Lahore University of Management Sciences LITR 100 Introduction to Literature in English

Spring 2012

Instructor Room No. Office Hours Email Telephone Secretary/TA TA Office Hours Course URL (if any)

Saeed Ghazi Ph.D. 239-G Friday, 2:30pm 5:30pm saeedg@lums.edu.pk Ext. 8109

Course Basics Credit Hours Lecture(s) Recitation/Lab (per week) Tutorial (per week) Course Distribution Core Elective Open for Student Category Close for Student Category

4 Nbr of Lec(s) Per Week Nbr of Lec(s) Per Week Nbr of Lec(s) Per Week

Duration Duration Duration

COURSE DESCRIPTION This four credit introductory course does not assume that students have a prior knowledge of Literature. The course is designed to ensure that students with no acquaintance with Literature as well as those who have received some exposure to the discipline in high school, feel at home. It seeks to introduce students to the distinguishing features of the principal genres of poetry, the novel, and drama through a close and sustained engagement with poems, plays, novels, and short stories drawn from a wide range of historical periods within the field of English studies. Nonfictional genres like biographies, autobiographies, letters, diaries, speeches, and documents will also receive some attention. This course will also attempt to provide a broad overview of the discipline of English Studies, including Literary and Historical periods, Literary Movements, and Literary Theories. We will grapple with questions like the relationship of literary form to content and what, if anything is particularly and peculiarly literary about literary works. Notable among the questions that will come up for consideration is the tangled issue of canon formation and the politics surrounding canon formations. COURSE OBJECTIVES 1. To equip students with the critical skills and interpretive tools necessary to pursue more advanced courses in Literature. 2. To develop in students a heightened sensitivity to and a deeper appreciation of the literariness manifest in literary works.

Learning Outcomes Students who successfully complete LITR 100 should: 1. 2. 3. 4. Manifest a degree of familiarity with the distinctive characteristics of the discipline of literary studies the object; of literary study, the aims and objectives, and the methodology. Register awareness of and sensitivity to some of the distinctive features and unique properties and uses of literary language. Exhibit broad familiarity with the characteristics of the paradigmatic genres the narrative, the lyric, and the dramatic, as well as subgenres, dominant literary forms, and significant literary movements. Display familiarity with distinctive approaches to Literature formalist, mimetic, rhetorical, and biographical, as well as a broad acquaintance with important literary theories like New Criticism, Russian Formalism, Structuralism, Deconstruction, Psychoanalysis, New Historicism, and Feminism.

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Grading and Attendance Policy There will be 28 sessions of class, each 110 minutes in length. Students will write a brief response paper based on the assigned readings at the start of each class. Students will take a Mid-term and a Final exam and write a 2,500 word critical essay (approximately 8 pages) during the semester. The topic for the essay and the working thesis will have to be approved by the Instructor. The critical essay should strictly adhere to the MLA (Modern Language Association) format. A photocopy of the 7 edition of the MLA Handbook for Writers of Research Papers (2009) is on reserve at the library. The break up of the Instruments is as follows: 1. 2. 3. 4. Mid Term Final Exam Critical Essay Response Papers/Tests 30% 30% 30% 10%
th

COURSE OVERVIEW Week/ Lecture/ Topics Module Introduction to the Course; Overview of the Discipline; Literary and Historical Periods INTRODUCTION TO FICTION Reading Fiction: Elements of Fiction

Recommended Readings

Plots: Types of Plot, Story and Plot, Fabula and Syuzhet

Kate Chopin (1851-1904), The Story of an Hour John Updike (1932-2009), A&P Jonathan Culler, What is Literature and Does it Matter? Harold Bloom (B. 1930), Why Read Milan Kundera (B. 1929), from The Art of the Novel William Faulkner (1897-1962), A Rose for Emily E.M. Forster, from Aspects of the Novel J.Arthur Honeywell, Plot in the Modern Novel Style, Tone, and Irony: Ernest Hemingway (1899-1961), Hills Like White Elephants Anton Chekhov (1860-1904), The Lady with the Dog Punyakante Wijenaike (B. 1933), Anoma Wayne C. Booth (1921-2005), Distance and Point of View: An Essay in Classification Herman Melville (1819-1891), Bartleby the Scrivener Saadat Hasan Manto (1912-1955), The Dutiful Daughter Naguib Mahfouz (1911-2006), The Answer is No Daniyal Mueenuddin (B. 1963), Saleema James Joyce (1882-1941), The Dead Jorge Luis Borges (1899-1986), The Garden of Forking Paths James Joyce (1882-1941), Araby; Leo Tolstoy (1828-1910), The Death of Ivan Ilych Franz Kafka (1883-1924), The Metamorphosis Jane Austen (1775-1817), Emma Marianne Moore (1887-1972), Poetry Robert Frost (1874-1963), Stopping by Woods on a Snowy Evening; Acquainted with the Night; The Road Not Taken

Point of View: Third Person Narrator, First Person Narrator

Characterization Setting Theme Symbolism INTRODUCTION TO POETRY Reading and Responding to Poetry: Tone, Speaker, Situation, and Setting/Word Choice, and Word Order Denotation and Connotation;

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Alliteration, Assonance, and Onomatopoeia Tropes/Figures of Speech: Patterns of Rhythm; Principles of Meter Poetic Forms/Open Forms Terry Eagleton, from How to Read a Poem Moniza Alvi, How the World Split in Two Sylvia Plath (1932-1963), Metaphors John Keats (1795-1821), On First Looking into Chapmans Homer Percy Bysshe Shelley (1792-1822), Ozymandias Andrew Marvell (1621-1678), To His Coy Mistress John Donne (1572-1631), A Valediction Forbidding Mourning Ezra Pound (1885-1972), In a Station of the Metro William Carlos Williams (1883-1963), Poem Matthew Arnold (1822-1888), Dover Beach T.S. Eliot (1888-1965), The Love Song of J. Alfred Prufrock John Keats (1795-1821), To Autumn Edwin Arlington Robinson (1869-1935), Richard Cory William Butler Yeats (1865-1939), The Second Coming Robert Browning (1812-1889), My Last Duchess William Blake (1757-1827), The Sick Rose Robert Browning (1812-1889), How they brought the Good News from Aix to Ghent Lord Byron (1788-1824), The Destruction of Sennacherib Gerard Manley Hopkins (1844-1889), Gods Grandeur Alexander Pope (1688-1744), from An Essay on Criticism Sonnet a. Italian sonnet, Petrarchan sonnet b. English or Shakespearean sonnet c. Octave, sestet, caesura, volta d. e. f. William Wordsworth (1770-1850), London 1802 William Shakespeare (1564-1616), Shall I Compare thee to a Summers Day -----------------------------------------, Let Me Not to the Marriage of True Minds

Images & Imagery

MID TERM EXAM Symbol, Allegory, and Irony The Sounds of Poetry

Ballad a. Popular or Traditional Ballad b. Literary Ballad c. Sir Patrick Spens Ode a. Pindaric ode, Horatian or homostrophic ode; Irregular Ode b. John Keats (1795-1821), Ode to a Nightingale Elegy a. Seamus Heaney (B. 1939), Mid-term Break Villanelle a. Dylan Thomas (1914-1953), Do Not Go Gentle into that Good Night Sestina a. Elizabeth Bishop (1911-1979), Sestina Limerick a. There was a Young Lady named Bright

Poetic Forms (Contd)

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INTRODUCTION TO DRAMA Elements of Drama Hamlet Hamlet Hamlet Hamlet Hamlet Hamlet Hamlet Haiku a. Matsuo Basho (1644-1694), Under Cherry Trees Parody a. Anthony Hecht (B. 1923) The Dover Bitch John Millington Synge (1871-1909), Riders to the Sea John Styan, from The Elements of Drama William Shakespeare (1564-1616), Hamlet Aristotle, from Poetics

Textbook(s)/Supplementary Readings