involved with Native American culture and wrote novels, poems, and children's books exploring Native American themes. Her most famous work, Love Medicine, won the National Book Critics Circle Award in 1984. Erdrich currently lives in Minnesota where she owns a bookstore. The story takes place in a town near a lake on a Native American reservation and focuses on the character Fleur Pillager, a Chippewa woman with magical powers who is both feared and disliked by the townspeople.
The document discusses different types of leads or opening sentences that can be used when writing a story. It provides examples of action leads, snapshot leads, dialogue leads, thinking leads, misleading leads, and setup leads. It also discusses the Bulwer-Lytton Fiction Contest, which challenges entrants to write intentionally bad opening sentences. The document advises against using question leads and encourages experimenting with different lead types when writing fairytales like Little Red Riding Hood or Goldilocks.
This document discusses Northrup Frye's four literary modes - romance, comedy, mimetic/realism, and tragedy/irony - which are symbolized by the four seasons. Romance is associated with spring and involves an exaggerated quest narrative. Comedy, linked with summer, has an optimistic tone and happy ending. Mimetic/realism, tied to autumn, depicts reality in a less idealized way. Tragedy/irony, connected to winter, features pessimism, darkness and death. The document provides examples of works that fit each mode and transition between them. It also examines how different genres like picaresque novels employ humor within the four modes framework.
The document defines genres and subgenres of writing. The 5 main genres are nonfiction, fiction, folklore, drama, and poetry. Nonfiction includes persuasive writing, informational writing, autobiography, and biography. Fiction includes historical fiction, science fiction, realistic fiction, and fantasy. Folklore includes myth, legend, tall tale, fairy tale, and fable. Drama includes comedy and tragedy. Examples and definitions of each subgenre are provided.
The document defines the main genres and subgenres of writing. The five main genres are nonfiction, fiction, folklore, drama, and poetry. Nonfiction includes subgenres like persuasive writing, informational writing, autobiography and biography. Fiction subgenres are historical fiction, science fiction, realistic fiction and fantasy. Folklore subgenres are myths, legends, tall tales, fairy tales and fables. Drama consists of comedies and tragedies. Examples are provided for each subgenre.
The document defines the main genres and subgenres of writing. The 5 main genres are nonfiction, fiction, folklore, drama, and poetry. Nonfiction includes persuasive writing, informational writing, autobiography, and biography. Fiction includes historical fiction, science fiction, realistic fiction, and fantasy. Folklore includes myth, legend, tall tale, fairy tale, and fable. Drama includes comedy and tragedy. Examples and definitions of each subgenre are provided.
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The document defines genres and subgenres of writing. The 5 main genres are nonfiction, fiction, folklore, drama, and poetry. Nonfiction includes persuasive writing, informational writing, autobiography, and biography. Fiction includes historical fiction, science fiction, realistic fiction, and fantasy. Folklore includes myth, legend, tall tale, fairy tale, and fable. Drama includes comedy and tragedy. Examples and definitions of each subgenre are provided.
The document discusses genres and subgenres of writing. It identifies the 5 main genres as nonfiction, fiction, folklore, drama, and poetry. For each genre, several subgenres are defined. Nonfiction subgenres include persuasive writing, informational writing, autobiography, and biography. Fiction subgenres are historical fiction, science fiction, realistic fiction, and fantasy. Folklore subgenres are myth, legend, tall tale, fairy tale, and fable. Drama subgenres are comedy and tragedy. The document provides examples and descriptions to illustrate the different genres and subgenres.
The document defines genres and subgenres of writing. The 5 main genres are nonfiction, fiction, folklore, drama, and poetry. Nonfiction includes persuasive writing, informational writing, autobiography, and biography. Fiction includes historical fiction, science fiction, realistic fiction, and fantasy. Folklore includes myth, legend, tall tale, fairy tale, and fable. Drama includes comedy and tragedy. Examples and descriptions are provided for each subgenre.
This document provides an overview of writing genres and subgenres. It discusses the 5 main genres of poetry, nonfiction, fiction, folklore, and drama. For each genre, it lists related subgenres and provides brief descriptions and examples. The document aims to teach students the categories and subgenres that different types of writing fall into.
The document provides an agenda for Class 4 of EWRT 1B. It includes presentations on terms and authors Langston Hughes, as well as discussions on racial passing stories. Students will work in teams to earn participation points by answering questions and contributing to discussions. The class will cover writing summaries and paraphrasing poetry through an in-class writing assignment. Teams will be established for discussing an upcoming essay and will remain the same through reading and workshops, with requirements to change team members and compositions after each essay is completed.
Flowers For Algernon Essay. The Play of Daniel Keyes Flowers for Algernon Fre...Mari Howard
Flowers for Algernon Character Analysis - Free Essay Example .... Flowers for Algernon: Argumentative Essay Directions, Outline, and Rubric. Writing the "Flowers for Algernon" Essay - LEARN PARK. Response to Literature Essay with Flowers for Algernon by Daniel Keys. Essay flowers algernon summary. The Play of Daniel Keyes’ Flowers for Algernon Free Essay Example. Wondrous Flowers For Algernon Essay ~ Thatsnotus. Flowers for algernon introduction. Flowers for Algernon, Essay Example .... FLOWERS FOR ALGERNON. 21 Flowers for Algernon ideas | flowers for algernon, teaching .... Flowers for Algernon Essay - Google Docs. Flowers for Algernon Essay .pdf - Stephanie Penafiel English 10B Period .... Flowers for Algernon by Daniel Keyes Essay Sample. Nursing Essay: Flowers for algernon essay. Flowers For Algernon Essay Topics - 2021 | TopicsMill.
Essay On Things Fall Apart By Chinua Achebe.pdfTina Hudson
Things Fall Apart by Chinua Achebe - Penguin Books Australia. The Book Review: THINGS FALL APART by Chinua Achebe. PPT - Introduction to Chinua Achebe and Things Fall Apart PowerPoint .... (PDF) Chinua Achebe’s Things Fall Apart, the Lucid One, and Crisis of .... Things Fall Apart Essay Help - Things Fall Apart by Chinua Achebe. خواطر حول رواية " أشياء تتداعى " - Things Fall Apart للعبقري النيجيري .... How "Things Fall Apart" by Chinua Achebe Is Structured. Review essay: things fall apart by chinua achebe. Things Fall Apart by Chinua Achebe Full ChapterWise Summary with Analysis,Background and Quotations.
This document provides instructions and discussion topics for a literature class focusing on the genre of Jane Eyre. Students are assigned to groups to identify elements of different novel genres (Bildungsroman, Christian pilgrimage, Gothic, Sensation, and Domestic) within Jane Eyre. They are asked to find specific scenes and chapters to support their assigned genre. Additionally, the class discusses whether aspects of the novel do not fit neatly into one genre. The instructor argues genres can be combined and that Victorian novels often fractured genres, reflecting complexity in Victorian subjectivity and worldview. Students are assigned reading and discussion participation is tracked for points.
CSI 170 Week 3 Assingment
Assignment 1: Cyber Computer Crime
Assignment 1: Cyber Computer Crime
Create a 15-slide presentation in which you:
1. Describe the responsibilities of the National Security Administration (NSA).
2. Identify the four critical needs at the state or local level of law enforcement in order to fight computer crime more effectively.
3. Explain how the U.S. Postal Service assists in the investigation and prosecution of cases involving child pornography.
4. Discuss how and why the Department of Homeland Security (DHS) consolidated so many federal offices.
5. Go to https://research.strayer.edu to locate at least three (3) quality references for this assignment. One of these must have been published within the last year.
4/15/2019 Auden, Musée des Beaux Arts
english.emory.edu/classes/paintings&poems/auden.html 1/1
Musee des Beaux Arts
W. H. Auden
About suffering they were never wrong,
The old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking
dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.
In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water, and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.
Pieter Brueghel, The Fall of Icarus
Oil-tempera, 29 inches x 44 inches.
Museum of Fine Arts, Brussels.
See also:
William Carlos Williams' "Landscape with the Fall of Icarus "
Return to the Poem Index
javascript:openwin('Icarus.jpg',530,330)
http://english.emory.edu/classes/paintings&poems/Williams.html
http://english.emory.edu/classes/paintings&poems/titlepage.html
1. Biographical information on Ibsen—Concluding sentence: Sub-thesis, his play and Nora.
2. Nora’s treatment by her father and Nora’s treatment by her husband Torvald.
3. Nora’s treatment by Krogstad.
4. Nora’s contrast with Christine
INTRO: Females in Conflict
Yet another voice to champion the cause of inequality of the sexes is Henrik Ibsen.
Writing at the end of the nineteenth century in Victorian Norway, his play A Doll House utilizes
the format of a playwright to convey through the use of evolving characters different political and
social messages. When analyzing A Doll House’s protagonist, Nora, her interactions with the
other characters.
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This document outlines the schedule and assignments for an English literature course. It provides discussion topics and questions about the short story "We Might as Well be Strangers" and details for the second paper assignment. Students must submit a revised draft of Paper 2 by Friday of week 11 before noon. They are also to complete a self-assessment homework assignment. The document discusses primary texts that could be analyzed for the paper and provides potential essay topics and questions.
Presentation Deaf Comic Book CharactersSharon Pajka
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This document discusses different literary genres and how humor fits within them. It outlines four main modes of literature based on the seasons - romance (spring), comedy (summer), mimetic/realism (fall), and tragedy/irony (winter). Each mode is associated with certain archetypes, themes, and story structures. The document then examines how humor can be used within each mode, providing examples from both classical and popular literature. Key humor techniques discussed include irony, satire, gallows humor, and benign humor.
The document contains a short excerpt from Harry Potter and the Chamber of Secrets by J.K. Rowling. It describes Harry returning to the Gryffindor common room soaking wet after a rainy Quidditch practice. On his way, he encounters Nearly Headless Nick, the Gryffindor house ghost, who is muttering to himself about not fulfilling some requirements. They exchange a greeting but no other details are provided about their interaction.
Similar to Syllabus Eng190 LitHauntings Summer 2014 (20)
1. Engl 190 Literary Hauntings
Summer 2014, Tuesdays, Wednesdays, Thursdays, 9.00-11.30 am, 1185 Wiekamp Hall
Dr. Emmeline GROS, 3111 Wiekamp, egros@iusb.edu
Office Hours: Tuesdays, Wednesdays, Thursdays 11.30-1.00pm (call 574.520.4490)
Course rationale
Hauntings of all kinds permeate our everyday life. Whether on the stage of Shakespeare’s
dramas, in religious rituals, in Dickens’ and Edgar Allan Poe’s short stories, in horror
movies or TV series (Ghost Whisperer, Haunted House, Medium, Desperate Housewives,
etc.), the undead are everywhere.
Haunted houses, monsters, ghosts, madmen and madwomen, specters, vampires, and a
wide variety of other creepy, mysterious, and dark things will fill our semester’s texts.
This course will give us the opportunity to read and compare works that employ haunting
or spirit possession as a central motif. In it, we will consider how and to what extent
storytellers use ghosts and haunting in their narratives. Among the questions we’ll ask:
why is American Literature, and Southern Literature in particular, so enamored with the
ghostly, the ghastly, and the supernatural? Because ghosts figure prominently in many
canonic literary texts, we’ll look at literary hauntings in order to think about the silences
and the omissions that ghosts can make visible. What effect does the supernatural have
on us as readers? What’s the appeal?
As part of this inquiry, we’ll think through the relationship between the supernatural and
history itself. Specifically we’ll ask: what it is about the US’s particular history—a
history that is informed by enslavement, forced land removal, and immigration—that
makes it such a rife space for the appearance of all sorts of ghosts. We’ll ask then a series
of questions that look something like this: why is American literature haunted in the way
that it is? How does haunting disrupt our notion of traditional historical progression?
What does it mean when the past refuses to stay put, bubbles up, and careens into the
present? What kind of historical possibilities does the novelistic form provide that the
history textbook simply can’t?
Over the course of the semester, we’ll do some serious soul searching, tracking down the
appearance of ghosts and spirits in 19th and 20th century American literature. We will
pay special attention to souls that are given a race, gender, and/or sexuality. We’ll think
about who has a soul, who doesn’t, who can get it, and who can’t. Some food for thought:
W.E.B. Du Bois maintains that black folk are gifted with second-sight and possess two
souls, the 19th-century transcendentalist Margaret Fuller claims women possess a special
electrical composition, and Yiddish culture understands the soul, or neshama, as
exclusively Jewish. We’ll consider the significance of employing a spiritual rhetoric (like
the examples just mentioned) against the backdrop of a mainstream science which was
often racist, sexist, and homophobic. In other words, we’ll ask whether a belief in spirits,
ghosts, and generally spooky things can be its own form of resistance against social and
historical injustice.
2. 2
Contact Information
One of the many advantages of attending a university like the University of Indiana South Bend is
that you can maintain much readier and more extensive opportunity to meet and work with
professors, from your first semester onward. I strongly encourage you to communicate with me
about any issues concerning this course. It doesn’t help for you to be confused or frustrated about
certain aspects of the course without letting me know. You can contact me at: egros@iusb.edu or
emmelinegros@gmail.com
Novels for Summer 2014
Carson McCullers, The Ballad of the Sad Café
Stephen King, Christine
Shirley Jackson, The Haunting of Hill House
Henry James, The Turn of the Screw
Charlaine Harris, Chapter 1. Dead Until Dark
Short Stories for Summer 2014
Edgar A. Poe, “The Fall of the House of Usher”, “The Masque of the Red Death”
“The Black Cat”
William Faulkner, “A Rose for Emily”
Flannery O’Connor, “A Goodman is Hard to Find”
Carson McCullers, “The Ballad of the sad Café”:
Charlotte P. Gilman, “The Yellow Wallpaper”
Ellen Glasgow, “Whispering Leaves”, “Jordan’s End”
Emily Dickinson, ‘One need not a chamber to be haunted’
“A Strange Case” in Spooky Stories from Indiana
Additional Readings for Summer 2014
“The secret of writing a good ghost story” (Susan Hill)
“The Gothic as a Portrait of a Fallen Word” (M.R. James”)
“Beyond the Hummingbird, Southern Gargantuas” (Patricia Yaeger)
“Gargoyles, Grotesques, and Marginalias”. (Anthony Di Renzo)
“The Plight of the Gothic Heroine” (Reka Toth)
“The Madwoman in the Attic” (Gilbert and Gubar)
3. 3
CALENDAR
1. July 8 Getting familiar with ‘hauntings’. Reading Literary Hauntings:
conventions, architecture, the Gothic, what makes a good ghost
story?
2. July 9 How do they build up suspense?
Handouts: The Dark Side of Individualism & Reading hauntings
Edgar A. Poe, “The Fall of the House of Usher”
3. July 10 Why/How do they write that Stuff?
Debrief n°1. due
Quiz on “The Dark Side of Individualism”
Danse Macabre by Stephen King;
Handouts: “Eek! We love to scare ourselves silly!”) and The Nature
of Horror: Terror vs. Horror. Poe, “The Black Cat”
RESSOURCE PRESENTATION: Presentation of your own favorite
scary novel to class.
4. July 15 LITERARY CIRCLE #1. The Haunting of the Hill House
Handouts: Why Don’t they Just Leave?.
Debrief n°2. due
5. July 16 A place for ghosts: Haunted Rooms, Haunted Houses
FOCUS ESSAY #1DUE
Debrief n°3.due
A Strange Case” in South Bend: to what extent does this ‘case’ fit
the conventions established by Edgar Allan Poe? (in Reading Log).
6. July 17 One need not a chamber to be haunted: insane or else?
Debrief n°4.due
“The Yellow Wallpaper” by Charlotte Perkins Gilman
“A Rose for Emily” by William Faulkner
One need not a chamber to be haunted by Emily Dickinson
7. July 22 The Ghosts and the Voice of the Repressed.
Debrief n°5. due
LITERARY CIRCLE #2. Henry James, The Turn of the Screw
8. July 23 Gender and Ghosts: The Extreme Guy and the Deviant Femme
Handouts and extracts: Reclaiming ‘gender’ power
Debrief n°6.due
William Faulkner, “A Rose for Emily”
4. 4
RESSOURCE PRESENTATION: Write your own ghost story in
50 words. Here is an example: “The couple next door were
fighting again. I couldn’t help myself: I put a glass against the wall
to listen. But what I heard was a tiny, buzzing voice, in the glass,
in my ear: I am awake, it said. I am awake. Help me. Help.”
9. July 24 The Southern Gothic /Grotesque
Flannery O’Connor, “A Good man is Hard to find”;
“Beyond the Hummingbird, Southern Gargantuas”
“Gargoyles, Grotesques, and Marginalias”.
RESOURCE PRESENTATION: Freaks in Southern Culture.
Debrief n°7.due
10. July 29 LITERARY CIRCLE #3. McCullers, The Ballad of the Sad Café.
Debrief n°8. due
11. July 30 Cultural Hauntings: Other Monsters, Other Hauntings
Ellen Glasgow, “Whispering Leaves”, “Jordan’s End”
FOCUS ESSAY #2DUE
Debrief n°9. due
12. July 31 Vampires, Zombies, and Co.: The Spectral Turn
True Blood Intro/Trailer
http://www.youtube.com/watch?v=Wet5OM7RR8Q&feature=kp.
In your reading log: what colors do you see? What images do you
see? What are some lyrics you remember from the song? What
books, TV shows, and movies do you know that are about
vampires? Research vampires/zombies in the US and in the US
South. Bring your findings to class. (in Reading Log).
Chapter 1. Dead Until Dark, Charlaine Harris
13. August 5 LITERARY CIRCLE #4, Stephen King, Christine
Extract 2 by Stephen King “why do you write that stuff?”
“Haunted Men: Masculinity in the Ghost Story”;
14. August 6 RESOURCE PRESENTATION: Select a text that you feel should
be included in our consideration of haunting: what type of haunting
would it correspond to?
Debrief n°10. due
15. August 7 Final Exam
5. 5
Grade Breakdown
‘Debrief’ Participation/Quizzes/Focus Essay/Literary Circle: 45%;
Final Exam: 35%
RESSOURCE Presentation: 20%
Class Discussion & Participation
Since this class is largely discussion-based, arrive to class prepared with the proper
readings. A student’s participation is assessed by his/her contribution throughout the
semester. Use the following as guidelines for this portion of your final grade:
• To earn a "C," do the minimum: read and prepare assigned readings so you are never
at a loss if you are asked a question, but speak only when called upon, do "ordinary,"
plain-vanilla presentations and responses. This is the "bottom line" for getting a "C" in
this part of the course.
• To earn a "B," prepare assigned readings thoroughly, initiate discussions about them
by asking good questions or suggesting ways to interpret readings, do presentations that
reveal that you have done good additional work that you can make both interesting and
meaningful to our discussions, and participate actively in those discussions.
• For an "A," take it up another level entirely: prepare readings thoroughly, find and talk
about connections among them and among other aspects of culture (then and now), take a
real leadership role in class discussions, including working actively to get others involved
in the talk, make your presentations and responses "sparkle" by bringing to them
something really special in terms of your own contributions, interests, skills, and abilities
to think in broad even interdisciplinary terms. Most of all, remember that an "A"
indicates the very best grade a person can get; that should tell you what sort of work you
need to do to earn the grade of "A."
If you miss class, contact a classmate for notes, reading assignments and handouts – or
check our Course Website. (Please do not email me to ask “Did I miss anything
important?”)
Your first assignment, and the assignment for every class, is to read this syllabus. The
chief requirement for this course will be regular and energetic participation. This course
relies upon a participatory, collaborative learning experience. This will require you to do
the readings well in advance, and often more than once. There will be quizzes, short
reflection response papers, literary circles assignments and a final open-book exam in
class.
6. 6
Debriefs
Class blog (100-150 words)
At the end of each week, I will ask one of you to enter your reflection on the activities
and readings discussed during this class: To reflect is to think back on something, to step
back in time and relive a moment, event, or series of happenings. That is the primary
goal of writing a reflective response. The secondary goal is for you to put together in
writing what you have learned about the selection.
A reflection paragraph is an opportunity for you to critically engage with and connect to
the reading and discussion we had done in class. You may choose to comment on
content and/or the form of the piece of writing. The reflection paragraph is a dialogue
between you and the reader about the activities you have done in class. Post it on the blog
page on Oncourse.
Although a reflection paragraph is rather short and is not a formal research paper, it
should be analytical in nature where you take the opportunity to use your own judgment
to agree, disagree, like, dislike, and relate to the text(s) and activities and EXPLAIN why.
You may choose to write a response that is whimsical, poetic, satirical, and/or witty.
However, your tone of your reflection paper should not interfere with the clarity and
cohesiveness of your writing.
Guidelines for Writing
1. Before you read a selection, make a note of any discussion questions or ideas that
occurred in class that day.
2. As you read, keep your questions and ideas in mind. You may want to note whether or
note the piece you are reading provides you with information or perspectives on one or
more of these areas. If so, explain how. Give examples—SUPPORT your ideas.
3. You may choose to briefly summarize the main points or premises of the selection, but
this is only one part of the reflection paragraph.
Ask some of the following questions of yourself to help you prepare what to write:
*What insights have you gained from the reading/activity?
*What are the limitations (not so great moments) of the reading and why?
*How does the text or ideas presented in the text/in class relate to you?
*Did the reading make you question or think about something else?
*What questions were you left with after reading?
*Did you agree or disagree with what was written? Why or why not?
7. 7
Literature Circles
(Tuesdays: 7/15; 7/22; 7/29; 8/5)
One of the projects you will be participating in this semester is Literature Circles. For
those of you who have never participated in literature circles, these are groups usually
made up of 3-5 people who read the same book. Each person, however, is assigned a
different role:
- Discussion Director—comes up with ideas and questions from the reading
- Investigator—digs up background information about the book and/or its author
- Connector—finds connections between the book and the world and/or its readers
- Literary Luminary—selects significant passages for discussion
- Critics Tracer—looks at how critics have interpreted this story.
Your group will be assigned 2 of the following novels. Email me your top 3 choices in
order of preference by Wednesday, 7/9, 12pm.
- The Haunting of the Hill House, Shirley Jackson
- The Turn of the Screw, Henry James
- The Ballad of the Sad Café, Carson McCullers
- Christine, by Stephen King
Your task will be to lead a class discussion with your classmates. To facilitate this
discussion, each of the group members will be assigned one specific role:
Discussion Director: Your job is to develop a list of questions that your group might
want to discuss about this part of the book. Don’t worry about the small details; your task
is to help people talk over the big ideas in the reading and share their reactions. Usually
the best discussion questions come from your own thoughts, feelings, and concerns as
you read. You can list them below during or after your reading. You may also use some
of the general questions below to develop topics for your group.
Sample Questions
• What was going through your mind while you read this?
• How did you feel while reading this part of the book?
• What questions did you have when you finished this section?
• Did anything in this section of the book surprise you?
• What are the one or two most important ideas?
• What are some things you think will be talked about next?
Connector: Your job is to find connections between the book your group is reading and
the world outside. This means connecting the reading to similar events at other times and
places, or other people or problems that this book brings to mind. You might also see
connections between this book and other writings on the same topic or other writings by
the same author. You might also want to connect the topic to the author’s life or period.
There are no right answers here. Whatever the reading connects you with is worth
sharing!
8. 8
Investigator: Your job is to dig up some background information on any topic related to
your book. Choose one of the following. Once one of the following investigations has
been done by a group member, you must choose from the remaining investigations. Place
a check by ones that have been done.
• the geography, weather, culture, or history of the book’s setting
• information about the author – her/his life and other works
• information about the time period portrayed in the book
• pictures, objects, or materials that illustrate elements of the book
• the history and derivation of words or names used in the book
• music that reflects the book or its time
This is not a formal research report. The idea is to find bits of information or material that
helps your group better understand the book. Investigate something that really interests
you – something that struck you as puzzling or curious while you were reading.
Sources for information
• the introduction, preface, or “about the author” section of the book
• library books and magazines
• online computer search or encyclopedia
• interviews with people who know the topic
• other novels, nonfiction, or textbooks you’ve read
Literary Luminary: As the Literary Luminary, it is your job to read aloud parts of the
story to your group in order to help your fellow students remember some interesting,
powerful, puzzling, or important sections of the text. You decide which passages or
paragraphs are worth reading aloud, and justify your reasons for selecting them. Write the
page numbers and paragraph numbers on this form along with the reason you chose each
passage. You must choose a minimum of 3 passages. Some reasons for choosing
passages to share might include: * Pivotal events * Informative * Descriptive *
Surprising * Scary * Thought-provoking * Funny * Controversial * Confusing *
personally meaningful
Critics Tracer: The role of the critics tracer is to look up the library database (Jstor,
Academic search premier, etc) or the internet and read one article or two that will give us
a new "entry" into the story: how do critics read this story? what do they say about the
Gender roles in this story? what do they say about the place of "haunting" in this story?
Try to come up with one (or two) article(s) (that you will hand out to me) and try to
challenge our reading.
[Optional] Travel Tracer: When you are reading a book in which characters move
around often and the scene changes frequently, it is important for everyone in your group
to know where things are happening and how the setting may have changed. So that’s
your job: to track carefully where the action takes place during today’s reading. Describe
each setting in detail, either in words or with an action map or diagram you can show to
your group. You may use the back of this sheet or another sheet. Be sure to give the page
locations where the scene is described.
9. 9
Group presentation in class (Tuesdays: 7/15; 7/22; 7/29; 8/5)
Each of the novels in this course is rich with historical, social, political and cultural
references as well as being references themselves for later literature and film. For this
option, students will work together in groups to present information on a chosen novel, its
structure, its creation, its author, its characters, its later references in art – any information
that the group finds interesting about its novel. It’s the group’s job to decide what is most
important to show/tell the class, therefore be discerning about the information and
dynamic about the presentation. Since a group will introduce each novel on the day that
it’s scheduled, the presentation needs to inspire students to read, discuss and generally
find out more about that novel.
During this presentation, each student must participate in the actual presentation. The
material should be presented cohesively; in other words, the presentation should clearly
show that the group members have shared research, reviewed one another’s work and
integrated each other’s presentations as seamlessly as possible. In the past students have
used maps, film clips, songs, historical games, PowerPoint demonstrations and even
websites to demonstrate and enhance their presentations and their grades. You may use
any of the audio visual equipment in this room – have some fun with it!
For the presentation’s contents, first and foremost, each group needs to discuss how its
novel fits into the Gothic tradition by using excerpts from the novel. Research on the
production and reception history needs to be included also. For instance: How was it
written? In what form was it originally published? Can you show us an example? What
did critics say about it? Who read it? (These questions are provided to help you with your
research; not all need to be answered.) This portion should give the class a sense of the
novel when it was originally published. You may also provide historical information:
What political, social or cultural events are referred to or inspired the novel? Did the
novel influence any parodies? Did it inspire any artwork or films? Is the author’s
background important to know? Don’t just recite summaries or information from the
novel’s introductory pages; tell us what you found out about this novel. Excite us with
your presentation.
This presentation requires each group member to perform research either in the library or
on the Web. EVERYTHING THAT YOU CONSULT NEEDS TO BE INCLUDED IN
YOUR WORKS CITED/BIBLIOGRAPHY. FAILURE TO DO SO WILL RESULT IN
A LOWERED GRADE.
10. 10
Focus Essays
Due July 16 and 30
“It may be that place can focus the gigantic, voracious eye of genius and bring its gaze
to point. Focus then means awareness, discernment, order, clarity, insight--they are like
the attributes of love. The act of focusing itself has beauty and meaning; it is the act that,
continued in, turns into meditation, into poetry.”
“Place in Fiction”
In the Art of Fiction, David Lodge writes fifty short essays on various topics that together
comprise the “art of fiction.” He begins each essay by quoting a passage from the text, a
quotation that serves as a starting point, an illustration, and or an exemplar of the aspect
of fiction about which he writes in that chapter. By using the initial passage and by
keeping the essay brief, he necessarily and intentionally focuses his attention on a
particular topic. I call his essays in The Art of Fiction, focus essays.
You will write three 250/300-word (exclusive of the passage[s] that you quote) focus
essays. These focus essays should be single-spaced. Title your essay in a way that
announces the focus. Follow the title with the quotation that illustrates your focus and/or
generates your discussion. At the conclusion of the essay, include a Work Cited for the
text that you use. Make two copies of your essay: one I will read and comment upon; the
other I will place in a three-ring binder that anyone may read to more completely learn of
others’ “awareness, discernment, order, clarity, insight.” Include your focus essays (all
versions) in your reading log.
Focus Essay 1: from one of the 3 extracts, “The secret of writing a good ghost story”
(Susan Hill) – “Gothic and Marvel, intro by M.R. James”- “The Gothic as a Portrait of a
Fallen Word”: pick one sentence that you agree or disagree with and support your answer
with texts we have read in class (including The Haunting of the Hill House). 300 words
max.
Focus Essay 2: from one of the 2 extracts, “The Plight of the Gothic Heroine” – “The
Madwoman in the Attic”- pick one extract/sentence that you agree or disagree with and
support your answer with texts we have read in class (including The Ballad of the Sad
Café). 300 words max.
11. 11
Reading Log
Non-graded
Keep a weekly Reading log during the semester and bring it with you to class. In this log,
you may record questions that you anticipate answering by the reading assignments or
questions that you are using to guide your reading, or questions of what you want to
learn. The reading log is the place to record your reactions after reading, to make
connections among the readings, class discussions, and your on-going research, as well as
with your life (past, present, and future). If you annotate your text as you read, the
reading log is the place to copy the significant quotations and to think through why these
phrases or sentences are so striking or relevant. These “readings” can be recorded in the
reading log as well as in the text itself. Bringing the reading log to class is an
encouragement to keep up with this assignment, and to have your thought form the week
before at hand for the discussion. And yes, this takes time, but it will be worthwhile.
Consider if you now had a record of all the books that you have read or of all the movies
that you have seen! Reading Logs may be hand written (even in your class notebook and
labeled later—or word processed (just print the pages to bring to class and gather them
together later). Since the final exam will be an open book exam, this reading log is very
important.
My Book Project
August 6
You will select a text that you feel should be included in our consideration of haunting,
analyze it, and present your findings to the class. The texts that students selected are
wide-ranging: in the past, they have included Scooby Doo, The Sixth Sense, and Harry
Potter the Chamber of Secrets. For this in class-presentation, you should provide the class
with an example of your chosen text and make an argument about how that text
represents haunting and how it relates to the themes covered in the course.
Final Exam
August 7. 9.00 am
I envision a cumulative final exam of short answer identifications and essays covering the
‘haunting’ cosmos, bibliographic and critical resources, major themes, style, and
biography. The questions will be drawn from our reading, discussions, and the
presentations made in class. There will be choices in all sections of the exam. Sample
Question: “In ….., Stephen King argues …..” To what extent does this apply to the texts
and authors we have studied this semester? Support your argument. I will fashion this
final exam as an open-book exam.
12. 12
Key Questions for ENGL 190: Literary Hauntings
Use these questions to prepare for the examinations during the semester. Take notes on
these topics as you read each author, and get into the habit of comparing and contrasting
writers. By doing so, you will be well prepared for class discussions, you will construct a
valuable overview of the course material, and you will be ready for the examinations
without having to "cram" at the last minute.
1. How would you respond to the argument that an interest in horror is sick and
perverted--the sign of a twisted society and mind? That gothic tales are not
serious literature but a waste of time at best and at worst an actual danger to
society (like violent pornography)? Is there any "redeeming social value" in
horror, or is it a peculiar (and even sick) indulgence?
2. Why do people read (and presumably enjoy) tales of terror when terror is usually
considered a painful emotion? What function might these stories perform for their
readers?
3. How do you define gothic literature? What elements do you expect to find in a
tale of terror? What qualities or components or conventions distinguish it from
other kinds of writing? Can a work simultaneously belong to several genres (e.g.,
sci-fi and horror, or more recently, romance and horror)?
4. What qualities make for great horror literature? What are the criteria you apply in
deciding which stories are better than others?
5. Examine one of the conventional or "stock" characters that reappears throughout
gothic literature--e.g., the over-reaching scientist, the vampire, the werewolf, the
mad murderer, the ghost, the "thing with no name." How do various authors treat
this stereotype, keeping it recognizable yet making it particular and unique to a
specific story? How does the figure change over time? What do the changes
suggest about the cultures from which it emerges?
6. How are women depicted and treated in gothic literature? Do you agree with
those critics who find gothic fiction a particularly sexist and misogynistic genre?
What female writers have produced horror fiction throughout literary history?
Does their work differ from that of male authors?
7. Is humor antithetical to horror? Does humor diminish or increase the horror?
What is the psychology involved? (In thinking about this topic, you might want to
read Thomas De Quincey's famous essay "On the Knocking on the Gate in
Macbeth.")
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8. How does the point of view affect your reading of particular gothic tales? Why
has each writer chosen this particular narrative perspective for the story? How
would a change in the point of view alter the impact of the story?
9. Explore the role of human sexuality in gothic literature. How does it function?
What does it have to do with terror? Do you agree with Joseph Twitchell
(Dreadful Pleasures: An Anatomy of Modern Horror, 1985) that horror literature
and film are essentially explorations of adolescent sexuality?
10. What is your own position regarding the debate in the documentary Fear in the
Dark between Clive Barker, who argues that horror is most effective when it
shows readers/viewers something they have never seen before and could not
conceive on their own, and Robert Bloch (among others), who argues that horror
is more effective when it leaves the depiction of evil and monstrosity suggestive
and shadowy, thereby tapping the readers' own imagination? What specific
examples illustrate and support your position?
11. Analyze the use of religion and theology in gothic literature. In what ways do
authors present an orthodox or conventionally religious vie w of the world? To
what extent do they suggest some alternative vision of reality and of the
supernatural as it influences human life? How do writers use religious symbols
and motifs in their stories?
12. Examine the conclusion of particular gothic stories. How would you describe each
writer's rhetorical strategy at the ending? Does the tale provide a satisfying sense
of closure, or does it disturb by its implications or incompleteness?
13. Explore setting in gothic literature. How much attention do specific authors give
to setting, and why? To what extent does setting become significant beyond
providing a physical locale for the action--that is, what does it also contribute to
mood, symbolism, characterization, and theme? To what extent do particular
writers follow conventions of gothic setting or violate those conventions for
unusual effects?
14. How do gothic stories change over time? Which conventions alter with shifts in
literary history, and which remain the same? How do particular gothic stores
reflect their historical-social-cultural-aesthetic milieu? In what ways do they
mirror the culture that produced them? Are today's stories scarier, more violent,
and less subtle than classic horror from the past?
15. Explore the nature of evil in particular tales of terror. How do various writer
perceive evil in the scheme of things? Who or what constitutes evil for them?
What remedies (if any) do they propose for evil? Does what a society considers
evil change over time?
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16. Referring to an excerpt from Shirley Jackson's The Haunting of Hill House,
Stephen King writes, "Analysis of such a paragraph is a mean and shoddy trick,
and should almost always be left to college and university professors, those
lepidopterists of literature who, when they see a lovely butterfly, feel that they
should immediately run into the field with a net, catch it, kill it with a drop of
chloroform, and mount it on a white board and put it in glass case, where it will
still be beautiful . . . and just as dead as horseshit" (Danse Macabre [1981], p.
268). Do we spoil or enhance the experience of a story or film by analyzing it
intellectually? Do we "murder to dissect"?
17. What kind of relationship(s) do our authors develop with their readers? What
role(s) do they assume as narrator and assign to us as readers? How do they seem
to want us to respond to their works? What exactly do they do to elicit particular
responses from us? How would you describe their rhetorical strategy? How
successful are they at implementing that strategy?