English 2132H: American Literature II Honors

Reading Portfolio

2013-10-15T12:24:00.000-04:00

Using Google Drive, you will collect, revise, and present work that shows your progress as a reader this semester.

There are three possible grades to earn on your portfolio, and each one depends on the number of tasks you complete and the level of effort you exert:

The "C" portfolio (375 points)
The "B" portfolio (425 points)
The "A" portfolio (475 points)

Use this Table of Contents template to help me navigate your materials.

The "C" Portfolio:

If the portfolio contains your cover letter, your best quote response, one revised quote response, one revision assessment, and three source commentaries on a focused research question, you will receive a "C" on the portfolio.

The "B" Portfolio:

If the portfolio contains your cover letter, your best quote response, two revised quote responses, two revision assessments, five source commentaries on a focused research question, and a polished and professional conference proposal, you will receive a "B" on the portfolio.

The "A" Portfolio:

If the portfolio contains your cover letter, your best quote response, three revised quote responses, three revision assessments, seven source commentaries on a focused research question, a polished and professional conference proposal, and evidence of significant progress on your "conference presentation," you will receive an "A" on the portfolio.

The Analytical Cover Letter:

This cover letter will request my evaluation of your work in a professional and formal way, just as you would ask a potential employer to look at an application.
In the first paragraph, introduce your portfolio by discussing (1) your general impression of your achievement this semester, (2) what I will find in your portfolio, and (3) what grade you plan for the portfolio to earn.
In the last paragraph, offer some general comments about your experience in the course and offer thanks for the opportunity to work on this project.
The paragraphs between should explain your achievement more specifically on particular dimensions of the course; discussion, quote responses, and source commentaries. Explain your improvement in discussion, your revision choices for the quote responses, and how your source commentaries reflect your reading fitness. Dedicate one paragraph to each dimension.
One more paragraph before the last should analyze yourself as a literary reader. Discuss some achievements, some ongoing problems with your reading, and some continuing goals you have set for yourself as a reader, based on your experience this semester. Use the works we've read for examples.
Your cover letter should be single-spaced, 12 pt. Times New Roman, 1" margins and follow the format of a professional business letter. The letter should fill at least two complete pages in Google Drive: The date of submission on the first line and your name, following "Sincerely," on the last.
Find template here.

Revision Assessments: 300-word reflections on the revisions you make to your quote responses before including them in your portfolio. The emphasis should be on how your revisions reflect your improvement as a reader, not only in the sophistication of your ideas but also in your management of detail. You'll write one assessment for each revised quote response in your portfolio.

Source Commentaries:

Before you write any commentaries, you first have to select some sources. You can use GIL and Galileo databases to identify potential sources, but you will need an idea to guide your final selection. Think of a research question that represents an interest you have in the novels we've read. You do not have to focus on one particular novel or author, but your idea must be specific, especially if you do plan to explore a connection between different authors. The question you raise will be the focal point of your search for sources.
You'll know a source is worth writing a commentary on if it offers insight that can help an intelligent person address your question. The connection does not have to be direct--you should not look for answers to your question. Rather, stay open to connections that are indirect, insightful. Then you can use your intelligence to make the connection to your question. The goal is not to answer your question but to identify important factors in the discussion.
Each commentary will start with a citation of the source (MLA style), followed by exactly two equal-length paragraphs that total at least 300 words.
1. The first paragraph should identify an idea in the source (some point the author makes) that pertains to your research question. Explain this idea as the author presents it.
2. The second paragraph should explain the connection between this idea and your research question. How does the author's idea shed light on your question, without actually answering it? What does the idea bring to a discussion of your question.
Accompanying your commentaries should be an explanation of your research question. How did you arrive at it, and why is it important?

Conference proposal: Whether you actually plan to submit a project to a conference for real, you will need to complete an application that proposes your idea for a presentation at GCHC 2014. This process involves writing an abstract, a one to two-page explanation of your topic and its relevance. If you are doing the "A" portfolio, you actually need to start preparing the presentation itself and make significant progress on it. But even if you only do the proposal, I encourage you to submit it for real--to do your presentation at the conference, you do not have to be finished with it this semester. You can work on it through December and January, and I will continue giving your advice and support.

Here is a basic proposal template.

Sample Proposals: Student | Faculty

First Day

2013-08-12T01:08:00.000-04:00

Welcome to your English 2132H course! I hope this semester will be both fun and challenging for you! Your professor's name is Dr. Matthew Horton (that's me!), but you can call him Dr. H. I have high hopes that this semester will help you improve your skills as a college-level reader and writer.

Click on these icons and see what you can do! This course is about reading great literature, sure, but it is also about using technology to help you discover new possibilities. So some of your assignments will be PAPERLESS! This might be a little scary for some of you, but I assure you, the skills you'll learn will be just as important as effective reading and writing!

Also, go ahead and look through some of the most important resources on this course website:

Read the syllabus
Check the agenda
Using Google Drive

Additional resources are available by clicking the tabs across the top and various links in the right-hand margin. As much as you can, familiarize yourself with this course website. My contact info is in the right-hand margin at well, towards the top. Also, see the Facebook link? Visit our course page and "like" it!

Syllabus

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Your Goals for this Course

Learn methods for measuring the value of the American novel, especially in the 20th century. Learn about the intersection between appreciation, evaluation, and enjoyment.
Explore how characters and situations in literature help us answer important questions:
- How do we define human excellence?
- In what ways do the standards of excellence shift and change?
- What sorts of conflict between values give rise to ethical crisis?
For each work of literature we study, ask the following questions:
- What sorts of choices do characters or narrators make?
- What sorts of values do characters or narrators defend?
- What motivates them to make those choices or hold those beliefs?
- Where does their confidence come from?
Ask questions about how literature explores conflict and crisis.
Perceive how ethical complexity makes literature compelling and memorable.
Explore how ethical themes in literature can help us know our own ethics.
Look beyond the simple moral message that literature appears to teach--morals are not ethics, though ethical thinking helps us fashion morals.
Contemplate the meaning of the following concept: responsible reading.
Demonstrate the skills above in short writing assignments.
Learn to use various literary terms to discuss the assigned works.
Take reading notes to records the details of your experience reading.

Texts and Materials

Texts include the following books, which are available in the bookstore:

Kate Chopin. The Awakening. 1899.
F. Scott Fitzgerald. The Great Gatsby. 1925.
Willa Cather. Death Comes for the Archbishop. 1927.
Flannery O'Connor. The Violent Bear It Away. 1960.
Cormac McCarthy. Blood Meridian. 1985.
Tim O'Brien. The Things They Carried. 1990.
Access to the internet and a reading light
A Google account in order to use Google Drive
Several working pens and lots of notebook paper

Course Requirements

Reading. This course involves more reading than writing. To keep up, you should read diligently, repeatedly, and not all in one sitting. I hope that, with dedicated reading, you will find a new passion, even if you have no plans ever to study literature again.
Grades. Your grade is calculated according to the following weighted scale:

Reading Portfolio
Discussions
Reading Notes
Quote Responses

up to 475 points
100 points
200 points
200 points

Course Policies

Ask for help. If you are struggling or need help, tell me right away—we can meet for tutoring in my office. Please use extra time before class to ask me questions and seek help on assignments before they are due.
Participation. All students should try to take an active, constructive part in discussion in class. The best way is to read and think about the assigned work well before class. Take reading notes, write down your honest reactions to what you are reading, and write down questions you want to ask or comments you want to make. If you would rather not speak during class, please turn in comments and questions that I can express for you. Even if you are shy (like me), you can always engage with the reading actively, on an intellectual level.
Make-Up Work. Work for this class includes assignments done on your own time online as well as assignments you'll turn in during class. When you are absent or sick on a due date, you need proof of excuse to turn in missed work.
Turning in work. All Quote Responses (typed) will be submitted through Google Drive. All discussions will occur during class time. Reading Notes (written on notebook paper) will be turned in at the beginning of each class. Do not use email to turn in work.
Email. The official form of communication at UNG is email. This policy protects all of us in the exchange of information. If you need to contact me about anything, whether personal or class related, please use your UNG email account and my UNG email address. Check your email two or three times a day for updates. Check it every hour if you have emailed me a question.
Disruptive behavior. I emphasize the importance of sensitivity and respect in and out of class between you and me and between you and your classmates. Refrain from gestures, attitudes, tones, and words that are meant to be base, insulting, or provocative. Please do not express disagreement with my policies, decisions, or academic help in front of other students; I am happy to field complaints privately during my office hours. You should, of course, disagree openly with any of my literary interpretations that you think are incomplete or misguided. I won't be angry at all; I will be quite pleased. If I disagree right back, don't get angry or feel embarrassed; just keep talking. Disagreement about literature is a sure sign of its value. One other rule: if you come to class, don't leave early unless you have checked with me before class begins. You may have bottled water in the classroom, but food is too distracting.
Academic honesty. All work submitted to fulfill requirements of this class must meet UNG standards of academic honesty. Violations of these standards include receiving or giving assistance on any graded assignment without my permission (aka, cheating), fabricating evidence for use in an assignment (aka, lying), and using another person's words or thoughts in your assignment without giving that person credit (aka, plagiarism). Penalty for committing these acts could range from a zero on the assignment to an "F" in the course.
Withdrawal. Remember that you cannot withdraw from a class simply by not coming anymore; rather, you must withdraw yourself through Banner Web before the midpoint.
Disclaimer. This syllabus is subject to change to meet the needs of the course.

Supplemental Syllabus

Calendar

2013-08-12T01:04:00.000-04:00

Reading Notes for assigned readings are due at the beginning of class on their deadline days. Please do your quote responses in your Google Drive. Click on each agenda item to read details about the assignment, and please be aware that printing this calendar will hide the details for each item.

Readings

2013-08-12T01:02:00.000-04:00

Required Readings

Almost all of the readings this semester will come from our purchased books. Check the calendar for page numbers and to know when we are reading each work. Additional reading assignments will be provided as needed. All reading assignments will be the basis for reading notes, quote responses, and engaging class discussions.

Featured authors:

Kate Chopin (1850-1904)
F. Scott Fitzgerald (1896-1940)
Willa Cather (1873-1947)
Flannery O'Connor (1925-1964)
Cormac McCarthy (1933- )
Tim O'Brien (1946- )

Assignments

2013-08-12T01:00:00.000-04:00

Responsible Reading

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Some of you will be familiar and concerned with the following question:

How should I live my life?

If this question matters to you, then you can consider yourself, on some level, a responsible person. You are responsive to the world around you, the people you interact with, the influence you have on your environment, etc.

To be a responsible reader, you have to adopt a similar mindset about the language and ideas of an artist of words. You will ask a similar question:

How should I read this work?

If this question matters to you, then you will grow into being a responsible reader, and a better reader. If you are responsive to the world of the work, the characters who reside there, the influence of your interpretation on the way you judge the work, etc., then you might find that reading is, after all, extremely intense. If you are one of those people who claim to be "bad at reading," reconsider how your own attitude about reading might be getting in the way of a richer experience. You might only have a dismissive mindset about reading, and that is easy to fix.

Values of Literature

2013-08-12T00:56:00.000-04:00

What is value?
The phrase "values of literature" refers to those qualities of poems, stories, novels, etc. that make them worthwhile to read. If we feel our time reading is well spent, we can say that a work has value for us. If reading the work was a complete waste, then we might say it has no value for us. And there is a spectrum between the two extremes. Of course, if you simply do not like reading, then you really have no say in the matter, right?

What is there to value?
A work of literature can be valuable in several ways. Open your mind:

Literature has . . .

entertainment value

political value

artistic value

cultural value

historical value

philosophical value

moral value

ethical value

if reading it . . .

is an enjoyable way to pass the time.

can change the way people live with and influence each other.

helps us contemplate the nature of beauty and human creativity.

sheds light on the place and time of the author of the work.

helps one understand the past and how the world has evolved.

explores human knowledge, how we know and what we know.

teaches a lesson that will inspire the reader to live a better life.

helps us asks questions related to the standards of a "good" life.

What value matters most?
It partly depends on what you are looking for and how you tend to interact with the world. And here is where things get interesting. . . . we do not all agree on what to look for or how we should interact with the world. How to read is a matter for debate.

Does any literature have no value?
Hard to say. There is certainly some that has no value for me. If I could somehow obtain evidence that no one who had ever read a particular work gained anything from it, I might be able to argue that the work was valueless. But then I would also have to prove that no one who might read it in the future would get anything from it either. And I cannot see beyond now.

entertainment value
Literature has entertainment value if reading it gives occasion to enjoy yourself. This type of value is inherently subjective because not everyone will enjoy the same kinds of stories, styles, or themes. Being entertained is important, but being bored does not give anyone license to reject a work outright. I can put the book down and not read it anymore, but I should be careful not to assume that my boredom is somehow a characteristic of the work I tried to read. Rather, I was bored, plain and simple. Someone else might not be. At the same time, if a work is awesome to me, exciting, intriguing, etc., I should not assume that my interest is somehow a characteristic of the work I enjoyed reading. Rather, I was interested, plain and simple. Someone else might not be.

political value
Literature has political value if reading it gives occasion to change how a person thinks or acts. Politics is about the management and flow of power. And power, like electricity, flows from one end of a circuit to another to make things happen. Reading a work can jolt someone into action. It can reveal an injustice, outrage its readers, give voice to the oppressed, ridicule those who are corrupt, etc. The main idea here is to think about what the work of literature is trying to do. It has political value if it attempts to persuade people or the world to start acting and thinking in "this" way. We can see the political leanings of a work without necessarily being persuaded ourselves. But most of the time, we will like a work for its political leanings if we are in fact persuaded to align ourselves with the author.

artistic value
Literature has artistic value if reading it gives occasion to contemplate the nature of beauty and human creativity. There are many works of literature that experiment with the limits of language and its expressive power. If I like how words can be manipulated to create beautiful works of art, then a work that tries to use words that way in a new and unique way will have artistic value for me. I would say that every work of literature that we read in this course has artistic value because they are all works that have remained important over the years for the way they extended the power of language in a new direction. If you don't like words, it will be difficult to see the artistic value of any poem or story. The value will still be there even if you don't see it, however.

cultural value
Literature has cultural value if reading it gives occasion to think about the place and time of the author at the time the work was written. Authors might seems like supernatural beings or at least people who are way above us, transcending the world down here to live among the heavens with their artistic visions, but they are actually regular people like the rest of us. They care about what is happening in the world around them, and they have experiences in life that shape their attitudes toward various issues. If their work addresses the attitudes, customs, and values of their time (or another time), then the work has cultural value. The work becomes a window into a world that is unfamiliar, and we are encouraged to compare cultural differences.

historical value
Literature has historical value if reading it gives occasion to think about the past, how things changes overtime, and how the world has evolved into what it is today. Historical value sometimes overlaps with cultural value; if a work is really old, then it can give us insight into a culture so far back that we can also think about how that culture might be a foundation for our own. The cliché about history is true--the less we now about how things were, the more likely we are to relive them. Of course, some things might be worth reliving, and we might regret some of the history we have left behind, but other things we want to avoid repeating. Works of literature can help us learn about the past, process the past, and use the past to our advantage. Sometimes the historical value of a work is that it shows us what we have gained and what we have lost.

philosophical value
Literature has philosophical value if reading it gives occasion to explore the nature of human knowledge, how we know and what we can know. These questions are central to the production of art because any artist must interact with the world in order to represent it, whether lyrically in a poem or through storytelling in fiction; he must, to some extent, know the world. But it is hard to be certain about what we know or even whether we can know anything at all. Some writers explore philosophical issues pretty deeply because they are often a source of crisis that can create great drama and raise intriguing questions. If a work invites us to think about perception, making sense of our place in the world, or self-awareness, then we can say that it has philosophical value. In response to such works, we tend to look inward and wonder, "who am I?"

moral value
Literature has moral value if reading it gives occasion to learn a lesson. If a story or poem TEACHES us how to live, or attempts to teach us, then it has a moral dimension. Is the work still valuable if we do not like the lesson it teaches? Perhaps so. The best readers will see the moral value of a work even if the morals it endorses are somehow distasteful to them. Moral value is a dangerous value to measure. The history of censorship, for instance, is based on the idea that if a work teaches the "wrong" thing, it should not be read at all. This idea goes all the way back to Plato, one of the earliest philosophers to explore the moral dimension of stories and poetry. We have to be careful, I think, not to hold moral value as the most important one. If we reduce a story or poem to a moral lesson, or require that a story or poem BE a moral lesson that we can endorse, then we are USING literature to back up our own beliefs. To avoid this mistake, we must learn to appreciate works of literature for its various kinds of value. "To appreciate" means "to measure the value of something," and we need to try to find value in a work if we are inclined to reject it simply because we think it teaches the wrong lesson. Here is where ethical value comes into play.

ethical value
Literature has ethical value if reading it gives occasion to think about ethical questions. If a story dramatizes conflicts and dilemmas, it is not necessarily teaching us how to live, but it encourages us to contemplate the codes that the characters live by. If a poem has a speaker who promotes a particular world view or seems conflicted about the world he lives in, the reader can try to look through the eyes of that speaker and see what he or she sees. We may not agree with a speaker's or character's morality, but seeing that morality in action can shed light on what it means or how it changes the world. If we reflect on a moral code, instead of simply rejecting it or embracing it, then we are thinking ethically, and literature that promotes such thinking is ethically valuable. Here are some important ethical questions: What is the good life? What is the excellent life? Where do the definitions of good and excellent come from? Why do different definitions come into conflict? On what basis do they conflict? Remember: works that raise questions do not always answer them. To measure the ethical value of a work of literature, we need to ask the following questions:

Do the characters make choices in the work? What are those choices?
Do the characters or speakers defend particular beliefs or points of view? What are they?
What motivates those choices or beliefs or points of view in the work?
Where does the confidence in that motivation come from in the work?
Is there a crisis in that confidence in the work? Why?
To what place do those choices or beliefs or points of view lead in the work?

Yes, we can appreciate literature in the negative: we CAN decide that it holds little to no value for us, ethically speaking. But we must be able to explain WHY it holds no value, the same way we have to explain WHY it does. Your goal this semester is to learn how to explain your evaluation one way or the other. Before you accept or reject a work of literature based on its ethical value for you, you must first actually MEASURE that value.

Quote Responses

2013-08-12T00:54:00.000-04:00

On days indicated on the calendar, you will submit a quote response on an assigned work. I say "submit," but because you will be writing these assignments in Google Drive, I will be able to see your work on them even before the due date. So the deadline is actually when you should be finished so that I can evaluate your work.

The goal is to think about a work we are reading and write short paragraph responses to three different quotations. The exercise, therefore, has three sections. To earn credit for the assignment, please follow the requirements and guidelines.

Ethics: Choose a sentence or short passage from the work that reveals the ethics of a character or the narrator. After typing the quotation, identify what the person values and explain how you can tell. How does the language justify your interpretation? Do not identify a personality trait the person has; instead, identify an idea or virtue that he or she values. For example, "This passage suggests that Edna wants the men in her life to serve her, just as she has been expected to serve." That is how you would start your response. Then you would explain how your chosen passage actually reveals that idea to you. Where in the language do you sense the truth of your statement? How did you get there? Be careful here. Don't chose a passage that reports a value directly. If you simply repeat what the passage says, you will fall short. Look for implications.
Conflict: Choose a different sentence or short passage that underscores an important conflict in the work. After typing the quotation, identify the conflict you see and explain how the language reveals it to you. Make sure you understand what "conflict" means before attempting this one. You need to practice the following expression: "conflict between A and B ," the two blanks containing the specific ideas, choices, or attitudes that are in disharmony. For example, "This passage underscores a conflict between Edna's desire to free herself from social expectations and Leonce's need to maintain the status quo to secure his financial stability." This is how you would start a response. Then you would explain how your chosen passage actually helps you see that. Be careful. If your response is too obviously tied to the literal words of the quote, you will fall short. Look for implications, not reports.
Craft: Choose another different sentence or short passage that showcases a feature of the author's way of using words in the work. After typing the quotation, describe the feature that attracted your attention and explain the effect it has on your experience reading the work. Do not interpret the passage; instead, show how the author's use of words creates the meaning you see, helps you see the meaning. For example, "This passage contains a metaphor comparing Edna's longing for freedom to the act of swimming in a great expanse of water." That is how you would start your response. Then you have show how that comparison makes sense and explain the effect of that metaphor on your ability to understand the text. If you simply demonstrate your understanding by interpreting the passage, you will fall short.

ethics: The values, attitudes, or point of view that guides an individual's behavior, desires, and choices. Ethics define right and wrong, helpful and hurtful, etc. There is always a value system in or behind a work, and one way to make sense of a story is to identify the shape and size of that system. Even if we happen to disagree with the values held by a character (not always the same as the author, remember), we can benefit from literature that helps us see another point of view more clearly.

conflict: Any clash between one attitude and another, one behavior and another, one desire and another, or one choice and another that leads to crisis. If you have ever asked yourself the question "What should I do now?" you might know something about crisis. In literature, conflicts between characters or conflicts within the mind of a character or speaker allow us to observe crisis from a distance, but we can still be affected.

craft: The way an author uses words should matter in a work of literature, and most of the time it does matter. So we must pay attention to the author's language. Word choice, tone of voice, the rhythm of phrases, the level of detail, etc. all contribute to our impression of an author's style. Style is important to analyze in literature because in the end, we are reading words crafted to create a memorable effect.

Evaluation

A quote response that is complete, follows the guidelines, and is clearly written will earn full credit for being done on time.
If your quote response demonstrates any serious problems, I will ask you to do it again. Serious problems include failure to respond according to the guidelines or failure to exercise great care in proofreading your work for grammar and clarity.
To earn credit, your three quotes must be unique and carefully chosen, your responses must be professional and edited carefully, and all parts of the quote response must be filled in, including (a) the name of the work and your name at the top and (b) the page numbers of your quotes (and other blanks where appropriate).
Please use the quote response template to type your work. When you open this document, you can go to "File" to "Make a copy"; then rename the document (LastName.FirstName.QR1.F13) and put it in your assignments folder in Google Drive. Leave the formatting in the quote response template as is.
No fewer than 100 words per response, not including the quotation itself. The strongest Quote Responses will go beyond the minimum length requirement.

Discussions

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Your participation in our class discussions is part of your grade, but good performance in this area should not be a problem for any of you. You will have taken reading notes on the pages we read for each meeting, so you will be very familiar with the text and have already come up with questions and ideas to share. When you arrive, articulate those questions and ideas. Our discussions are for you, and our most interesting sessions will be the result of your honest, inquiring attempts to grapple with this difficult literature.

During each class meeting, you should raise your hand to speak at least once. You can offer clarification, ask a question, elaborate on an idea, challenge an interpretation, give an example or counterexample--in other words, you don't have to be "right" or "know the answer" to speak. Actually, I would rather you speak precisely when you DON'T know the answer or when you are uncertain.

Your presence and involvement will be worth daily credit, worth a total of 100 points spread over the entire semester.

In the event that discussions become routinely focused around the same few students making an effort to participate, I will begin requiring discussion postings before class so that everyone has a chance to try out communicating their thoughts before our discussions.

Reading Notes

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For this course, instead of quizzes, I require note-taking on the reading assignments so that you can demonstrate thorough reading of each work. Also, they will help you remember more of what you read, making you more confident during class discussions. When you come to class, please bring with you a substantial set of hand-written notes on standard notebook paper about the reading assignments for that week.

Why?

To stay focused as you read so you can recall things for class discussion.
To record specific details for use in your assignments.
To collect quotations for quote responses.

To receive full credit when we have a reading assignment, you have to

Be in class to discuss the reading!
Take at least two full pages of notes before class begins--these notes must show that you took notes throughout each reading assignment for that week. Use the space wisely and completely--too much white space makes your notes incomplete.
Write down examples of literary terms, images that are packed with meaning, memorable lines and passages, confusing expressions, compelling themes, questions you have, character dilemmas, conflicts, writing style descriptions, etc. Really, you need a mixture of the above items, not an exclusive focus on any one thing. DO NOT summarize what you are reading; instead, select what is interesting and important to you, what you would bring up in class to discuss. Your notes must reflect that you read the ENTIRE portion of pages for that week.
Make sure your notes are organized and readable. I don't mean "pristine"--don't rewrite them or anything, but don't just scribble meaningless phrases everywhere. Use page numbers for stories. Everything you write down should be associated with different quotes from the work, so write these quotes down and then write down your associated ideas. Give your notes some structure so they are not just one big mass of words. Use underlining and boxes to emphasize and separate ideas, for instance. Your notes should show that you are thinking actively and making connections between stories.
Turn these notes in at the beginning of class for me to evaluate.
Put your name, date, and the name of the reading assignment at the top of the first page.

The notes should not just be a summary of the story or a random list of stopping points. The best sets of notes will how that you are responding to what you read, asking questions, noting significant moments, actively thinking. Remember, you are being graded on effort, so be sure that I can see your effort!

How Your Grade is Calculated

2013-08-12T00:50:00.000-04:00

I am using a flexible system that gives you almost complete control over the grade you earn in this class. My goal, actually, is to change your view of grading, at least as it applies to your pursuit of better reading and writing skills. Your grade in this course will, very simply, reflect how hard you worked at making yourself a better reader and writer than you are right now.

You'll participate in discussions, produce reading notes, and compose quote responses. Timely completion of all assignments accounts for 500 pts. The reading portfolio for this course is worth a maximum of 475 pts. A total of 900-975 points equals an "A" in the course (800-899 equals a "B" and 700-799 equals a "C").

Timely completion means (a) meeting deadlines and length requirements for assignments and (b) following guidelines for assignments. Why? Most students want a course grade to reflect their effort in a course; this approach to grading rewards effort without sacrificing academic rigor.

At the same time, in this system, if you earn all 500 points for reading notes, discussion postings, and quote responses, you only need a "B" reading portfolio (425 points) to make an "A" in the course. So diligent work across the semester is definitely rewarded.

Using Google Drive

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Your quote responses this semester will be done on Google Drive. This online document creation and storage tool allows you to compose without any word processing software on your computer. The sharing feature allows you to collaborate with me and your classmates as you write your assignments. You can also comment and make suggestions on assignments shared with you.

In order for this tool to work for us, we will all have to cooperate, learn some new skills, and follow some rules. It might be a steep learning curve for some of you, but I think you'll be pleased with the results!

First, you'll need a Google account. If you have a Gmail account, then you already have a Google account, so all you need to do to get started is to sign in to Google Drive! If you don't have a Google account, the easiest way to start one is to sign up for Gmail! This link will allow you to designate a username for a Gmail account--I recommend using something like "LastName.FirstName" for your username.

Once you have your Google account, let me know the Gmail address you'll be using and sign in to Google Drive so that you can configure some things. If you need any help along the way, just let me know. We'll go over some of this in class also:

Edit your Google profile and make sure your display name is "LastName FirstName"
Create a folder called "Lastname.Firstname.2132H.Assignments.F13"
Share the folder with me and grant me "edit" privileges (I'll give you my sharing address during class)
Create a document in that folder called "Lastname.Firstname.My.Expectations.F13"
Share this document with everyone else in the class and grant them "comment" privileges (I'll provide everyone's sharing addresses once I have them all)
Now open this document and write a 300-word response about your expectations for this course this semester. What are you most looking forward to? What are you most afraid of?

As for the quote responses, I will explain in class how to do them, but the basic idea will be to create documents in your assignments folder and name them appropriately (LastName.FirstName.QR1.F13).

Check My Grades

2013-08-12T00:47:00.002-04:00

Go to UNG eLearning to view your grades:

Log on with your user ID and password
Choose my course from the "Course List"
Click on "My Grades"

Kate Chopin

2013-08-12T00:35:00.003-04:00

Background of the author
Background of the work

Class Discussion Questions:

How would you describe the narrator in The Awakening? Come up with FIVE strong adjectives, and identify passages in the novel to support your choices. Hint: In this novel, the narrator is not a character in the story, nor is it Kate Chopin, the author; the narrator is the voice used to tell the story.
If you had to describe the way this novel develops to someone who had never read it, what words would you use? By "develop," I mean how are we brought into the story and how do the events and characters unfold. Be specific and give examples.
How would you describe the attitude of the narrator in The Awakening toward the protagonist, Edna Pontellier? Come up with TWO strong adjectives to describe the attitude conveyed by this voice toward Edna, and identify quotes in the novel to support your choices.
What are some of the conflicts that develop early in the novel (focusing on value differences between the characters)? What do you think the central dilemma will be for Edna? Be specific and give examples.
What role does the attitude of the narrator play in helping you recognize and think about the conflicts that emerge as the narrative unfolds?
Look up Romanticism, Realism, Impressionism, and Naturalism. Which of these types of storytelling does The Awakening feature? How can you tell?
Does the narrator express opinions about the ethical conflict surrounding Edna's behavior, or does the narrator channel the thoughts of the characters so that we can observe without bias?
What does the narrator’s wandering point of view suggest about her objectivity? Why does the narrator’s style change? How can we tell there is a conflict? Is it internal or external? Consider, especially, the last paragraph of Chapter 18.
What trait, according to Mademoiselle Reisz, must the artist possess more than anything in order to succeed? What does she mean? Does Edna have this trait? In what ways does she express this trait, even when she is not drawing or painting? And what about her "wings"--are they strong enough to "soar above the level plain of tradition and prejudice" (p. 79)?
Does Edna become unfaithful? What is the significance of her worrying about her loyalty to Robert rather than her husband (p. 74)? Look for lines in the narrative that capture Edna's gradual submission to her extra-marital desires.
Are we meant to pass judgment on Edna and the other characters (positive or negative) as the conflict escalates? Can we benefit more as readers by engaging in moral debate with each other or by seeking to understand WHY this is all happening? (p. 64).
Is Kate Chopin a Realist or a Romantic?
Starting about half way down p. 108 through the end of the novel, the narrator strategically echoes earlier moments in the narrative. Phrases are repeated, images resurface, motifs peak. First, identify some of these by pointing out where they originally surfaced so that the echo is clear.
What does this narrative strategy suggest about the ultimate "end" of Edna's awakening? She is described as a "new-born creature"—does this mean that she has transcended or regressed? Is the ending meant to be "the awakening" or is the narrator orchestrating some other commentary on what might have been an awakening if only . . . ?
In light of the narrator’s strategy in the last couple pages of the novel, reflect on your involvement as a READER in what finally happens to Edna (or, if you prefer, not what happens to her, but what she chooses to do).

F. Scott Fitzgerald

2013-08-12T00:35:00.001-04:00

Background of the author
Background of the work

Willa Cather

2013-08-12T00:34:00.004-04:00

Background of the author
Background of the work

Flannery O'Connor

2013-08-12T00:34:00.002-04:00

Background of the author
Background of the work

Cormac McCarthy

2013-08-12T00:28:00.002-04:00

Background of the author
Background of the work

Words
Revision
Spanish
Harold Bloom's thoughts (spoilers)

Tim O'Brien

2013-08-12T00:26:00.000-04:00

Background of the author
Background of the work

A Conversation with Tim O'Brien
Tim O'Brien on "The Things They Carried"
Big Think Interview With Tim O'Brien (transcript)

Literary Terms

2011-08-03T23:15:00.000-04:00

Fiction

narrator
narrative
story
plot
setting
ellipsis

flashback
flashforward
character
point of view
parable
allegory

epiphany
catharsis
climax
free indirect discourse
Iceberg Principle

General

dramatic irony
situational irony
verbal irony
negative capability
ethical significance
representation
ambiguity

juxtaposition
diction
alliteration
style
image
symbol
metaphor

motif
hyperbole
allusion
historical sense
impersonal theory of poetry
objective correlative
"make it new"

Literary Movements

Romanticism
Realism
Impressionism

Naturalism
Modernism

Post-Modernism
Minimalism

Minimalism

2010-08-15T21:00:00.011-04:00

An approach to writing literature that tries to say as much as possible using as few words as possible. There are several possible motivations for this method. Minimalist writing can put a lot of pressure on the reader to read carefully and look for significance behind the bland surface of reality; this experience might help the reader relate to the characters in a story. This method also comes out of a belief that language is unstable and limited; it must be carefully controlled to avoid creating deceptive illusions in writing. Related to but not the same as the Iceberg Principle, Minimalism is a kind of realism because it allows a writer to tell a story in the most direct way possible.

Post-Modernism

2010-08-15T21:00:00.010-04:00

A movement in literature that attempts to communicate the instability of truth and the ways in which meaning is largely a matter of personal perspective. In the absence of a reliable or universal code of ethics, we must make do with the truth as we see it instead of pretending that there is a set truth out there waiting to be discovered. Post-Modernist literature tends to emphasize the broken condition of the present world without passing judgment on it; the world may be falling apart, but there is not much we can do about it. Language itself becomes less and less stable in this movement because authors begin to think that the older conventions of storytelling were based on a false confidence in the ability of language to get at the truth.

Modernism

2010-08-15T21:00:00.009-04:00

A movement in literature that attempts to find meaning in a broken world by looking to the past and "making it new." Modernist literature tends to emphasize the loss of confidence in the present world by showing how it has fallen apart due to war, social injustice, and empty materialism. Although it might seem that Modernist writers are pessimistic and judgmental, they are interested in finding a solution to the predicament and restoring meaning to a world that has lost its way. As a result, this approach to making art often deals with moral concerns and the consequences of bad choices.

Modernist literature also tends to be more difficult, less direct, more experimental than its predecessors. At the same time, the roots of Modernism ARE its predecessors, including Romanticism. Not all Modernist writers are impossible to understand, such as Robert Frost, but many of them approach this level of difficulty because they are trying to convey how difficult and complex the modern world is.

Naturalism

2010-08-15T21:00:00.008-04:00

An approach to storytelling that attempts to show how mankind is somehow at the mercy of the forces of nature. Naturalist literature tends to emphasize the way characters struggle to survive when up against the dangerous phenomena of the universe, not the social forces that mankind itself creates. Although it might seem that the universe is against mankind in this worldview, usually nature is considered to be indifferent to man's existence or survival. As a result, this approach often deals with life-death situations in which moral concerns are insignificant.

Impressionism

2010-08-15T21:00:00.007-04:00

An approach to storytelling that attempts to show how the world seems to the consciousness and/or senses of a character with a limited point of view. The important word here is attempts. What the reader reads on the page is but the illusion of an impression of reality. Impressionist literature tends to emphasize the way characters experience the world, not necessarily the way the world actually is. As a result, this approach often deals with ambiguity and partial understanding. For some writers, such as Henry James, impressions are all that we have to make sense of the world because we are on the outside looking in, trying to interpret our surroundings.

Realism

2010-08-15T21:00:00.006-04:00

An approach to storytelling that attempts to show how the world really is: social forces, moral choices, historical settings. The important word here is attempts. What the reader reads on the page is not reality, obviously, but the illusion of reality is a strong goal in some writing. Realist literature tends to emphasize characters who are faced with moral dilemmas because of social forces pressing down on them.

Romanticism

2010-08-15T21:00:00.005-04:00

An approach to storytelling and poetry writing that elevates the self as the main subject and the most important concern. Romantic literature tends to emphasize explorations of identity and relationships with others and the world that influence that identity. Nature is often valued in this approach because of its untouched condition, with which the pure self can identify. The poet himself is a central figure in this literary movement because of his expressive power; he is sometimes treated like a hero who has come to show everyone else how to live to the fullest through sensation and experience.

"make it new"

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This Modernist concept suggests that writers look to the past for help in the search for meaning. Although "make it new" might suggest originality or creativeness, it primarily means that the old can be resurrected in order to show the present age what has been lost. If meaning is difficult to find here and now, perhaps the past can show us the way. The use of allusions is one way to "make it new" because the reader then has to look up the past to understand the present.

historical sense

2010-08-15T21:00:00.003-04:00

The "historical sense" is an important part of writing and reading poetry in a mature way, according to T. S. Eliot: "the historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order." If a writer has this sense, then he will not merely express personal emotions in poetry or try to be original but open himself up to the past and see how he is part of a tradition bigger than himself. Each new work of art is influenced by this tradition and changes this tradition. The historical sense can also help us, as readers of literature, not think only of ourselves when we try to understand a work of literature.

catharsis

2010-08-15T21:00:00.002-04:00

The purging of emotional tension that an audience is meant to experience at the climactic moment of a story or play. This experience can provide relief and, at the same time, allow us to think more clearly about the consequences of a character's decisions, our sympathy with them, and our concern that we might find ourselves in a similar situation if we are not careful. The emotions we feel during this purging experience are generally pity and fear, pity for the suffering of the character and fear that we might be just as vulnerable in our own lives. Catharsis, therefore, is an occasion to engage our ethical sensibility. This release of tension is usually associated with tragedy, in which the main character suffers from his own weaknesses; however, comedies, which always end happily, can produce emotional tension as well.

climax

2010-08-15T21:00:00.001-04:00

In a work of literature, the highest point of anxiety or tension in the story being told. The climax is an element of the plot and is usually placed near the end of a story, but not right at the end. Following a climax, which sometimes leads to catharsis, is a period of restoration of order and stability. At the climactic moment, however, the central character confronts and deals with the consequences of all actions and choices or faces the antagonist in a battle or conflict. The easiest way to identify the climax in a story is to ask yourself, "when does the main character change?" Leading up to this climactic moment is usually a crisis during which tension and anticipation build.

epiphany

2010-08-15T21:00:00.000-04:00

A sudden realization or insight experienced by a character. This higher level of clarity might reveal the truth about a situation, but most often, an epiphany is a sudden insight into oneself. In fiction, the epiphany is a useful tool to mark a significant moment of change in a character; moreover, because an epiphany is sudden, the moment is usually a surprise twist in the story, making use of situational irony to involve the reader in a new level of understanding.

allegory

2010-08-15T20:47:00.000-04:00

A type of storytelling in which the characters and events stand for other ideas; in other words, there is a figurative meaning above and beyond the literal appearance of the story. Sometimes allegory is obvious; imagine a character named "Hope" who is attempting to escape an abusive family situation. Other times, the allegorical meaning is difficult to see without breaking down the elements of the story. Of course, not all stories are allegorical, so we need to be careful not to look for allegorical meanings when we should be more interested in the literal meaning. You can think of an allegory as an extended simile. Instead, of just one comparison, there is a whole string of comparisons that together tell a universal story through a particular situation.

parable

2010-08-15T20:46:00.001-04:00

A type of story meant to teach a lesson by representing an abstract value with a concrete example. Parables seem simple on the surface but are actually deeply mysterious and can only be understood by those who are willing to humble themselves to grasp the truth they contain. Most often found in the New Testament, parables have become a model for all kinds of fictional stories that are meant to inspire thought more than teach obvious moral lessons.

Iceberg Principle

2010-08-15T20:46:00.000-04:00

Also known as the "theory of omission," the iceberg principle was proposed by Ernest Hemingway: "If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of the iceberg is due to only one-eighth of it being above water. The writer who omits things because he does not know them only makes hollow places in his writing." This principle is about dignity and movement in fiction. Leaving out the obvious makes writing more dignified because it is not bloated with details that make the reader's experience with the story too easy. These omissions help move a story along because the reader is permitted to witness just enough to figure out what is happening.

Read the passage from Death in the Afternoon (1932) on character and ice-bergs.

free indirect discourse

2010-08-15T20:45:00.000-04:00

A narrative technique in which the representation of a character's thoughts and actions showcases the word choice and tone that the character would use. This style requires a covert narrator so that the "voice" and "attitude" of the character shines through the surface of the narration, even though it is not written in first-person. It is "free" because the narration can jump from one mind to another, or one feeling to another, without the logic normally associated with conventional narration. It is "indirect" because we are not reading the "actual" thoughts and words of the character in quotation marks. It is discourse because it is a particular way of using language to tell a story. Here is an example from "The Dead" by James Joyce: "Lily, the caretaker's daughter, was literally run off her feet." In fact, she still has her feet, but she is very busy and feels as if she is "literally" run off her feet. Presumably, she would use this kind of language to describe her feelings at the moment and is generally inclined to see herself as "the caretaker's daughter," in case anyone is interested in who she is.

point of view

2010-08-15T20:44:00.001-04:00

The position from which an event or character is seen, often determining its significance. Just as plot is different from story, point of view is different from looking at something. Plot refers to the way a story is told, and point of view refers to the way something is seen. The point of view of a narrator is frequently objective and external, but the way a narrative might be written to suggest that the point of view is subjective, belonging to or related to a particular character in the work.

character

2010-08-15T20:44:00.000-04:00

This term refers to two distinct ideas: 1) an individual in a short story, novel, or play and 2) the personality or identity of that individual. The double meaning of this term is important to understanding how a writer tells the story. We usually ask, for instance, "what motivates this character?" and "how does this character change over time?" while analyzing the a short story or a novel. In that case, we are talking about character as an individual: what kind of characters does this writer put in his novel? But we can also consider the term character to mean the sum of qualities in an individual: does her character change as the story unfolds?

Additionally, we should think about the term "character" as a certain kind of personality trait, right? If we say, "My father is a man of strong character," we mean that he has integrity, that he is genuine and honest. But when thinking about "character" as an idea involved in appreciating a novel or story, we have to look at the more abstract definition: character is who a person is, the dimension of a person that defines his or her identity and values.

flashforward

2010-08-15T20:43:00.001-04:00

A moment in a narrative that describes a future action or event. The future tense of a short story or novel, a flashforward is one plot technique for rearranging the chronological events of a story.

flashback

2010-08-15T20:43:00.000-04:00

A moment in a narrative that describes a past action or event. The past tense of a short story or novel, a flashback is one plot technique for rearranging the chronological events of a story.

impersonal theory of poetry

2010-08-15T19:43:00.000-04:00

According to this theory, proposed by T.S. Eliot in "Tradition and the Individual Talent," poetry should not simply be the emotional expression of the poet's personality. Like a catalyst in a chemical reaction, the mind of the poet should neither be affected by nor be mixed into the final product: the poem. The concept objective correlative comes out of this theory. The mind of the mature poet will be able to use ordinary emotions in new combinations to give rise to meaningful poetry: "The emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done." Another poet to include in this theory is Wallace Stevens, who often thought that poetry should not glorify or express opinion but look for "what will suffice" and say what people need to hear.

objective correlative

2010-08-15T19:42:00.000-04:00

This term was coined by T.S. Eliot: "The only way of expressing emotion in the form of art is by finding an objective correlative; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." This definition relates to the impersonal theory of poetry that Eliot held in such high regard. According to this theory, if poetry is simply an expression of personal emotion, it carries no significance beyond that person and so offers nothing new to extend tradition or meaning to the world. The formula for an emotion, on the other hand, can have meaning for almost anyone who is willing to pay close attention to the objects or events in that formula.

Read more about it here.

alliteration

2010-08-15T19:41:00.000-04:00

The repetition of sounds at the beginning of two or more words. In poetry, alliteration is one way to create effects that draw attention to the words or help with the song quality of the verse. Ex) "Failing to fetch me at first keep encouraged."

ellipsis

2010-08-15T17:12:00.001-04:00

Periods of time that have been left out of the narrative. The ellipsis is usually marked by a gap that indicates some events in the story have been skipped over. This plot technique allows a writer to focus on events that are more significant than others and to juxtapose in the narrative different times and different settings.

setting

2010-08-15T17:12:00.000-04:00

The place and time of a short story, novel, or play. A given work might have more than one setting and switch back and forth between settings. The setting is an important consideration in analyzing literature because it can shed light on particular themes in the work or its overall worldview.

plot

2010-08-15T17:11:00.002-04:00

A component of narrative, plot refers to the arrangement of events in a story. Not to be confused with the story itself or the events themselves (which are always chronological), a plot can mix up the events, put them in order, reverse their order, layer them in parallel fashion, etc. A plot can begin and end with the same event, but a story cannot. The distinction is important because the plot of a short story or novel can reveal meaning that the events themselves do not expose.

story

2010-08-15T17:11:00.001-04:00

A component of narrative, the story consists of the events that happen, whether we directly read them or infer them from what we read. If you list these events in their chronological sequence, you have the story. Not to be confused with the plot, which is the arrangement of those events in the narrative, the story is simply what happens. In other words, there really is no such thing as a plot summary, only a story summary. The distinction is important because a short story or novel is often not nearly as interesting as the way it is told. Most of the time, a work of literature captivates us because it has arranged the events of a story in a way that helps us see its meaning.

narrative

2010-08-15T17:11:00.000-04:00

The story as told in words by a narrator, constructed through a particular point of view and arrangement of events. The components of a narrative are the story itself, the plot, and the point of view, not to be confused with one another. A closely related term is narration, which is the act of telling a story.

narrator

2010-08-15T17:10:00.000-04:00

An essential element of fiction (rarely found in poetry or plays), the narrator is the consciousness or entity telling the story. The narrator is not necessarily the same person as the author, but is sometimes a character in a story told in first-person. Conventionally, narrators are third-person, omniscient, looking at the events and characters from the outside, but sometimes a narrator will be as limited as a single character in the short story or novel, not seeing and knowing everything. The narrator will also have a point of view or a tone of voice that makes the story more interesting to experience.

allusion

2010-08-15T12:09:00.001-04:00

The reference in a work of literature to another work of art or literature, an historical event, some real person or place, etc. The use of allusions usually indicates an interest in the past and how the meaning of the present is dependent on the past. Related to the Modernist concept "make it new", allusions help the reader see that complete understanding of a poem is impossible without a wider knowledge of the works of literature that came before it. Sometimes allusions are subtle and easy to miss, but other times, they are used in a poem in a straightforward way. The reader must then search out the source of the allusion and think about the connection. The famously difficult poem "The Love Song of J. Alfred Prufrock" is a great example. That poem is difficult, in part, because it assumes a certain level of knowledge in the reader that will help him or her see the allusions to other literature.

hyperbole

2010-08-15T12:09:00.000-04:00

A figure of speech in which an author exaggerates on purpose in order to create an effect for the reader. An expression of exaggeration can attract attention to an idea in a poem or story. At times, an author might use hyperbole in an ironic way, by trying to make something quite unimportant sound grander than it really is. If something trivial is made to sound important, its smallness becomes even more obvious. We all use hyperbole in everyday conversation, but poets use it as part of their art.

motif

2010-08-15T12:08:00.000-04:00

A thematic element in a poem or story that is repeated in some memorable way, sometimes to the point of creating a pattern. A motif could arise through a symbol, an image, a stylistic feature, diction choice, or a line of dialogue, as long as it is repeated and points to a theme of the story. Authors use motifs to help the audience see the message of a work of literature; we tend to think in patterns, and repetition is a good way to appeal to pattern thinking. Of course, some authors will point to motifs in more subtle ways than others (such as the style used to represent things instead of the things themselves).

metaphor

2010-08-15T12:05:00.000-04:00

A figure of speech in which one thing is compared to another without using the words like or as. A simile is a comparison that uses like or as to make the connection. Metaphor: "The touch of the sea is sensuous, enfolding the body in its soft, close embrace" (sea is compared to a lover). Simile: "The foamy wavelets curled up to her white feet, and coiled like serpents about her ankles" (wavelets are compared to serpents). In both cases, the thing used as a comparison is not really there (lover and serpents).

symbol

2010-08-15T12:04:00.000-04:00

Unlike metaphors and similes, symbols do not compare one thing to another. A symbol is a concrete object or situation in a work of literature that represents a less tangible, more abstract idea. A bird in a cage, for instance, might symbolize unjust imprisonment. The main thing to remember is that the concrete object is really there in the poem or the story, unlike the objects for comparison in a metaphor or simile.

image

2010-08-15T12:02:00.000-04:00

Any verbal construction that conveys a concrete detail by appealing to the senses: sight, hearing, taste, smell, or touch. An image does not have to be a visual figure of speech, as seen in Whitman's famous phrase "the scent of these arm-pits aroma finer than prayer."

diction

2010-08-15T12:01:00.000-04:00

The selection of words made by an author in a work of literature. Diction, for obvious reasons, has a central importance in an art based on words; selecting the appropriate word for a particular effect is a poet's main concern, especially in poems that do not have many words. Writers use words to convey action, reveal character, imply attitudes, identify themes, and suggest values. Sometimes diction helps us recognize the style of a poet, and sometimes a poet will avoid diction that is overly difficult or noticeable. Consider the diction choices in the poem "The Red Wheelbarrow" by William Carlos Williams. The poem is deceptively simple because the diction seems simple. But so much depends upon the words he chooses:

so much depends
upon

a red wheel
barrow

glazed with rain
water

beside the white
chickens.

style

2010-08-15T11:57:00.000-04:00

This term refers to way an author uses words. Word choice, tone of voice, the rhythm of phrases, sentence structure, the level of detail, etc. all contribute to our impression of an author's style. Style is important to think about when analyzing literature because it reminds us that, in the end, we are reading words, beautifully crafted to create a memorable effect.

juxtaposition

2010-08-15T11:56:00.000-04:00

A literary technique in two images, two events, two settings, etc. that do not normally go together are placed next to each other to create a disorienting contrast or to suggest a connection or similarity that most of us would not normally consider or notice.

ambiguity

2010-08-15T11:54:00.000-04:00

A situation, sequence of events, scene, character, line of dialogue, etc. that does not have a clear meaning. If something is ambiguous, it is difficult to interpret with certainty. However, ambiguity is a good way to enrich a story; in real life, we are not always sure what is going on around us, so we should not expect to know exactly what is going on in a novel or poem either. At the same time, if every part of a story were ambiguous, we might have good reason to throw up our hands. Ambiguity can leave us confused and asking questions, and it can inspire us to think about different possibilities. When there is more than one interpretation, after all, then we have something to talk about with our friends. If an author uses ambiguity, for instance, to help us see the world through a character's eyes or to challenge our minds, we should embrace the difficulty.

representation

2010-08-15T11:49:00.000-04:00

This general term refers to the way literature can, to some extent, mirror nature and life. But representation of reality is not the same thing a reality itself. It is important to ask, "How is reality represented here?" or "How does the author attempt to represent reality here?" NOT "What does this poem tell us about the world?" or "What do we learn about the world from this novel?" We must always remember when reading literature that we are reading words meant to represent something to us, not to show us the thing itself. In addition to words, the form of a poem or the plot of a novel can represent a worldview or an attitude toward reality.

negative capability

2010-08-15T11:48:00.000-04:00

As an element of a speaker's persona, negative capability refers to the willingness and the ability to live with uncertainty without the desperate need to find answers to life's most profound questions. If one has negative capability, he will confront difficulty and confusion with a certain level of comfort and curiosity, not despair or frustration. On some level, negative capability is necessary to ask serious ethical questions.

ethical significance

2010-08-15T11:46:00.000-04:00

A work of literature has ethical significance if it encourages the reader to ask questions of an ethical nature. Not to be confused with moral significance, which refers to the ability of a work of literature to teach a lesson about how one should live, ethical significance is found where the truth is not always obvious, the right decision is not always clear, and the best way to live is difficult to determine. Literature that shows us how to ask questions and why we need to ask questions by raising difficult issues tends to stay with us.

verbal irony

2010-08-15T11:45:00.000-04:00

A literary effect created when a speaker, narrator, or character says one thing but means another (sometimes unintentionally). The difference between what is said and what is meant creates a sense of surprise (often humorous) that draws attention to the words themselves. Sarcasm is the lowest form of verbal irony, but on higher levels, verbal irony can create profound drama and suspense.

situational irony

2010-08-15T11:44:00.000-04:00

A literary effect created when something happens that the reader or a character does not expect to happen. The difference between what happens and what is expected creates a sense of surprise that makes a work of literature compelling and memorable. When the unexpected event occurs, we enjoy the twist, but we are also left asking why we did not see it coming.

dramatic irony

2010-08-15T11:43:00.000-04:00

A literary effect created when the reader or a character knows something that another character does not. The difference in knowledge often creates tension that helps a short story or novel gain momentum toward a climax in dramatic development.