Department of English

Faculty of Arts, Chulalongkorn University



2202234  Introduction to the Study of English Literature

 

Puckpan Tipayamontri

Office: BRK 1106

Office Hours: M 13 and by appointment

Phone: 0-2218-4703

puckpan.t@chula.ac.th

 

Section 3 (BRK 309)

M 9:3011:00, W 8:009:30

 

Tentative Schedule

Week 1

Aug. 14

No class (Mother's Day observed)
Aug. 16
Ways of Reading

1: Introduction: Texts, Tools, Tastes and Conventions
Reading
Discussion: different ways of reading and how it affects the meaning of the text; reflecting on one's ways of reading and their effectiveness for a text; genres: drama, poetry, short story; limitations and possibilities of each genre; close reading; diction: denotation, connotation; irony; rhythm; pace; simile, metaphor

Weekly 1 Weekly 1

Week 2

Aug. 21

2: Why Plot?

Reading

Aug. 23

3: Driving a Narrative: Techniques and Choices 

Reading

Week 3

Aug. 28

4: Expectations: Form  

Reading

What Matters?: Each work we have read thus far presents its own argument and ideas about what matters. For a poem like Spike Milligan's "On the Ning Nang Nong," sound matters. For Twain's "The £1,000,000 Bank-Note," timing matters, and a sense of humor, and wits. For Atwood's "Happy Endings," plot play. Write a short story yourself that illustrates something that matters and post it on Roundtable Conversation.
Aug. 30 5: Expectations: Character 

Reading

Aug. 31 Play: (7:30 p.m., Sodsai Pantoomkomol Center for Dramatic Arts) Martin McDonagh, The Pillowman (2003; study guide)
Sep. 1 Play: (7:30 p.m., Sodsai Pantoomkomol Center for Dramatic Arts) Martin McDonagh, The Pillowman (2003; study guide)

Sep. 2

Play: (2:00 p.m., Sodsai Pantoomkomol Center for Dramatic Arts) Martin McDonagh, The Pillowman (2003; study guide)


Post-Performance Discussion: (5:00 p.m., Sodsai Pantoomkomol Center for Dramatic Arts) with the director

Week 4

Sep. 4

6: Making Connections: Dialogue

Reading

*Quiz 1 (The Pillowman)
  • Download quiz Quiz 1: The Pillowman
  • Sample student responses Sample quiz 1 responses
  • Discussion
Sep. 6 7: Making Connections: The Mental and the Physical

Reading

Sep. 8
Play: (7:30 p.m., Sodsai Pantoomkomol Center for Dramatic Arts) David Drake, The Night Larry Kramer Kissed Me (1994) [sold out]

Sep. 9

Play: (2:00 p.m. and 7:30 p.m., Sodsai Pantoomkomol Center for Dramatic Arts) David Drake, The Night Larry Kramer Kissed Me (1994; sign up for a ticket at the Drama Arts Office, BRK 809)

Week 5

Sep. 11

8: Symbolic Things
Reading

*Reading response 1 due (Prompt: "'First rule of storytelling,'" says Katurian in The Pillowman, "'Don't believe everything you read in the papers'" (28). Choose one thing we shouldn't believe in in one of the works thus far and explain how not believing it is important in reading the story.)

Sep. 13

9: Symbolic Acts 

Reading

Week 6

Sep. 18

10: The Language of Live Theater: Production, Direction, Performance, and Meaning 

Reading

  • J. B. Priestley, An Inspector Calls (1947; study guide)
*Quiz 2 (unseen story given on the quiz paper; one of the questions will ask you to compare an aspect of this story with that of one of the works on the syllabus we have read; it will be helpful to familiarize yourself with literary terms at the back of your course packet if you have not already done so)
  • Download quiz Quiz 2: "Mislaid Plans"
  • Sample student responses
  • Discussion

Sep. 20

11: Reading Small and Reading Big: Scenes and Structure  

Reading

  • J. B. Priestley, An Inspector Calls (1947; study guide)

Week 7

Sep. 25

12: Themes and Interactive Meanings

Reading

  • J. B. Priestley, An Inspector Calls (1947; study guide)
Student Performance: Act 2 pp. 198–201 (from “Then the next time you imagine it” to the end of act 2) As you discuss and prepare your scene, consider who is/are being inspected, how, and what is revealed.
  • Performance 1: Nitchakarn, Supitcha, Monthakarn, and Pusanisa
  • Performance 2: Janthakan, Romfah, Manutsawee
Test Practice Test practice

Sep. 27

13: Themes and Contextual Meanings

Reading

  • J. B. Priestley, An Inspector Calls (1947; study guide)
Student Performance: Act 3
  • pp. 207–10 (after "Good night" to "You know.")
    • Performance 1: Narumol, Sasina, Praewa, and Kankamon
    • Performance 2: Suntisuk
  • pp. 218–20 (from "Anyway we'll see" to the end of the play)
    • Performance 1: Ravita, Patthamol
    • Performance 2: Nathaporn, Chayapol, Pakrada, Niramit, and Chanya

Week 8

Oct. 2

*Test 1 Test 1 (Midterm week: October 2–6, 2017)
 
(1 hour, 10 points, in class) In test 1 you will be discussing short stories, Beauty and "You're Beautiful."

 

It is helpful to take a few minutes to plan an outline before writing your essays. Formulate a thoughtful thesis/point in responding to the question that allows you to address effectively the requirements of the prompt. The most coherent and logical organization of your response may not be to answer every single question in the prompt cluster in order and separately. Bullet points are not proper paragraph or essay form. Cite specific acts, scenes, lines, or words to illustrate and support your points and claims. You will want to show us your critical and analytical skills: demonstrate that you have read closely and understood the material, that you can critically engage with that material, with discussion in class and outside of class, and with the test question, that you can synthesize material and knowledge gained, and that you can write clear and effective prose. Give your essay a title if you like.

Oct. 4

*Test 2 Test 2 (Midterm week: October 2–6, 2017)
 
(1 hour, 15 points, in class) In Test 2 you will be asked to respond to a prompt on An Inspector Calls.

  • Reminders:
    • Follow instructions.
    • Have a clear point to make in each of your paragraphs, and in the essay as a whole.
    • Support your ideas with textual evidence. Cite specific acts, scenes, lines, or words to illustrate and substantiate your observations.
    • Avoid plot summary. Order your discussion around the point you are making, not according to the the plot of the story. Mention only aspects of scenes or characters that you are going to develop in greater depth.
    • Proofread. Sherly Jackson is not the author of "The Lottary," nor is Hary a character in "The £1,000 Bank-Note."
    • Follow academic conventions in writing about literature such as using the literary present tense and referring to authors by their last names. Avoid non-close reading tendencies in your discussion.
  • Discussion of test 2

Week 9

Oct. 9

Reading and Writing: Academic Conversation

 
14: Verbal Color

Reading

Discussion: poetic occasions, poetic language, literal and figurative language; prose paraphrase; metaphor, simile, rhyme, rhyme scheme, pun, personification

Oct. 11

15: Verbal Ambiguity

Reading

Discussion: scansion; meter; rhyme; rhyme scheme; diction; imagery; irony; allegory; symbol; voice; tone

Week 10

Oct. 16

16: Repetition and Movement

Reading

  • "Edward" (study guide)
  • The Ballad
    • Ballad (description of the folk and literary ballad)
    • Al Filreis, "Ballad," University of Pennsylvania (short description)
    • Susan Tichy and Margaret Yocom, "Traditional Ballads," George Mason University (What is a ballad?, web resources)
Discussion: the ballad form; repetition, effects of repetition, incremental repetition; oral tradition; figures of repetition ex. alliteration, consonance, assonance; imagery; irony
*Reading response 2 due (Prompt: Examine a concrete symbol for an abstract concept in one of the poems we've read thus far. Show why the effects of this method of representation is significant.)

Oct. 18

17: Patterns and Movement

Reading

Discussion: form and content; movement, structures, and patterns in poetry; rhythm; metonymy; imagery; symbol; allusion

Week 11

Oct. 23

No class (Chulalongkorn Memorial Day)

Oct. 25

Landscapes Old and New


18: Two in One: Allusion and Textual Extension

Reading

  • W. H. Auden, "Musée des Beaux Arts" (1938; study guide)
Discussion: review literary terms; words and associations; allusion; imagery; diction; enjambment; onomatopoeia; juxtaposition
*Quiz 3 (unseen poem; will be given on the quiz paper)
  • Download quiz Quiz 3: "Backward Bill"
  • Discussion Quiz 3 discussion

Week 12

Oct. 30

19: The Drama of Sonnets

Reading

Discussion: the sonnet form, types of sonnets, structure of the sonnet, rhyme scheme, scansion (foot, meter, line), quatrain, couplet, types of rhyme, irony, word play, puns, double entendre, persona; the sonnet and Shakespeare

Nov. 1

20: The Narrative of Sonnets
Reading

Discussion: sonnet variations; line breaks; speakers; framed narratives

Week 13

Nov. 6

21: Landscape and Mindscape

Reading

Discussion: form; repetition; meter; rhythm; rhyme; consonance, assonance; diction; imagery; allusion to Thoreau; theme; physical and mental location

Nov. 8

22: Place and Superplace

Reading

Discussion: diction; imagery; rhyme scheme; kinds of rhymes; graphic narratives; development, progression, movement, direction/trajectory of a work

Week 14

Nov. 13

23: Utopia

Reading

*Reading response 3 draft due (optional)

Nov. 15

24: Tilting at Windmills: History and Fairy Story

Reading

*Quiz 4 (unseen poem; will be given on the quiz paper)
  • Download quiz Quiz 4
  • Discussion Quiz 4 discussion

Week 15

Nov. 20

25: Writing and Rewriting
Reading

Nov. 22

26: Dystopia

Reading

  • Course packet
  • George Orwell, Animal Farm (1945; study guide) chapters 9–10 (end)

Week 16

Nov. 27

Adventures in Literature

  • If you are planning to use PowerPoint, make sure it is compatible with Microsoft PowerPoint 2007 version. Also embed or include files of any nonstandard fonts that are in your presentation.
  • Let me know of any other audiovisual needs by 4 p.m. Friday, November 24, 2017.
  • About 5 minutes per speaker (15–20 minutes per panel) followed by a 5–10-minute question and answer session

Schedule Forum program


1.  Inspecting Death in “The Lottery” and Animal Farm
9:30–9:55 a.m.
Presiding: Sasina Tangphitthayawet
Speakers:
1.  “What Can Death Do or Not Do?,” Chosita Dokput
2. 
“Death as a Duty,” Ravita Buaphuan
3.  “Death Gives Power,” Sukapinya Titasamanont

4.  “Death Maintains Power,” Patthamol Jewjinda

5.  “Death and Political Power,” Koranich Phienudomkitlert

Respondents:

1.  Supitcha Inprasit

2.  Pusanisa Chainam

3.  Nathaporn Songsawas

4.  Manutsawee Hormthip

5.  Monthakarn Ritthirak

 

2.  Inspecting Equality in Animal Farm
10:00–10:25 a.m.
Presiding: Kankamon Songrawi
Speakers:
1. 
“Equality in Intoxication and as Ideology,” Chanya Hempornwisan
2.  “Equality in Terms of Compensation,” Chayapol Khaphaeng

3. 
“Equality in Decision Making,” Pakrada Deepradub

Respondents:

1.  Kankamon Songrawi

2.  Narumol Choochan

3.  Patthamol Jewjinda

 

3.  Inspecting Contexts for Daring Literature
10:30–10:55 a.m.
Presiding: Ravita Buaphuan
Speakers:
1.  “How an Inspector Stands for the Working Class,” Thanaporn Panupaisal

2.  “Other Investigation Stories in the 1940s,” Natthaporn Promudornchart

3.  “Historical Events That Shaped Animal Farm,” Suntisuk Prabunya

4.  “The Shifting from Utopia to Dystopia,” Suvapat Palang

Respondents:

1.  Sukapinya Titasamanont

2.  Niramit Praditvong

3.  Praewa Phanpao

4.  Chayapol Khaphaeng

Nov. 29

Adventures in Literature


Schedule Forum program


4.  Theme Potluck Breakfast
8:00–9:25 a.m.
Theme potluck breakfast hosted by section 1.
You are welcome to bring themed breakfast foods inspired by our course reading list to eat and share with friends Wednesday morning. Currently on the menu: lottery stones, Harris's feeding-house soup of the day.
 

5.  Tracking the Word Comrade in Animal Farm
8:00–8:25 a.m.
Presiding: Pakrada Deepradub

Speakers:
1.  “Comrades as Friends, a Powerful Tool,” Monthakarn Ritthirak

2.  “Comrades as the Inferior,” Supitcha Inprasit

3.  “Comrades as the Superior,” Pusanisa Chaiam

4.  “The Inconsistency and Power of Comrades,” Nitchakarn Chantarapratin

Respondents:

1.  Thanaporn Panupaisal

2.  Koranich Phienudomkitlert

3.  Natthaporn Promdornchart

4.  Suntisuk Prabunya
 
6.
Journeying “Stairs Appear in a Hole outside of Town”
8:30–8:55 a.m.
Presiding: Pusanisa Chainam

Speakers:
1. 
“Rhyme Scheme and Pattern,” Nathaporn Songsawas
2.  “Diction and the Meaning Behind Them,” Niramit Praditvong

3.  “Adverbs and Verbs,” Narumol Choochan

4.  “Graphics,” Janthakan Lankam

5.  “Imagery,” Manutsawee Hormthip

Respondents:

1.  Sasina Tangphitthayawet

2.  Pakrada Deepradub

3.  Chosita Dokput

4.  Atisit Anugoolpriboon

5.  Suvapat Palang
 
7.
“‘Riding’ Langston Hughes’s ‘Ballad of the Landlord’”
9:00–9:25 a.m.
Presiding: Suvapat Palang

Speakers:
1.  “Introduction and Stanzas 1–2,” Kankamon Songrawi

2. 
“Stanzas 3–5,” Atisit Anugoolpriboon

3.  “Stanzas 6–9: The Landlord,” Sasina Tangphitthayawet

4.  “Stanzas 6–9: The Tenant,” Praewa Phanpao

Respondents:

1.  Nitchakarn Chanrarapratin

2.  Ravita Buaphuan

3.  Janthakan Lankam

4.  Chanya Hempornwisan


*Reading response 3 due (2 pp., MLA format)

Week 17

Dec. 4

Final Exam (8:30–11:30 a.m.)

There are three essay questions in the final exam: two on poems and the graphic short story and one on Animal Farm. One of the poem questions will ask you to choose poems from two sets of titles to focus on in your response. The Animal Farm question includes three quotes that you may use in your discussion. 

  • Preparation
    • Open-Ended Questions for Advanced Placement English Literature (essay questions for practice)
    • Writing Exam Essays, University of Victoria
    • Pointers for Taking Essay Tests, Ferrum College
    • Writing Essay Exams, Princeton University (pdf file)
    • Essay Exam Preparation, Utah State University (pdf file)
    • Practice
      • Download exam practice Final practice
      • More practice prompts (to review, brainstorm, and time yourself with)
        • Often in literature something is presented in terms of something else. Choose two works in which this is the case and discuss why it is desirable or effective. What unlike things are yoked together? What does the representation add to the thing being described? When one thing is used in order to talk about another thing, what is the effect? Does it become funnier, scarier, more exciting, more valuable, more questionable, less or more real?
        • Examine action in two works. How does action affect or transform other things? Who or what acts? What meanings are attached to different types of activity or quality of action? Do actions speak louder than words? Are actions used literally or metaphorically? Are actions, in fact, the most active things in the works?
        • How is the past and present or future used in two works this last half of the semester? Who cares about the past or the future? Why? What relationship is created between what has happened, what is ongoing, and/or what will happen? What value is given to different time periods?
        • Consider physical and nonphysical things in two works. What physical objects populate the work? Is their relationship to nontangible things the same between the two works? Since the nonphysical (ex. emotions, ideas, personality, or sensory perceptions like smell, sound, pain or hunger) cannot be seen or touched, how is it depicted? How does it make its existence felt? What effects are created with the interplay between the physical and nonphysical? Is one given greater weight than the otherM
    • Tips and Reminders
      • Follow instructions. If the exam indicates that you should choose different poems for the two prompts, don't focus on the same work twice.
      • Have a clear point to make in each of your paragraphs, and in the essay as a whole.
      • Support your ideas with textual evidence.
      • Quote and Discussion Balance. Don't just quote textual evidence, analyze it. Point out what about it that illustrates and supports your argument. Tease out its meanings and implications, and explain its significance in the text and relevance to the prompt. If you make the effort of quoting one line of text, for example, you should have at least one line of elaboration on and discussion of it as well.
      • Avoid plot summary. Order your discussion around the point you are making, which may not be according to the the plot of the work. Mention only features in the text that are necessary to your argument.
      • Proofread. Molie is not a character in animall Fam. A work that has no typographical errors shows that you are a careful and credible writer.
      • Follow academic conventions in writing about literature such as using the literary present tense and referring to authors by their last names. Avoid non-close reading tendencies in your discussion.
      • Pace yourself. Allot yourself reasonable time for each essay and stick to that limit. Move on to the next question with similar or perhaps more points to give it adequate time as well.
  • Review literary terms

 

 


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Last updated December 3, 2017