WL F09

World Literature: Coming of Age Theme

Wendy C. Nielsen, Ph.D.

Blue Marbles, NASA

ENLT 206-02, W 5:30-8 in DI 272
http://chss.montclair.edu/~nielsenw/wlf09.html
<http://english.montclair.edu>

Prof. Wendy Nielsen, Dickson Hall 352
Office Hours: M 11-1, W 4:30-5:30, & by appt. in 352 DI
Email: nielsenw@mail . . .

Texts available at University Bookstore (all of the following are required):

All of the following are required

Mariama Bâ, Scarlet Song (Longman)
Marguerite Duras, Hiroshima mon amour
Kenzaburo Oe, ed., The Crazy Iris (Grove)
Art Spiegelman, Maus I and II (Pantheon)

You may choose one of the following books:

Ruth Klüger, Still Alive (Feminist Press, 978-1558614369)

Rigoberta Menchu, I Rigoberta Menchu (Verso, 978-0860917885)

Other required readings are posted on Blackboard: http://blackboard.montclair.edu/

Course description: Coming-of-age stories mark a loss of innocence, and they punctuate the shift from childhood to adulthood. In this course, we will examine why writers use this universal motif to describe their experiences after 1945, a period marked by the end of several global atrocities (the Holocaust, the Atom Bomb, colonialism) and the beginning of new revolutions for individuals, communities, and nations. What is painful about growing up, and in what ways do narratives about growing up mirror the pain of the world? In the first half of the course, we will explore literature related to the Atom Bomb (short stories collected by Nobel Prize winner Kenzaburo Oe, and the screenplay by M. Duras, Hiroshima Mon Amour) and postcolonial relations in Senegal (Mariama Bâ, Scarlet Song). In the final portion of the semester, we will examine the second generation and how they relive their parents' coming of age stories--first through literature related to the Holocaust (Maus by Art Spiegelman). Then students form book clubs, and they are invited to choose a selected work of world literature to review--either Ruth Klüger's memoir about surviving the Holocaust as a young girl, Still Alive, or I Rigoberta Menchu, the story of a Guatemalan-Indian activist who won the Nobel Prize for Peace. Here and elsewhere in the course, we will hypothesize on how women writers voice concerns differently than and similarly to male writers, because learning to distinguish the ways that gender colors experiences aids our understanding of diverse voices. Overall, exposure to literature from Africa, Europe, East Asia, and the Americas will help students appreciate the way literature reflects and shapes global issues. This course satisfies GER 1983/2002: F1 (World Literature). For English majors:--1c (other literature); 3: genre (fiction); 4a (multinational); 4c (women writers).

Requirements: Click here to get an explanation of my shorthand on Style issues, and my criteria for grading: http://chss.montclair.edu/~nielsenw/correction.html

#1:The Spirit of a Democratic Classroom: Respect, Collegiality, and Integrity

#2: Participation (incl. regular attendance, contribution to class discussion, discussion questions, peer review)--10%:

Attendance policy: Students must attend a majority of class sessions in order to pass the class; long-term and repeated absences are unacceptable. Your first 3 absences are automatically excused and need no explanation please. Beyond that, you will need a note from your physician or the Dean of Students in order to excuse an absence for medical reasons or family death. Attendance is a part of your Participation Grade, which is also determined by your active and enthusiastic participation in class discussions; original and thought-provoking discussion questions; and informal writing assignments. Please make a friend in class to cover material missed while absent.

Discussion questions (called DISC. below) must be ORIGINAL and include either ones you would pose as an instructor of the class, things you are confused about in the reading, or a mix between the two. The purpose of discussion questions is to open a dialogue between you and me; to make this a student-centered classroom; and to help students become better writers by becoming critical thinkers, or people who question what they read. Discussion questions are not evaluated, are not mandatory, but are taken into consideration for your Participation Grade. Please bring a copy of your discussion questions to class so that you can reference them in discussion. However, I will look at them on Blackboard/Discussion Board. Please feel free to respond to other students' queries if you feel inspired to answer; I will take such responses as extra credit for your Participation Grade (and enjoy reading them, of course). You may print up and re-present your Discussion Questions in an optional Participation Packet at the end of the semester if you'd like to remind me of your hard work.

#3: In-class Midterm (Unit I)--25%: No make-up dates!

#4: Journal Portfolio (critical intro., 4 originals + at least 1 revision that highlights your editing skills)--20%: Students will write at least one entry for nearly every text we read. Each entry begins with any key passage from the work. After copying this passage, write a 1-2 page (250-400 word) analysis. You are encouraged to use these entries as an opportunity to develop skills in close analysis and to track key themes, techniques, or issues in a literary text. Journals are not graded until they are presented in a revised Journal Portfolio (see below). Bring a copy to class--the only copy which I will read and comment on--and post your response to Blackboard/Discussion as well, so that other students can learn from your work. Owing to scheduling difficulties, I am afraid I am NOT able to read late journal entries, although I do expect to see them in the final Portfolio. I will NOT accept emailed journal entries. If you cannot attend class, I suggest you ask a fellow participant to bring your hard copy to class. If you are unable to turn in your journal on time, I suggest you ask a fellow student to read and evaluate the work-in-progress.

The final Journal Portfolio includes a critical intro., 4 originals + at least 1 revision that highlights your editing skills. The cover letter should self-evaluate your own Journals and address the following questions: How have these writing exercises aided your thinking this semester? What are the strengths and weaknesses of your journals? What is your best journal entry, and why? What grade would you give yourself for this assignment? Consider the following guidelines in averaging your grade:

Check = Fine/Good/Very Good (79-88 range): Shows fine understanding of themes and issues in the book. Provides a summary that may need some revision, such as articulating the reader’s position and argument, providing support for assertions, and writing in an academic style.
Check plus = Very Good/Great/Excellent (89-100 range): Shows excellent understanding of the material. Provides a clear and an original analysis that articulates the reader’s position. Needs very little or no revision.
Check minus = Unsatisfactory/Okay (0-78 range): Shows poor understanding of the material. Provides an unclear summary or analysis. Needs a lot of revision in terms of clarity and/or style.

Although you are only required to revise one journal entry, if you revise others, I will reevaluate them. Immediately following the cover letter, place your mandatory revised journal, any other revised journals, and all 4 original journals. You should also include any journals that you’re handing in late. Here’s a final list of everything you should include the following in this order: 1) Cover letter; 2) Mandatory revised journal; 3) Any other revised journals; 4) Original Journals; 5) Any late Journals. Please simply staple everything together, or use a binder clip. No cover pages, please.

#5: Research Synopsis on World Literature (incl. mandatory proof of draft work)--20%

#6: In-class Final Exam (mostly on Unit II)--25%: No make-up dates!

Policies:

Turn off and put away cell phones, blackberries, and related electronics. Absolutely NO TEXTING or talking on handheld devices ANYTIME in class, including breaks and before class. Laptops should be used to write lecture notes only (not IM'ing, poker playing, etc.). If these policies cannot be followed, you will be asked to leave.
Papers should be no longer or shorter than the length assigned and should be submitted on time as stapled hard copies (no cover pages, loose pages, or folders please). 2 points are deducted from formal writing projects for every class day they are late. With the exception of journals and discussion questions, double space and use twelve-point type, in Times New Roman or CG Times (or 10 pt. in Veranda, etc.).
To teach students to avoid plagiarism, lectures will also include instruction in MLA documentation of all work. This course engages in questions of authorship, including web authorship (http://chss.montclair.edu/~nielsenw/web.html). Submitting work and words that are not your own will result in failing this course and disciplinary action by the Dean of Students. You can see my entire FAQ on plagiarism here: http://chss.montclair.edu/~nielsenw/citation.html
Accommodations are always arranged for students with documented disabilities. Please call, email, or see the instructor personally, as well as Services for Students with Disabilities (Linda A. Smith in Morehead Hall 305, X5431).

Tentative schedule subject to change; please check your Montclair email and <http://chss.montclair.edu/~nielsenw/wlf09> for updates

Date	Class Activities	Homework Due
Unit I: Coming of Age in the Aftermath of WWII
W 9/2	Course + Stud. Intro .; Timeline + Geography; What is world literature? Paul Celan, "Death Fugue"; "Die Todesfuge"; Musical Fugues; Holocaust on Film Night and Fog [1955], dir. A. Renais, vid. #2342)
W 9/9	Review of Course Goals + Celan; Kenzaburo Oe; Introduction, “The Crazy Iris” ; Map of Japan; Writing Ex. w/Mobile Laptops	Oe and Ibuse 9-35; DISC. #1: Write 3 ORIGINAL discussion ques.: bring a copy for yourself to discuss in class, and post them to Blackboard/Discussion Board. These questions might include ones you would pose as an instructor of the class, things you are confused about in the reading, or a mix between the two. The purpose of discussion questions is to open a dialogue between you and me; to make this a student-centered classroom; and to help students become better writers by becoming critical thinkers, or people who question what they read. Discussion questions are not evaluated, are not mandatory, but are taken into consideration for your Participation Grade. Please feel free to respond to other students' queries if you feel inspired to answer; I will take such responses as extra credit for your Participation Grade (and enjoy reading them, of course).
W 9/16	“Human Ashes;” “The Colorless Paintings”; "The Empty Can"; In-class writing: Your interpretations	Oda in Oe 63-84; Sata in Oe 113-25; Hayashi in Oe 127-43; JOURNAL #1: Write 1-2 pages (250-400 words) on a passage from one of the stories in Oe's collection, or Celan's poem (see assignment above). You might focus your interpretation of a specific passage by answering one of your own or another student's interpretive questions from a previous class, or reflecting on a broader thematic issue supported by your close analysis of the text. NB: You only have to write about one text, and I do not expect you to write about every story assigned: instead, choose your own focus. Although each individual journal is not graded, I expect you to complete all 4 assigned journal entries, which will be graded when they are presented in a revised Journal Portfolio. Bring a copy to class (will be collected for instructor's feedback) and post your response to Blackboard/Discussion as well. I will NOT accept emailed journal entries. If you cannot attend class, I suggest you ask a fellow participant to bring your hard copy to class.
W 9/23	Review; Hiroshima Mon Amour (DVD #1847); Discussion of Hiroshima Mon Amour	Read Duras, Hiroshima Mon Amour; DISC. #2: Write 3 ORIGINAL discussion ques.: bring a copy for yourself to discuss in class, and post them to Blackboard/Discussion Board.
W 9/30	Hiroshima Mon Amour; Scarlet Song: Ba bio + Ques.; BUBL Link on Senegal	Bring Duras so we can finish that discussion; Read Ba 1- 62; JOURNAL #2: Write one page (250 words) on any aspect of Hiroshima Mon Amour. Bring a hard copy for the instructor and post to Blackboard/Discussion Board.
W 10/7	Scarlet Song	Ba 63- 129; DISC. #3: Write 3 ORIGINAL discussion ques.: bring a copy for yourself to discuss in class, and post them to Blackboard/Discussion Board.
W 10/14	Scarlet Song; Midterm Review	Ba 129 - end; JOURNAL #3: Write one page (250 words) on any aspect of Scarlet Song. Bring a copy to class and post your response to Blackboard/Discussion as well. Bring copies of Journals #1 and #2 to class as well so that we can review for the midterm.
W 10/21	Midterm Exam	Bring all books to class and a page of notes
Unit II: The Second Generation Remembers
W 10/28	Maus I	1-94; DISC. #4: Write 3 ORIGINAL discussion ques.: bring a copy for yourself to discuss in class, and post them to Blackboard/Discussion Board.
W 11/4	Maus I and II	95-end; 1-74; JOURNAL #4: Write one page (250 words) on any aspect of Maus. Bring a copy to class and post your response to Blackboard/Discussion as well.
W 11/11	5:30-6:30: Library Tutorial in Sprague 203; 6:30-7 find lib. material; 7pm in 272 DI: Maus II	77-end
W 11/18	Memoir; peer review of journal entries	Find research item and post to Bb: What peer-reviewed article, scholarly book or book chapter, but not a source that is solely available online (unless it is a peer-reviewed online journal) will you read? Or if you haven’t found your material yet, how and when will you do that?; Klüger 1-88; Menchu 1-101; DISC. #5: Write 3 ORIGINAL discussion ques.: bring a copy for yourself to discuss in class, and post them to Blackboard/Discussion Board. Optional: Participation Packet due: Staple/clip old and/or new discussion questions and submit (separately from the Journal Portfolio) as a Participation Packet; bring old journals to class for peer review
W 11/25	Memoir	Journal Portfolio due; Read and draft a summary of research item and post to Bb; Klüger 88-170; Menchu 102-200
W 12/2	Memoir	Research Synopsis due in hard copy and on Bb; Klüger 173-214; Menchu 201-47
W 12/16	5:30-7:30 In-class Final Exam	In-class Final Exam W 12/16 5:30-7:30

World Literature: Coming of Age Theme

Wendy C. Nielsen, Ph.D.

Unit I: Coming of Age in the Aftermath of WWII

Unit II: The Second Generation Remembers