|
|
LITR
5734: Colonial & Postcolonial Literature University
of Houston-Clear Lake a. k. a. CRCL
5734: Cross-Cultural Texts in Dialogue Summer 2003, 1st 5-wks session (27 May-30 June), M, T, Th 3-6pm B1104 Instructor: Craig White Office: B2529-8 Phone: 281 283 3380
email: whitec@uhcl.edu Office Hours: Mondays & Thursdays, 12-1, 6-6:30, and by appointment Course webpage: http://coursesite.uhcl.edu/HSH/Whitec/LITR/5734 Caveat: All materials on this syllabus are subject to change with minimal
notice. BRIEF COURSE OVERVIEW Classical texts of European colonialism are read in dialogue with postcolonial texts from Africa, Asia, and the Caribbean. ********* AFRICA Joseph Conrad's Heart of Darkness (1902) in dialogue with Chinua Achebe's Things Fall Apart (1958) ******* INDIA E. M. Forster’s A Passage to India (1924) in dialogue with Arundhati Roy’s The God of Small Things (1997) ******* The CARIBBEAN / The
"New World" Daniel Defoe’s Adventures of Robinson Crusoe (1719) in dialogue with Jamaica Kincaid’s Lucy (1990) + Collected Poems, 1948-1984 (1986) of Nobel Laureate Derek Walcott of St. Lucia. Grades and Assignments: Percentages are only approximate, indicating relative weight in considering final grades, which are not computed mathematically but decided subjectively by comparing the quality of a student's thought and writing with that of classmates and with wider academic standards. · Class presentations, responses, & written summaries for webpage (20-30%) · Take-home midterm (due within 24 hrs of class on Monday, 9 June; 20-30%) · Final Exam (30 June; 40-50%) Course
objectives: (Primary
Objectives) 1.
To bring classic literature of European colonialism and emerging
literature from the postcolonial world into dialogue with each other. 1a.
To read literary texts not exclusively as timeless and autonomous
“universal” masterpieces but also as political, economic, and demographic
products and agents that stimulate responses from other voices and traditions.
(“Historicism” and "Intertextuality.") 1b.
Textual dialogues may be either conscious debates between contemporaneous
authors or imposed interpretations by readers. 1c.
To parallel verbal and textual dialogues with emergent notions of “hybridity”
and “cross-cultural identity,” which contrast with traditional
historical notions of national or ethnic “purity.” 1d.
To complement the course’s “textual dialogues” with seminar exercises
developing student-led discussions. 1e. To mediate the “culture
wars” between the “old canon”
of Western classics and the “new canon” of multicultural literature by
studying these traditions together rather than separately. 2.
To theorize the novel as the defining genre of modernity, both for
early-modern imperial culture and for late-modern postcolonial culture. 2a.
By definition, the genre of the novel combines the fundamental representational
modes of narrative and dialogue.
These modes respectively control and decenter storytelling; alternately, they
represent literacy and orality (i. e., especially in postcolonial literature the
narrator may be a “literate” voice, while the characters’ voices may
represent oral or unwritten speech traditions). 2b. To
complicate this celebration of the novel (or fiction) by reading poetry
by Derek Walcott of St. Lucia, West Indies (b. 1930; Nobel Prize for Literature,
1992) and glancing at films representing colonial and postcolonial
perspectives. (Secondary
Objectives) 3.
To observe representations or repressions of gender
in the traditionally male-dominant fields of cross-cultural contact and
literature. 4.
To relate postcolonialism and
postmodernism. (These movements
emerge co-historically in the second half of the twentieth century and share
some stylistic traits.) 5.
To develop environmental thinking. Discussions of overpopulation, immigration,
climate change, and other global environmental issues often take place in terms
of developed and undeveloped nations, modernization, and “space and place.”
(Compared to traditional cultures of the “Third World,” modern cultures of
the “First World” or “global culture” usually have little attachment to
particular places). 6.
To introduce questions regarding the history of colonialism or imperialism that
are relevant to contemporary study but auxiliary to our course texts. 6a.
Is there an identifiable “third wave” after colonialism and postcolonialism?
Can a “post-national” identity be imagined and articulated? 6b.
What are the colonial-postcolonial experiences and literatures of the Middle
East? 6c. Is the USA a colonial, imperial, or “neo-imperial” nation or empire? COURSE POLICIES Attendance policy: You are expected to attend every scheduled class meeting. You may take one free cut. Attendance may not be taken systematically, but if you miss more than one meeting, you start jeopardizing your status in the course. If you miss more than two classes (especially early), you are encouraged to drop. Partial absences also count negatively. Even with medical or other emergency excuses, a high number of absences (full or partial) will result in a lower or failing grade. If shockingly absent, return and make contact (281 283 3380) or leave message ASAP. More than one absence affects final grades. You are always welcome to discuss your standing in the course. Academic Honesty Policy: Please refer to the catalog for the Academic Honesty Policy (2002-2003 Catalog, pp. 76-78). Plagiarism—that is, using research without citations or copying someone else’s work as your own—will result in a grade penalty or failure of the course. Refer to the UHCL catalogue for further details regarding expectations and potential penalties. Disabilities: If you have a disability and need a special accommodation, first consult with the Health Center and then discuss the accommodation with me. Incompletes: A grade of
"I" is given only in cases of documented emergency late in the
semester. An Incomplete Grade
Contract must be completed. Make-up exam policy: Ask way in advance for times before the regular exam. Professor has the right to refuse accommodations requested on short notice. Email
/ webpage contributions & references Every student is expected to contribute and refer to the course webpage on several occasions. Each student will make at least 2 contributions to the webpage through the instructor via email or other electronic media. The web address is http://coursesite.uhcl.edu/HSH/Whitec/LITR/5734. If convenient, install it as a “favorite” on your web browser. Required email contributions: 1. summary of presentation (either poetry or discussion leader) with discussion notes 2. copy of take-home midterm exam (final exam in-class or email) Required references to webpage: · Poetry & Dialogue Presentations must make at least one reference to summary of similar assignment on webpage. · Midterms and final exams must make at least one reference to exams or research projects on webpage. Options
for transmitting your contributions electronically: · All materials for the course webpage should be sent directly to the instructor at whitec@uhcl.edu. Try both of the following · Attach appropriate word processing file(s) to an email for whitec@uhcl.edu. (The only word processing program my computer appears unable to translate is Microsoft Works, though Microsoft Word is fine, as are most others. If in doubt, save your word processing file in “Rich Text Format” or a “text only” or “read” format and then attach it.) · Copy the contents of your word processing file, then paste them into an email message to me at whitec@uhcl.edu · If you have trouble reaching my by email, save your word processing file to a 3 & ˝ “ floppy disk and give it to me. If you put your name on the disk, I’ll eventually return it to you. I may edit lightly to improve presentation and readability, but most student samples are posted as received. You are always welcome to send a revised copy for later posting. Student computer access: Every enrolled student at UHCL is assigned an email account on the university server, which you may acquire at any university computer lab. Most students use personal email accounts. Reassurances: You are not graded on your expertise in electronic media but on your intelligence in reading, discussing, and writing about literature. I’ve tried similar email exercises for several semesters; a few students encounter a few problems, but if we don’t give up, these problems work out. Your course grade will not suffer for mistakes with email and related issues as long as I see you making a fair effort. Course
Assignments Take-home / email midterm: Due: Within 24 hours of class on Monday, 9 June Weight: approximately 20-30% of final grade Length: 5-10 typed, double-spaced page equivalent Submission format: The midterm must be submitted in electronic form, either by email or on a disk, so that it can be uploaded to the course webpage. Organization requirement: Your midterm must take the form of a complete, unified essay, but it may include personal references to the course and your experience with it. Topic assignment: Introduce, define, and explain the concepts of colonial and postcolonial literature in relation to the following course texts: · Conrad, Heart of Darkness · Achebe, Things Fall Apart · Achebe, "An Image of Africa: Racism in Conrad's Heart of Darkness," · A poem by Walcott · At least one reference to Literary Theory handout · At least one reference to student postings on course webpage One way to imagine the assignment is as a description of your learning curve in the opening weeks of this course. What knowledge did you come in with of the course’s subject matter, and how have you learned to receive or process its perspectives? What uses may the course and its organization serve in the study of literature and culture? Class
presentations & responses Each student will be responsible for at least one class presentation-discussion and serve as a respondent and / or recorder for others: · Poetry reading-discussion from Walcott’s Collected Poems · Textual Dialogue presentation-discussion · Students may also be asked to serve informally as “discussion-starters” as need and opportunity rise. Purposes of student presentations: The purposes of these presentations are to develop the class’s seminar style and to give students practice in high-level presentations. See objective 1c for relation to course objectives. The purpose is not to relieve the professor of his assigned duties; the easiest class to prepare is one in which I just show up and talk for three hours. Presentation assignments will be decided partly by student choice and partly by chance; student preferences are not guaranteed. On the opening class day (27 May), students may indicate their preferences for presentations on an ID card, and volunteers will be solicited for the presentations on 29 May. That evening I will prepare a draft of the presentation schedule and email it to the class for review. On 29 May everyone will be given a printed-out class schedule assigning students to particular presentation assignments for the rest of the session. “Silent
Grade” for presentation, responses, web postings, etc. You are graded for the quality of your work in presentations, responses, general class participation, and helpfulness in web postings, but this grade is not announced until the end of the semester, when it is recorded in your “Final Grade Report” (see below). The reason for this “silent grade” is to avoid unproductive behavior from students in relation to the presentations, such as second-guessing, comparing grades, competing to each other’s detriment, or performing to the teacher. Altogether the presentations are a cooperative exercise on the part of the class, so it’s better to keep grading out of sight; however, since some students would work less otherwise, the leverage of a grade is necessary. Your roles as respondents and recorders are not a major feature of your grade unless you simply shirk and draw attention to yourself for lack of cooperation or effort. You are expected to help your presenter in the same spirit that you would like to be helped. General
Rules for All Student Presentations: 1. 10-15 minute time limit. Beyond 10 minutes, you’re mostly talking to yourself. The major purpose of your presentation is not to lecture but to share a reading and lead a discussion. Make your major points as quickly and forcefully as possible. To conclude, reinforce your major points and lead into discussion. 2. End Presentation & begin discussion with a question. The primary purpose of your presentation is to stimulate a seminar discussion, which the presenter leads. The best way to begin a discussion is by asking a question. · Sometimes the students will just sit there, so you might have an extra question ready. Sometimes they’ll want to discuss something besides what you asked, which is okay. Sometimes you have to keep asking and trying different angles until you get a response. Sometimes you simply have to wait a little. · If you don’t ask a question to conclude your discussion, I will ask you a question, to wit: “What’s your question?” or “Why didn’t you ask a question?” · Your question should not be something feeble and formulaic like, “What do you think?” or “Do you see what I’m trying to say?” Base your question on your presentation, identifying a problem you faced in developing your point or highlighting a sensitive issue your presentation raises and how that issue may be addressed. Ask for help! · Student comments should be directed to the presenter, not the instructor, though some variance is natural. Descriptions
of presentation assignments: Poetry readings from Walcott’s
Collected Poems Reader: The chief purpose of this presentation is for the class to share the aesthetic experience of the day’s poem and then to discuss its themes and techniques. The “reader” is responsible primarily for reading the poem in a clear and appropriate style and secondarily for interpreting the poem and leading a discussion of it. Steps in poetry presentation: · Announce the page number and title of the poem. · Very briefly announce the major themes you’re going to highlight in the poem. · Read aloud the poem or, if the poem is long, some central passages. Look up and practice pronunciations of unusual or foreign words before reading aloud. Avoid stumbling over words and asking professor if you got it right. If you are reading passages rather than the whole poem, provide some context for your selections. · Briefly comment on the thematic elements you observed in the poem and the meanings you gathered. Relate the poem to ideas from the course or other texts. But don’t interpret for more than 3 or 4 minutes—the class is usually ready to begin discussing as soon as the poem’s reading is finished, so don’t lose that energy. · Begin discussion by asking a question regarding your interpretation. · Lead and respond to discussion. · At some point during the presentation or discussion, the presenter and respondent are both expected to refer to previous course discussions of the poem on the course webpage. · At the end of discussion, presenter may be asked to summarize highlights. Respondent: Presenter and respondent may confer beforehand, but this is not required. The respondent is responsible for having read the poem and having some ideas about it relative to the course. The respondent is expected to speak for a few minutes during discussion, either supporting or diverging from the presentation. So that a larger seminar discussion may develop, the respondent should hesitate to jump in immediately. The respondent may support the presenter’s interpretation and re-emphasize passages the presenter highlighted or offer alternative interpretations that direct the class’s attention to other brief passages of the poem, which may be read. The respondent may speak for a minute or two at once or may make two or three briefer remarks during discussion. The respondent is encouraged not to bail out of his or her duties by shrugging that “They’ve already said it.” Recorder: The recorder is responsible for making notes of the class discussion for use in the web summary. Where possible, class participants should be identified by name. Discussion records do not need to be comprehensive and verbatim—highlights are acceptable. Tape recording is permissible. Descriptions
of presentation assignments (continued): Dialogue between two texts As in the final exam, the idea is to “make the texts talk to each other”—in these cases, texts from different cultures that meet in the context of colonialism. On days of these presentations, all students should bring both texts. Presenter: The presenter chooses one or two scenes or passages in both texts that are worth reading together for any relevant reason. The scenes may involve similar situations seen from different perspectives, or they may show contact, conflict, or change (for good or bad) in the cultures involved. Or the scenes may simply involve a similar theme or motif, such as religion, exchange, gender, place, etc. Format: · The presenter announces the basic subject of the dialogue—the reason or pretext for reading the scenes or passages together. · The presenter directs the class to the pages on which the scenes occur, sets the context, highlighting language or motifs, then repeating the process in the second text, making comparisons and contrasts. · The presenter summarizes the point or insight that emerges from the dialogue. · The presenter begins discussion by asking a question based on the presentation, then leads the discussion. · At some point during the presentation or discussion, the presenter and respondent are both expected to refer to previous course discussions of the poem on the course webpage. · At the end of discussion, presenter may be asked to summarize highlights. Respondent: Presenter and respondent should confer beforehand, either by phone or email or around class-time, at least to the extent that the respondent knows what scenes or pages from the books will be discussed. The respondent is expected to speak for a few minutes during discussion, either supporting the presentation or diverging from it. The respondent may support the presenter’s interpretation of the dialogue and re-emphasize passages that the presenter highlighted, but he or she may just as likely offer alternative interpretations that direct the class’s attention to other brief passages in the scenes. The respondent may read portions of these passages to the class or refer to other passages in the text(s) that develop the presentation’s themes. As in the other presentations, the respondent should hesitate to jump in immediately so that a larger seminar discussion may develop. The respondent may speak for a minute or two at once or may make two or three briefer remarks during discussion. The respondent is encouraged not to bail out of his or her duties by shrugging that “They’ve already said it.” Recorder: The recorder is responsible for making notes of the class discussion for use in the web summary. Where possible, class participants should be identified by name. Discussion records do not need to be comprehensive and verbatim—highlights are acceptable. Tape recording is permissible. Descriptions
of presentation assignments (continued): Web summary: Both the poetry presentations and the textual dialogue presentations require written summaries to be emailed within a week of performance to the instructor, who will post them to the course webpage. The web summaries should including a 3-4 paragraph synopsis of the presentation, including references to previous web summaries and the discussion question(s), followed by the respondent’s comments and the discussion notes. A record of the respondent’s contributions may be provided by the recorder and/or the respondent. The ultimate responsibility for the web summary and its quality belongs to the presenter, but the respondent and recorder are responsible for cooperating and helping. If the presenter does not receive the necessary help from the recorder, the presenter should inform the instructor as diplomatically as possible to avoid discredit. Examples of web summaries from the 2001 seminar are available on the course webpage under the “Model Assignments” tab. You’ll see a considerable variety and flexibility in format and completeness. Other similar assignments may be reviewed on other of the instructor’s course webpages under the tab titled “Craig White’s Home Page.” Informal “Discussion-Starter” exercise Students may also be asked to serve informally as “discussion-starters” as need and opportunity rise. These discussion starters will primarily be assigned for days when there is no “Textual Dialogue” as a means of maintaining student leadership and participation in the seminar. Particularly in the opening classes, discussion-starters may be asked to lead a discussion relating a critical article to the day’s primary text. Broad, flexible
format for discussion-starter: · Identify idea, theme, problem, or issue in the day’s readings · Direct class (page numbers) to one or two brief passages in the day’s assignment and read selections, briefly commenting on application to opening theme or idea. · (The order of the first two steps may be reversed.) · Ask a question to begin discussion. The question should follow from your reading, but it may also appeal more broadly to the challenges that the text may present to the class. · Lead discussion. · No requirements for written summary or email / webpage posting. Final
Exam Conditions: The conditions under which you take your final exam are variable. All options are open-book and open-notebook. · You may write your exam in-class during the final class period, using the full class period of 3 hours and turning in the exam by 6pm. · You may write your exam out-of-class and send it to me by email, using a time span of up to four hours, with the exam due by noon on Tuesday, 1 July. This is an absolute deadline, as grades are due the following day. · Since the assignment is known, you are welcome to prepare your answers. In writing your submission, however, please observe time allotments. Content: Regardless of whether you take the exam in-class or via email, the exam content is the same. · Compose a dialogue between the last four of the course's primary texts · A Passage to India · The God of Small Things · Adventures of Robinson Crusoe · Lucy · Refer also to · at least one of Walcott's poems · one of the “textual dialogues” from this course (2003) · a web posting from the 2001 course. · Literary Theory handout · The theme or subject of this dialogue is your choice. You might refer to the course objectives for inspiration, or propose an idea that you saw emerging in the class. · How specific should be the subject of the dialogue? As in all writing, the greater the unity amid diversity, the better. You could choose one of the course objectives as the center of your discussion, or you might choose a more evolutionary topic, such as "What may one learn from putting these texts in dialogue?" (For this last option the potential topics are numerous, so the exam writer should make efforts to summarize and unify as the essay progresses.) · On the last class day we will have a roundtable discussion in which each student will announce her or his probable topic. (Topics may change.) Length: Since the final exam is a timed exercise, and different writers have different rates of production, I can only say that you should probably use at least two and a half hours of the exam period. A surprisingly brief but wonderfully efficient exam occasionally happens under these circumstances, but it remains surprising. Most students do better by covering as much ground as possible as well as possible in the time allotted. Email test-takers should keep a log of when they start and stop writing. Pauses or interruptions within the time allotment are acceptable and sometimes inevitable. Include your log at the beginning or end of your exam. Final Grade Report: Final grades will be submitted to the registrar on 2 July according to the usual procedures. I will also email each student a tally of their grades that should be accurate but will be “unofficial” in that none of its information aside from the final grade will be recorded or supported by the university registrar. The message will appear thus: LITR 5734 2003: Colonial & Postcolonial Literature STUDENT NAME Contact information (email & US Mail addresses, phones, etc.) Absences: Presentation grade: Midterm grade: Final exam grade: Course grade: Reading
& Presentation Schedule Tuesday, 27 May: introduction; poems by Kipling, Walcott; Jamaica Kincaid, "A Small Place" (handouts) Thursday, 29 May: Joseph Conrad, Heart of Darkness, pp. 3-54 (up to part III); Chinua Achebe, "An Image of Africa: Racism in Conrad's Heart of Darkness," Norton Critical Edition of Heart of Darkness, pp. 251-262 · Discussion starter(s) relating Achebe article to Heart of Darkness · Poetry reading from Walcott: “Koenig of the River” (379-82) reader: respondent: recorder: · Poetry reading from Walcott: “Two Poems on the Passing of Empire” (35) reader: respondent: recorder: Monday, 2 June: Conclude Heart of Darkness (54-76; complete); begin Achebe, Things Fall Apart (1-51; through chapter 6). ·
Dialogue between Heart of
Darkness & Things Fall Apart: leader: respondent: recorder: · Poetry reading from Walcott: “A Far Cry from Africa” (17-18) reader: respondent: recorder: Tuesday, 3 June: Things Fall Apart (52-161; through chapter 18) ·
Dialogue between Heart of
Darkness & Things Fall Apart: leader: respondent: recorder: · Poetry reading from Walcott: from Midsummer, XXVII (pp. 486-87) reader: respondent: recorder: Thursday, 5 June: Things Fall Apart (through p. 209; complete); Kirsten Holst Petersen, "Problems of a Feminist Approach to African Literature" (handout); Walt Whitman, "Passage to India" (handout) · Discussion starter(s) relating Holst Petersen article to Things Fall Apart ·
Reading from Whitman's "Passage to India" Reader: respondent: recorder: · Poetry reading from Walcott: "Jean Rhys" (427-429) reader: respondent: recorder: Monday, 9 June: Midterm due. Begin E. M. Forster, A Passage to India (pp. 1-132; part I, "Mosque"); Edward W. Said, "Orientalism" (handout) · Discussion starter(s) relating Said article to A Passage to India · Poetry reading from Walcott: “The Season of Phantasmal Peace” (464-65) reader: respondent: recorder: Tuesday, 10 June: Forster, A Passage to India (133-314; part II, "Caves"); · Discussion starter(s) for Passage to India · Poetry reading from Walcott: "The Saddhu of Couva" (372-374) reader: respondent: recorder: · Poetry reading from Walcott: "God Rest Ye Merry, Gentlemen" (91) reader: respondent: recorder: Thursday, 11 June: conclude A Passage to India (315-362; part III, "Temple"; complete); begin Arundhati Roy, The God of Small Things (pp. 1-33; chapter 1, "Paradise Pickles and Preserves") ·
Dialogue between Passage to
India & The God of Small Things leader: respondent: recorder: · Poetry reading from Walcott: "There was one Syrian" (508-509) reader: respondent: recorder: Monday, 16 June: Arundhati Roy, The God of Small Things (34-177; through chapter 8) ·
Dialogue between Passage to
India & The God of Small Things leader: respondent: recorder: · Poetry reading from Walcott: from Another Life: The Divided Child, ch. 1 (143-149) reader: respondent: recorder: Tuesday, 17 June: The God of Small Things (178-321; complete); begin Daniel Defoe, Robinson Crusoe · Discussion starter(s) for God of Small Things & Robinson Crusoe · Poetry reading from Walcott: “Ruins of a Great House” (19-21) reader: respondent: recorder: · Poetry reading from Walcott: “The Gulf” (104-108) reader: respondent: recorder: Thursday, 19 June: Daniel Defoe, Robinson Crusoe (25-86; up to "The Journal"); Ian Watt, "Robinson Crusoe, Individualism, and the Novel" (handout) · Discussion starter(s) relating Watt article to Robinson Crusoe · Poetry reading from Walcott: “Map of the New World” (413) reader: respondent: recorder: · Poetry reading from Walcott: “Exile” (100-102) reader: respondent: recorder: Monday, 23 June: Robinson Crusoe (complete, but especially 160 ("You are to understand that now I had . . . two plantations . . . ") through page 233 ("There was another tree . . . ) · Discussion starter(s) for Robinson Crusoe · Poetry reading from Walcott: “Crusoe’s Island” (68-72) reader: respondent(s): recorder: · Poetry reading from Walcott: “Crusoe’s Journal” (92-4) reader: respondent: recorder: Tuesday, 24 June: Jamaica Kincaid, Lucy (1-132; up to chapter titled "Lucy") · Discussion starter(s) for Lucy ·
Dialogue between Robinson Crusoe
& Lucy: leader: respondent: recorder: · Poetry reading from Walcott: “Preparing for Exile” (304) reader: respondent: recorder: Thursday, 26 June: Lucy (through 164; complete); review Jamaica Kincaid, "A Small Place" (handout from first class meeting); ·
Dialogue between Robinson Crusoe
& Lucy: leader: respondent: recorder: (26 June continued) · Poetry reading from Walcott: from The Estranging Sea, ch. 20, part 1 (271-73) reader: respondent: recorder: Monday, 30 June:
final exam (timing depends on whether you take it in-class or by email; see
above) Wednesday, 2 July: grades due; final grade reports emailed before the 4th. |