[email protected]

Email Ettiquette: Many students use email addresses that give no indication of their names. If your email address does not indicate your name, please be sure to give your name in all of your email messages to me, and please also indicate that you are taking English 200 (unless the subject heading of your message makes this clear). (I teach other courses as well.)

For Monday, December 9, read pp. 230-336 of The Monk and read the intro, pp. xxiv-xxx. Write up (one sentence each) ten of the author's key points in the introduction. Find an example from the novel (in the reading for this class--pp. 230-336 ) that demonstrates each point. (10 points with 10 examples, one examplke for each point.) Email this to me before class on Monday at [email protected]. Class led by Rich and Liz.

For Friday, December 6, read pp. 151-229 of The Monk . Quiz in class. Class led by Tori and Robyn.

For Wednesday, December 4, read pp. 92-151 of The Monk and write an outline of the plots. Email it to me before class at [email protected]. Class led by Tim and Caitlin.

For Monday, December 2, read pp. 3-91 of The Monk and write a response on one of the following topics:
1. Space and architecture. The novel involves all kinds of hidden spaces and recesses such as crypts, closets, and so on. These spaces are relentlessly demonized by Monk. Why?

2. When the novel first appeared, it was received as shocking, even pornographic (by our standards, it seems incredibly tame, perhaps geting a PG-13 at most). Lewis himself later published a censored version. What seems shocking to you as you read the book, either in terms of religion or sexual desire or both.

3. The narrator often takes a contradicory view of characters and events. On the one hand, he mocks characters who are credulous, superstitious, and religious. On the other hand, he tells stories in which ghosts and so on really do appear, and he seems to think that heaven and hell do exist. Similarly, he often mocks women characters in sexist terms, but he also represents women characters (often the same ones) in very sympathetic terms. What is the point / effect of such contradictions?

Please email me your response at [email protected] before class on Monday. Class led by Kathyrn and Bryan.

Friday, November 29 is Thanksgiving Holiday.

For Wednesday, November 27 Reports on Nosferatu (dir. Werner Herzog) by Norm and Lindsay, and on Vampyr (dir. Carl Dreyer) by Kim and Liz.

For Monday, November 25 View Bram Stoker's Dracula prior to class (it's on reserve in the Bu Bois library). Class led by Ed and Tim. Debate on whether the film is a good or bad version of the novel.

For Friday, November 22 Class led by me. Bram Stoker "The Censorship of Fiction, " 1908. (Copies of Stoker's essay will be handed out in class). After reading the Stoker essay, write up a brief summary of the main argument and your response to how the essay relates to Dracula. Email them both to me before class at [email protected].

In addition to thinking about censorship, forced speech (Mina has to talk), secrecy, and gender, for class discussion, think also about money and business in the novel.

For Wednesday, November 20 Chapter 24 through the end, pp. 405- 486. Class led by Angela and Lawren.

For Monday, November 18 Chapters 17 through (and including) 23, pp. 281-404. Class led by Tara and Kathryn.

For Friday, November 15 Chapters 10 through (and including) 16, pp.154-280. Class led by Meg and Kim.

For Wednesday, November 13 Bram Stoker, Dracula Chapters 1 through (and including) 9, pp. 3-154. Class led by Liz and Rayney. Write up least five questions about the readings (with page numbers for references) for each class on Dracula, print out a copy and bring it to class, and email it to me before class begins.

Some things to consider when reading Dracula.

--the narrative structure. Why is it divided up into various first person accounts? Who wrote the introductory comments (on p.6)? Why do the accounts emerge into one?

--the heterogeous narratives and mass media and recording, writing devices (only film is left out)--telegrams, newspaper accounts, captain's log, diaries, records, advertising, and so on.

--the role of Mina, stenography, typing (versus J.. Harker as secretary), compiler. Why does she become increasingly important in the novel?

--the colors red adn white

--the references to Shakespeare--what are they and what are they doing?

---censorship and uncensorship; secrecy (and Mina)

--Dracula's sexuality, vampirism as metaphor for sex (see the scene with Lucy and the stake). Is this a sexist, soft-porn novel? Or is it a feminist novel? Or both? Or is it a queer novel? (i.e., sexuality is more important than gender) Is Dracula gay? Check out his intervention whenhte three vampire women almost bite Jonathan. (Coppola includes a brief bit of lesbianism in his film version.)

--money and vampyrism. Is this a pro-capitalist or anti-capitalist novel? Is Dracula a feudal prince or a neocapitalist businessman? Both?

--Dracula's origin in Eastern Europe--move to London (see West / East p. 7)

--America (and the Far [Wild] West)

--Is Morris a vampire? Why does he alone end up as he does ?

--Van Helsing's role?

--Seward and the asylum, Renfield. What are they doing in the novel?

For Monday, November 11 Holiday - Veterans Day

For Friday, November 8 View Jane Eyre (film directed by Robert Stevenson,1944). Class led by Lawren and Tim. (Not to you two: Please bring a copy of the video to class.) You will have to rent the video or DVD. They are available at Pleasant Street Video, Video to Go, and Blockbuster. You might want to view the films we'll discuss in class in groups, in which case the host should rent the video and return it, but everyone else should share the cost of the rental). Anyone who hosts a screening for six people or more gets an extra credit A" equal in value to one quiz or written response.

For Wednesday, November 6 Jane Eyre Volume III, Chapter 8 to the end, pp, 388-452. Class led by Ed and Angela.

For Monday, November 4 Jane Eyre continued. Volume II Chapter 5 through Volume III chapter 7, pp. 286-388. Class led by Rich and Robyn.

For Friday, November 1 Jane Eyre continued. Volume II, Chapter 5 through Volume III Chapter 10, pp. 205-286.
Write two pages in reponse to Virginia Woolf's critique of Bronte and Jane Eyre (pp. 66-70 in A Room of One's Own). Woolf faults Bronte for not controlling her anger and hence of not writing a whole, jerkfree novel. Is Woolf correct? Email me your two pages by the end of class, Friday. [email protected].

Wednesday October 30 Volume I Chapter 14 through Volume II chapter 4, pp. 128-205. Class led by Tara and Kim.

For Monday October 28 Female Gothic and Feminist Criticism: Charlotte Bronte, Jane Eyre Volume I Chapters 1 through (and including) 13, pp. 3-128. Class led by Lindsay and Caitlin.

Thins to consider when reading Jane Eyre:

--the red room

---reading, books

--reflections (mirrors), doubles

--Puns on names (Eyre, Burns, Lowood)

--landscape

--dreams

--supernatural, telepathy, elves

--religion

--first person narrative--the separation between Jane and Bronte (or lack thereof)

--India and colonialism, slavery in the West Indies.

--romance and equality? or romance as bondage and domination, sadomochism, and castration?

--murderous, mad, angry, rebellious, respectable, and castrating women

--bird imagery

--social class, romance as upward social mobility

--secrets and servants

--images of imprisonment, literal imprisonment

--images of fire, bringing, literal burning

For Wednesday, " 30 Volume I Chapter 14 through Volume II chapter 4, pp. 128-205. Class led by Tara and Kim.

For Monday, October 28 Charlotte Bronte, Jane Eyre (Oxford edition) Volume I Chapters 1 through (and including) 13, pp. 3-128. Class led by Lindsay and Caitlin. Quiz in class.

For Friday, October 25 Reports by on Gothic (dir. Ken Russell, 1986) by Ed and Tori and on Paul Morrisey's Flesh for Frankenstein by Bryan and Meighan. The films do not have to be viewed by the class. (If you're not reporting, you don't have to see the film.)

For Wednesday, October 23 View Bride of Frankenstein prior to class. Class led by Tim and Liz. Frankenstein on film. You will have to rent the video or DVD. They are available at Pleasant Street Video, Video to Go, and Blockbuster. You might want to view the films we'll discuss in class in groups, in which case the host should rent the video and return it, but everyone else should share the cost of the rental). Anyone who hosts a screening for six people or more gets an extra credit "A" equal in value to one quiz or written response.

For information on Gods and Monsters and Bride of Frankenstein, click here.

For Monday, October 21, see the film Gods and Monsters. You will have to rent the video or DVD. They are available at Pleasant Street
Video, Video to Go, and Blockbuster. You might want to view the films we'll discuss in class in groups, in which case the host should rent the video and return it, but everyone else should share the cost of the rental). Anyone who hosts a screening for six people or more gets an extra credit A" equal in value to one quiz or written response.

Respond to the follwing questions and email them to me before class on Monday. [email protected].

1. Is this a love story between Whale and Clayton or a story of friendship? What does Whale want from Clayton? What does LClayton want from Boone?

2. The narrative structure--use of flashbacks to WWI and earlier filmmaking, and so on. Is the focus historical (on the difference between past and present) or existential (on melancholy, memory loss, madness, mortality)?

3. Whale and the interview by the pool-being viewed as the maker of Frankenstein, now seen only on t.v. Why is this a problem for Whale? What is the significance of the student doing the interview being gay?

4. The housekeeper. Her role?

5. Clayton as the monster. Note the opening shots in his trailer. How do they set him up as the monster? Note the ending as well. Is he a monster?

6.The ending of the film. What is the role of t.v. here? Of taking out the trash? And why is the wife off screen?

7. Whale was an out gay director in Hollywood (Cukor was not). Ian McKellen is an out English actor, trianed as a Shakespearean. (Note the Hamlet reference at the Cukor party.) Does McKellen's sexuality make any difference in the film? Does it matter?

8. Contrast the poolside interview with the scene of men swimming nude at one of Culkor's parties.

9. Painting and posing--their importance in the film, particuarly in relation to directing film.

For Friday, October 18, bring the novel to class. Also, choose a paper topic (you can change it later) and think of a thesis. For topics, click here.

Write an introductory paragraph stating your topic in the first 2-3 sentences (no more) and then end the paragraph stating your thesis in one sentence.
After this paragraph, list four pieces of supporting evidence, written in complete sentences, with relevant page numbers, and rank these four in order of importance, starting with the most important.

A. Intro paragraph (3-4 sentences, total).

B. Evidence
1. Most important
2.
3.
4. Least important

For Wednesday October 16, read the Castle of Otranto--the novel and the two preaces. (It's short and goes quickly). Quiz in class. Class led by Kathryn and Angela.

For Monday October 14 (Holiday--no class)

For Friday, October 11, Frankenstein, Chapter 21 to the end, pp.159-206. Class led by me. Write up one question about the novel, and bring it and the novel to class.

For Wednesday, October 9, Frankenstein, Chapters 11 through and including 20; pp. 87-158. Class led by Robyn and Lawren. Just bring the novel to class.

For Monday, October 7 , read the author's introduction, the preface, and pp. 1-86 (up through and including chapter 10) of Mary Shelley's Frankenstein (Bantam edition). Write a 1-2 page response to the following question: Why does Shelley include the intro and preface? Why does she not simply start with the novel? And why doesn't she just begin the novel with Chapter One? How do the concerns she raises in the prefatory matierlas relate to concerns she raises in the novel? Think in particular not only about shared themes (such as monstrosity) in intro, preface, and the novel but about the way the intro, preface, and the novel's narrative are structured. Notice that the novel begins with six letters (and more letters written by other characters are cited in full later in the story) before getting to "Chapter One." Please email your completed assignment to me before class meets on Monday at [email protected]. Class led by Rich and Rayney.

For October 2 and 4, no new assignments. Just bring The Turn of the Screw to class.

For Monday, September 30, read The Turn of the Screw and respond to the following questions, a half page each: What difference does the preface make? Is the governess sane or insane? Please email the assignment to me (before class) at [email protected]. Short quiz.

For Friday, September 27, no assignment. Just bring your copy of "A Rose for Emily" to class. Starting this class, we will begin team teaching (some classes will be led by two of you.)

For Wednesday, September 25, read William Faulkner's short story, "A Rose for Emily." It's a very dense story, so you'll want to reread it at least twice. Don't worry: it's a short story. Your assignment is to write a time line of events in the story, putting them into chronological order. What effects does his not doing so have? Email the assignment to me (before class) at [email protected]. Please print out a copy of the story and bring it to class.

For Monday, Wednesday, and Friday, September 16, 18, and 20, see the schedule page.

No assignment for Friday, September 13. PLEASE READ THE FOLLOWING ASSIGNMENT VERY CAREFULLY AND PLEASE READ IT IN FULL. The assignment is in four parts. All four parts have to be completed and completed on time for you to receive credit. The first two parts are preparatory, and the second two involve the writing and completion of your assignment. The first part is due on Wednesday, September 11 by 7:00 and 11:00 p.m.; the second is due on Thursday, September 12, by 7:00 and 11:00 p.m.; the third part is due on Monday, September 15; and a draft of Part Four is due on Sunday, September 15 by noon and the final report in class on Monday, September 16. Each group will receive a grade. (All members of the group will receive the same grade.) You may work as a group by meeting in person or by email.

For Monday September 16, see Roman Polanski's Macbeth. A copy is on reserve in the Du Bois library (third floor). You may also rent a copy at Pleasant St. Video, Video to Go, etc. Phone: 545-2358. You can reserve a time to see the video in the Du Bois library by calling 545-2358 twenty four hours or more in advance. The maximum number of students who can watch at one time is four.

I have divided you up into Five groups of four students each. Each group is responsible for covering the part of the film that adapts a given Act of the of Macbeth.

Act One: Group email

Team Captain: Bannon Meighan [email protected]
Beresin Caitlin R [email protected]
Culkeen Timothy J [email protected]
Harkins Elizabeth A [email protected]

Act Two: Group email

Team Captain: Hill Robinson T [email protected]

Iott Tara M [email protected]

Lussier Bryan S [email protected]
Mackenzie Robyn L

Act Three: Group email

Team Captain: Mayefsky Kathryn [email protected]
McNamara Kimberly K [email protected]

Meisel Rayney K [email protected]
Morin Lindsay M

Act Four: Group email

Team Captain: Quigley-JoneLawren [email protected]
Roux Ronald A [email protected]
Sexauer Elizabeth A [email protected]
Simonelli Angela C [email protected]

Act Five: Group email

Team Captain:Tom Norman G [email protected]
Valeri Victoria H [email protected]
Weymouth Edward A [email protected]
Whitman Richard [email protected]

Part One: Due Wednesday, September 11 by 7: p.m. and 11:00 p.m. The Team Captain should on "Group email" to contact your group. Please contact your group on September 11 by 9 p.m.. Those of you are contracted, please respond on September 11 as well, by 9:30 p.m.. Students whose email is not on this webpage should contact the team captain and also send me a copy of your email address. Team Captains: if anyone in your group has not responded by 9:30 p.m.on Wednesday, September 11, please let me know. To students: If your team captain has not contacted you by 9 p.m. Wednesday, Septemeber 11, please let me know.

Part Two: Due Thursday, September 12, by 7:00 and 11:00 p.m. By 9 p.m. on Thursday, you will have agreed on how and when you will meet to complete parts three and four. Team Captain: Please send me an email noting this by 9:30 p.m. on Thursday, September 12.

Part Three:Due in class on Monday September 16.

Each group is to talk concretely, about what Polanksi, cuts, adds, rearranges in each Act of Macbeth. To do this, copy out the lines of Act you are reponsible for and "x" out all of the lines cut by Polanski. (Don't entirely black them out--leave them readable by drawing a line through each one.) Note any rearrangements of lines as well. For the play on line, go to http://chemicool.com/Shakespeare/macbeth/ Bring 15 copies of this text to class on Monday, September 16. All members of each group will be responsible for "x"ing out the cuts, clarifying additions, etc., and you may divide up the labor of doing so however you wish. But the team captain will be responsible for making and distributing copies in class on Monday, September 16. Everyone in the group should share the cost.

Note: the point of this part of the assignment is to get you all to see that Polanski has done a close reading of the play. He has made his cuts and additions for specific reasons. So you are doing a close reading of his close reading of the play.

Part Four: Draft due on Sunday, September 15 by noon, and the final report in class on Monday September 16.

Analyse the significance of Polanski's cuts, additions, and so on for the Act your group is responsible for reporting on in class. By 12 p.m. Sunday, September 15, the Chair must email me a draft of your report. [email protected] Some questions to consider in your report (you may have others as well): Why does Polanski adapt the play as he does? Consider the use of lighting, soundtrack, camera angle, casting, length of time a shot is held, use of color, and so on. For a website on film criticism terms, go to http://shea.mit.edu/ramparts2000/commentaryguides/glossary/index2.htm. Pass out copies of this in class as well. You won't be able to talk about everything, so focus on the things that strike you as being particularly important and significant.

Here's some info on the format:

Preparing your Group Report:

1. The Chairperson will be responsible for printing up the report and circulating copies of your report for everyone in class.

2. By 12 p.m. Sunday, September 15, the Chair must email me a draft of your report. [email protected] As you doing your report, feel free to email with me any questions you may have.

3. I will respond asap with suggestions for revision.

4. Your will present your revised report in class. Each person in the group will be responsible for presenting part of it.

Discussion / Report Format: You will distribute copies of your report in class.

1. Give information (brief) on the author or film director.

2. In the case of a film, offer a synopsis (somewhat detailed) of the film reported on (except in the case of Polanski's Macbeth).

3. In outline form state your main points (one to three complete sentences each). You should have between 15 and 20 points.

4. Pose at least five central questions raised by the film or text.

5. If reporting on a film, you may select a clip (no longer than 3 minutes), show it in class, and do a close reading of it.

Your report will like the following:

1. Author Biography

2. Synopsis

3. Analysis

a. 1-3 complete sentences.

b. 1-3 complete sentences.

c. 1-3 complete sentences.

d. 1-3 complete sentences.

e. 1-3 complete sentences.

f. 1-3 complete sentences.

g. 1-3 complete sentences.

h. 1-3 complete sentences.

i. 1-3 complete sentences.

j. 1-3 complete sentences.

k. 1-3 complete sentences.

(and so on)

4. Questions.

1.

2

3.

4.

5.

For Monday, September 9, read all of Shakespeare's Macbeth. Bring your copy of the play to class. There'll be a short quiz in class on it on Monday, September 9 as well. In addition, write a one page (typed response) on one of the following questions and email it to me at [email protected] before class Monday. Make specific references to the text, giving act, scene and line references, to back up your points.

1. Malcolm calls Macbeth a "butcher" at the end of the play. To what extent is this characterization of Macbeth as total evil inadequate?

2. Similarly, in the same speech, Malclom calls Lady Macbeth "a fiend-like Queen." What evidence in the play supports this characterization of her as demonic? What evidence undermines it?

3. The wierd sisters. One critic has argued that they are the heroines of the play. Do you agree? Why or why not?

4. Macduff. How different is he from Macbeth?

5. The role of women in the play and gender confusion. Think about gender transgression here--the description of the sisters "beards," Lady
Macbeth's "unsex me here" and her role as mother, the description of Duncan as "gorgon," after he has been murdered, Macbeth's having "too much of the milk of human kindness," Macduff being "not of woman born," and so on.

6. Imagery of nature (seeds, plants, birds (raven, owl, martlet), animals (tiger, bear at the stake), milk, blood, clothes ("borrowed robes," "newly worn," "nake babe," and so on) and discussion of various "unnatural" events. What effect does it have? Ditto for imagery of milk and blood.

7. The play has sometimes been described as moving from order to chaos back to order, with clear cut distinctions between the good characters and the evil characters. Do you agree or disagree? Why? (You might consider how different the end of the play is from the beginning.)

8. Malcolm. how different is he from Duncan? Consider his exchange with Macduff and Ross in 4.3. What is this scene doing in the play?

For Friday, September 6, print out a copy of the two texts below (Shakespeare and Plutarch) and bring your copy to class:

Comparing poetry and prose

Shakespeare, Antony and Cleopatra

MECAENAS

She's a most triumphant lady, if report be square to
her.

DOMITIUS ENOBARBUS

When she first met Mark Antony, she pursed up
his heart, upon the river of Cydnus.

AGRIPPA

There she appeared indeed; or my reporter devised
well for her.

DOMITIUS ENOBARBUS

I will tell you.
The barge she sat in, like a burnish'd throne,
Burn'd on the water: the poop was beaten gold;
Purple the sails, and so perfumed that
The winds were love-sick with them; the oars were silver,
Which to the tune of flutes kept stroke, and made
The water which they beat to follow faster,
As amorous of their strokes. For her own person,
It beggar'd all description: she did lie
In her pavilion--cloth-of-gold of tissue--
O'er-picturing that Venus where we see
The fancy outwork nature: on each side her
Stood pretty dimpled boys, like smiling Cupids,
With divers-colour'd fans, whose wind did seem
To glow the delicate cheeks which they did cool,
And what they undid did.

AGRIPPA

O, rare for Antony!

DOMITIUS ENOBARBUS

Her gentlewomen, like the Nereides,
So many mermaids, tended her i' the eyes,
And made their bends adornings: at the helm
A seeming mermaid steers: the silken tackle
Swell with the touches of those flower-soft hands,
That yarely frame the office. From the barge
A strange invisible perfume hits the sense
Of the adjacent wharfs. The city cast
Her people out upon her; and Antony,
Enthroned i' the market-place, did sit alone,
Whistling to the air; which, but for vacancy,
Had gone to gaze on Cleopatra too,
And made a gap in nature.

AGRIPPA

Rare Egyptian!

DOMITIUS ENOBARBUS

Upon her landing, Antony sent to her,
Invited her to supper: she replied,
It should be better he became her guest;
Which she entreated: our courteous Antony,
Whom ne'er the word of 'No' woman heard speak,
Being barber'd ten times o'er, goes to the feast,
And for his ordinary pays his heart
For what his eyes eat only.

AGRIPPA

Royal wench!
She made great Caesar lay his sword to bed:
He plough'd her, and she cropp'd.

DOMITIUS ENOBARBUS

I saw her once
Hop forty paces through the public street;
And having lost her breath, she spoke, and panted,
That she did make defect perfection,
And, breathless, power breathe forth.

MECAENAS

Now Antony must leave her utterly.

DOMITIUS ENOBARBUS

Never; he will not:
Age cannot wither her, nor custom stale
Her infinite variety: other women cloy
The appetites they feed: but she makes hungry
Where most she satisfies; for vilest things
Become themselves in her: that the holy priests
Bless her when she is riggish.

Shakespeare's source,
The Life of Marcus Antonius in Plutarchs's Lives, trans. Thomas North, 1579.

But yet she carried nothing with her wherein she trusted more than in herself, and in the charms and enchantment of her passing beauty and grace. Therefore, when she was sent unto by divers letters, both from Antonius himself and also from his friends, she made so light of it, and mocked Antonius so much, that she disdained to set forward otherwise, but to take her barge in the river of Cydnus; the poop whereof was of gold, the sails of purple, and the oars of silver, which kept stroke in rowing after the sound of the music of flutes, howboys 1 , cithernes 2 , viols, and such other instruments as they played upon in the barge. And now for the person of her self, she was laid under a pavilion of cloth of gold of tissue, apparelled and attired like the goddess Venus, commonly drawn in picture: and hard by her, on either hand of her, pretty fair boys apparelled as painters do set forth god [p. 175] Cupid, with little fans in their hands, with the which they fanned wind upon her. Her ladies and gentlewomen also, the fairest of them, were apparelled like the nymphs mermaids (which are the mermaids of the waters)
and like the Graces , some steering the helm, others tending the tackle and ropes of the barge, out of the which there came a wonderful passing 3 sweet savour of per fumes, that perfumed the wharf's side, pestered 4 with innumerable multitudes of people. Some of them followed the barge all along the river-side: others also ran out of the city to see her coming in. So that in the end, there ran such multitudes of people one after another to see her, that Antonius was left post 5 alone in the market-place, in his imperial seat, to give audience: and there
went a rumour in the people's mouths, that the goddess Venus was come to play with the god Bacchus, for the general good of all Asia. When Cleopatra landed, Antonius sent to invite her to supper to him. But she sent him word again, he should do better rather to come and sup with her. Antonius therefore, to shew himself courteous unto her at her arrival, was contented to obey her, and went to supper to her: where he found such passing 6 sumptuous fare, that no tongue can express it. But amongst all other things, he most wondered at the infinite number of lights and torches hanged 7 on the top of the house, giving light in every place, so artificially set and ordered by devices, some round, some square: that it was the rarest thing to behold that eye could discern, or that ever books could mention.

1 haughtboys

2 guitars.

3 surpassingly.

4 crowded.

5 posted.

6 surpassing.

7 hung

Your first assignment before before we meet on Wednesday, September 4, at 10:10 in Bartlett 121 is to to read all of every page on this website (click on all the links). There will be a quiz on the website in Monday's class. Also, if you didn't already include your full email address in your earlier email to me, please send me another with that info now. Thank you.

Also, click on the links to the following poems, print out copies, and bring them to our first class, Wednesday: William Wordsworth, The Solitary Reaper; Wallace Stevens, The Idea of Order of Key West.