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THEORY LINKS THAT SUMMARIZE |
GATEWAY THEORY LINKS |
CURIOUS THEORY LINKS |
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Contemporary Philosophy, Critical Theory, and Postmodern Thought |
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HOME
Spring 2004, Monday 6:25-9:05, University Park Campus
University Park Office and Hours: to be arranged
Home phone:
to be given in class |
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OVERVIEW
Some charge literary theory or culture theory with being overly difficult, impractical, or implausible. Until recently, theory has been a cult-commodity of sorts, with those in-the-know and those-not-in-the-know or not-wanting-to-know smirking at each other. The "theory wars"--inordinate angsting over whether and how one "does" theory--seem fortunately to be behind us. This is because of zeitgeist-fatigue and because the terms and insights of many theorists have simply been absorbed as tools of the trade. Some may find one type of tool better than another, and some new tools doubtless will be developed, but there is a consensus, for better or worse, that the theoretical toolbox is here to stay.
Sometimes the seeming zaniness or obscurity of contemporary theory can make one think that anything goes interpretively. It is more useful to think of meaning as depending on the sorts of questions we ask of a text or literary work, and that our questions are, in turn, shaped (which does not mean absolutely determined) by our culture, our psychology, our ideologies, by, in the largest sense, the scripts that script us, or, in an institutional context, by the internal protocols of a particular academic discipline. The goal of this course, however, is not just the pragmatic one of helping you to become more aware of the sorts of questions that can be asked, so you can write better future essays or your thesis. Nor is it, more generally, to get you up to speed on a daunting subject. Theory involves philosophy, politics, history, anthropology, and psychology; and invites us to become more curious about things and texts and more nuanced and deft in understanding our own interiors. This is a serious course, and I will expect you to work hard in it. Yet it should also be a fun one, in which admitting confusion will be okay, and presenting wacky takes on texts will be encouraged.
A note: we should distinguish between "original" "theorists" of culture, politics, sexuality, etc.--Marx, Freud, even Foucault, for example--all of whom are relatively easy to read; and secondary theorists who modify or use these originals as they think about texts--e.g., Jameson, post-Lacanians or many French feminist theorists, and Greenblatt or other New Historians. Everyone will understand the meaning of the previous (2nd) paragraph; not everyone will fully understand this paragraph because I have written it as if you already knew who Jameson, et. al. are, a mini-illustration of the problem when you read literary theory oftentimes. A major stumbling block to appreciating theory is the discomfort, as it were, of entering the party when you don't know the names of anyone. Contemporary theorists often tend less to say something about something, than to position themselves against what other folks are saying about something. They also like to make meta-remarks such as the one I just made, which can become dizzying. In the course, we will read both "originals" and those who come after. We will become dizzy; and we will, I hope, also become curious and exhilarated.
The course is divided into two sections:
--Practicing Theory: The last two weeks will be devoted to workshops on your evolving semester essay and its theoretical strategies and maneuvers. The text you write on may be any of the texts previously used in the course or Yamanaka's Blu's Hanging.
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REQUIREMENTS & GRADE PERCENTS
20% = In-class participation 20% = Discussion board participation 10% =
Theory text precis 20% = Essay draft 20% = Essay final version
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TEXTS AT UNIV. PARK BOOKSTORE
-- Peter Barry,
Beginning Theory: An Introduction to Literary
and Cultural Theory (Manchester University Press) |
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ASSIGNMENTS & POLICIES
Class Participation: I will give mini-lectures to highlight important issues, but most of the class will be discussion oriented. Your participation will be worth 20% of your final grade. Missing class, especially as a graduate student, is considered very poor form: don't do it. If you miss two days, we will have a serious discussion. If you miss three, you will not be able to pass the course.
Discussion Threads: I will set up the discussion thread web-link (only the class can access it) the first week of class. You may initiate topics ("threads") or respond to topics I or other students propose. Now and again, I may post significant quotes from theorists or critics to stimulate discussion. You should submit and read postings routinely, but I don't want it to become only busy work for you. You should have at least a meaty paragraph or exchange for each of the major theory areas. I will monitor the dialogue periodically (and perhaps occasionally intervene)--but this is intended to be your forum, not mine. Heated debate is fine; but remember that basic rules of etiquette apply--be polite and avoid vulgarities. Respectable grammar, spelling, and sentence style are expected. About midway through the semester, I'll give you feedback about whether your online discussion up to that point equals an "A," "B," and so forth. And you can always ask me how you are doing. If the online discussion creates awkwardness for you in any form, please talk to me and we'll work the problem out. The online discussion equals 20% of your final grade. For those of you who do not have easy access to the Internet at home, there are many facilities on campus, available virtually all the time (logging in for 20 minutes before or after class once or twice a week would likely satisfy this portion of the course requirements).
Theory Text Precis: Choose a theoretical book (preferably by an author we are not reading), relevant to the issues that you are writing about in your essay. I will help you select an appropriate theory author and his/her text. Write an approximately one-page summary (not an evaluation) of the volume. This will be worth 10% of your overall grade.
Paper: For the "Practicing Theory" section of the course, I have selected a contemporary Hawaiian novel about which little has been written (I'm starting a new book on Polynesia in fiction and film). You may write your essay on it or any of the other texts we've discussed during the semester. Essay guidelines will be given down-the-road. The draft of your essay equals 20% of the course grade; the oral report on it, 10%; and the final version another 20%.
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MISCELLANEOUS
There is no final exam.
Because I usually teach at Biscayne Bay, and am only coming down to University Park Monday evening, it is important for you to talk to me, as needed, about course matters directly before or after class. Other conference arrangements will need to be ad hoc. You may call me at my home number (before 11:00 PM), leave a message on my BBC office phone, or email me.
A graduate-level
seminar is not simply a more intense 4000-level undergraduate course. I
look upon you as a potential teacher or colleague-in-the-making and thus,
although I'm still leading the class, democracy more or less rules. This means
that while typically I will have an agenda, I have no problem with the class
veering off into other illuminating avenues. I also expect more active and
regular participation than in an undergraduate class. Passivity on your
part--waiting for me to guide you to important passages and points--is
inappropriate. A high degree of intellectual inquisitiveness and
resourcefulness is assumed of all students in a graduate seminar.
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SYLLABUS
LEARNING THEORY
You should read the selections in the order given--overview (the Barry volume), reader (the Norton anthology), author (a major theorist's work), text (brief text to which we will apply the previous), and Frankenstein essay. In class, sometimes we will dwell more extensively on one of the readings or another, according to everyone's need and interest and so on. A typical class will be a mix of me summarizing, me asking you for help in puzzling through some knotty theoretical issue or vice-versa, and--as much as possible--concretely applying theory to specific texts.
At the top of this page are several links to literary/cultural theory sites. I encourage you to tour them.
The Norton Anthology of Theory and Criticism provides introductions to each of the major theoretical schools. Please read them or the relevant sections of the sites above.
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