Objectives

What makes a novel modern? In the first part of this course we will address this question by focusing on works by three major modernists, D.H. Lawrence, James Joyce, and Virginia Woolf. In many ways their works seem as daring today as they did when they first appeared in the early decades of the twentieth century. Although the modernists differ greatly from one another, all are intent on finding new ways to probe and to represent reality and human subjectivity; all explore ultimate questions and confront the darker sides of civilization that became increasingly apparent in the era of the Great War and its aftermath.

The works for the second half of the course reflect the globalization of English in the twentieth century. Many writers from countries formerly under the rule of the British Empire have made vibrant contributions to English literature. Among these writers are Doris Lessing (born and raised in Rhodesia, now Zimbabwe), Chinua Achebe (from Nigeria/West Africa), Jean Rhys (born and raised in Dominica, part of the British Caribbean), Bapsi Sidhwa (from Pakistan, once part of colonial India), and William Trevor (born and raised in the Republic of Ireland, England’s first colony).

These novels and stories are unique and memorable works of art. We will always concern ourselves with how they 'work,' how they are put together, their narrative methods, what is distinctive about a writer's style, technique, and fictive 'world'. These works also register deep responses to social changes and historical crises, and our discussions will often focus on relations between literary texts and their wider contexts. Topics may include ideas of personal and national identity, the complex and often violent legacies of imperialism and colonialism, challenges to the class system, and representations of changes in attitudes towards sexuality, gender roles, religion, and art itself.

D. H. Lawrence, Sons and Lovers (1913)
James Joyce, Portrait of the Artist as a Young Man (1916)
Virginia Woolf, To the Lighthouse (1927)
Doris Lessing, Martha Quest (1952)
Chinua Achebe, Things Fall Apart (1959)
Jean Rhys, Wide Sargasso Sea (1966)
Bipsi Sidhwa, Cracking India (1988)
William Trevor, Ireland: Selected Stories (1998)

+Selected Criticism and Background Materials+

Besides completion of the readings on time and regular attendance, the following components will also be evaluated: class participation (including possible reading quizzes and in-class group work); a portfolio, to be submitted at the end of the term, containing your brief (1-2pp.), typed, and dated bi-weekly commentaries on the readings; two papers (one 5-7pp., the other 8-10pp.); a final exam. The longer paper must reflect significant outside research. Click here for link to site with excellent guidelines for writing papers. Click here for possible topics for the first paper.

For the commentaries, choose a passage (no more than one page) from the reading for the day which you would like us to discuss; explain briefly (in writing) why the passage especially warrants discussion. (What is so intriguing, baffling, brilliant, or disturbing about it?) Be prepared to read it aloud (and fluently), if asked.

Please note that the main purpose of the commentaries on the readings is to stimulate class discussion; therefore, late commentaries will not be accepted.

Evaluation

Approximate breakdown of final grade: participation (excluding commentaries) = 15%; portfolios = 25%; 5-7 page paper = 15%; 8-10 page paper = 25%; final exam = 20%. (Only the completed portfolio will be graded, not individual commentaries.)

Note: Papers may exceed the suggested maximum length, but should not fall short of the minimum. Sources drawn upon must be documented properly, using the MLA style of documentation. Papers that have not been carefully proofread and that contain many spelling, punctuation, and grammatical or stylistic errors will not be returned ungraded. Grades on such papers will be lowered one notch per day until they are resubmitted in an acceptable form.

As explained above, late commentaries will not be accepted. Normally, paper deadlines will be extended and absences will be excused only in the case of a documented personal, a family, or medical emergency. Grades on late papers (when no extension has been approved) will be lowered one notch per day of lateness. Absences limit what you can gain from and give to the clas. Unexcused absences also will lower your final grade for the course.

Work that is not submitted receives a "O".  All work must be submitted by the last day of class.

Please bear in mind that plagiarism is a serious offense. Any student found guilty of plagiarism will likely fail the course, in addition to whatever penalties are imposed by the student judicial system. If you are not sure what plagiarism is, aske me. Also, please note that you may not resubmit for credit in this course work that you have done or are doing for another course, here or elsewhere.