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Course Number: ENG 388
Professor: Bill McBride
Credit Hours: 3
Meeting Time: Thursday 5:30-8:20
20th Century Novel  ENG 388
Professor Bill McBride
Meeting Place: STV 101
Office/Hours: Williams 208/T & R 3:30-4:30 pm
Office Phone 438-7998
WebBoard
                                           
  20th Century Novel, Film & Theory

 


           
                             

 

It is the weekly responsibility of each student
1) to have closely read in advance the novel scheduled,
2) prepare an analysis of a selected passage,
3) present analysis when called upon

My Public Folder
 

Weekly posts must be made by
SATURDAY 11:59 pm
to insure proper credit

OFFICE Williams 208  
HOURS 1:30-2:30 p
Tuesday & Thursday
Voice: 309 438 7998
E-mail me

REQUIRED TEXTS:

Novels

        Kafka. In der Strafkolonie/In the Penal Colony 1901/Die Verwandlung/Metamorphosis
     1915.

        Proust. Du Cote de Chez Swann/Swann's Way 1913

        Lawrence. Sons and Lovers 1913

        Joyce. Ulysses  1922

        Miller. The Tropic of Cancer 1934

        Greene. The Power and the Glory 1940

       Hemingway.  The Garden of Eden [1946-61] 1986

      Beckett. Molloy [1951] 1955

     Lessing. The Golden Notebook.  1962

    Garcia-Marquez. Cien anos de soledad [1967]/100 Years of Solitude. 1970

    Fowles. The French Lieutenant’s Woman 1969

    Palahniuk Fight Club 1996

 


Films
 

Un amour de Swann (Schlöndorff 1984)

 

Sons and Lovers (Cardiff 1960)    

Ulysses (Strick 1967)    

The Fugitive [The Power and the Glory] (Ford 1947)    

Not I (Beckett/Davis 1977)    

The French Lieutenant’s Woman (Reisz 1981)     

Fight Club (Fincher 1999)    

 

Theory of the Novel

Nancy Armstrong, Eric Auerbach, M. M. Bakhtin, Mieke Bal, Roland Barthes, Samuel Beckett, Walter Benjamin, Homi Bhabha, Maurice Blanchot, Bertold Brecht, Wayne Booth, Pierre Bourdieu, Gilles Deleuze & Felix Guattari, Paul deMan, Jacques Derrida, Shoshana Felman, Leslie Fiedler, E.M. Forster, Sigmund Freud, Northrope Frye, Gerard Genette, Rene Girard, Barbara Hernstein Smith, Roman Ingarden, Wolfgang Iser, Henry James, Frederic Jameson, Susan S. Lanser, Juri Lotman, Georg Lukacs, Franco Moretti, Paul Ricoeur, Alain Robbe-Grillet, Eve Sedgwick, Viktor Shklovsky, Tzvetan Todorov, Boris Tomashevsky, Ian Watt, Virginia Woolf

 

COURSE DESCRIPTION

A dialectical approach toward genre study based on the proposition that a powerfully descriptive taxonomy can be achieved by comparing, in this case, the English novel with other European and American iterations, and further, one narrative form, the novel, with another, film.  To that end, for example, witness playwright Harold Pinter’s alchemical screenplay of John Fowles’ novel for the film by Karel Reisz. We will attempt close readings of the novels distanced by historicized theoretical interventions courtesy of Marxist, Deconstructionist, Naratologist, Psychoanalyitcal, anti-Freudian, Queer, Formalist, New Historicist, Feminist, Aesthecist, Phenomenological, Structuralist, Postmodernist, New Critical perspectives.  Look for guest lectures by Curt White (Graham Greene), Hilary Justice (Hemingway) and other speakers TBA.

COURSE FORMAT
1. Students post weekly responses to readings/lectures/screenings/discussion via
webboard.
2. In-class presentation/critique of either one of the novels or theoretical texts.
3. A written proposal of the final research project.
4. A final research paper (with an eye toward publication) of 12-15pp for undergraduates and 18-20 pp. for graduate students.

Grade evaluation will be determined by satisfying #s 1-3 and the student's ability to synthesize one or more of the theoretical approaches presented in readings and lectures, and apply such a perspective to a cultural "text" or "site" in a well-written, coherent final essay.