Collaborative final exam review

Posted in Uncategorized at 1:20 am by Dominique

Hi all,

During our last class I mentioned that we would prepare for the final exam by collectively reviewing terminology we’ve discussed over the course of the semester. I’ve listed that terminology below and assigned a few definitions (anywhere from one to three, depending of the complexity of the term) to each of you. Please post your responses by noon on Tuesday so that I can view them before the review session. Also, I invite you to post one question about identifying or applying any critical perspective we’ve discussed this semester underneath your definitions.

Various members of the class have also requested an additional review session. That extra session will be held on Tuesday, December 20th, from 11:30-1 pm. (I will check to make sure our classroom is free at that time.)

Please be careful and thorough as your compile your definitions, as others will be referring to them as they study. If you have not filled in a definition on your handout from class, go back to Bressler’s Literary Criticism to define it. **Note:  the terms that you’ve been assigned appear BELOW your name. Please post your terms as a comment on this post.

Formalism/New Criticism






intentional fallacy

affective fallacy



organic unity

an objective theory of art







central paradox

Reader-response or “Reader-oriented criticism”


transactional experience

efferent reading

aesthetic reading





horizon of expectations


subjective criticism


interpretive community











differance (Derrida)



binary opposition

 New Historicism and Postcolonialism


Foucault’s interpretation of the panopticon

Culture (according to Stephen Greenblatt, Raymond Williams, and Foucault)


counterhistories (Geertz)








Oedipus complex

Lacan’s mirror stage


“the Real” (Lacan)

collective unconscious (Jung)

Feminism and gender criticism





A Vindication of the Rights of Women (Wollstonecraft, 1792)


essentialist approach to gender

constructionist approach to gender






alienation effect (Brecht)

hegemony (Gramsci)



Your assignment for Tuesday, and a look ahead to the end of the semester

Posted in prompts at 8:25 am by Dominique

Hi folks,

We have one last push until the end of our semester together.  Here’s what our last three classes will look like.

Tuesday, 12/6: Consolidating the lenses in-class exercise (see requiered written component for exercise below, to be brought into class on Tuesday).

Thursday, 12/8: We’ll be back in a computer lab, Powdermaker Hall 212 this time, when I will give all of you time to work on revising your first papers in class as I come around to answer questions and offer feedback.

Tuesday, 12/13: Final cultural artifact papers are due (to be posted in Dropbox). During this class we’ll review for the final exam. I’ll ask you to come to class with all three of the books we’ve used this semester, with the handouts from each lens we’ve discussed, and with a list of any questions you may have about the texts or the lenses. Prior to this session, I’ll divide the terminology from each unit up among the members of the class and ask you to fill in your assigned terms in a Word document on Dropbox. You can all use this collaborative document to review for the final exam.  If students who are present would like an additional final exam review session after this class and before 12/22, we can arrange that as well.

Thursday, 12/22: The final exam will be held in our classroom from 1:45-3:45 pm. The exam will consist of short answer questions that will require you to do two things: 1) read a few excerpts from critical essays and identify the lens that each essay is using to analyze the text, explaining how you know , and 2) read a few excerpts from Heart of Darkness and The Turn of the Screw and analyze them using particular lenses. (After the final, you may email me for your exam grade.)

I am reading and commenting on your drafts of the cultural artifact paper. Some of you will see the drafts today (Saturday) and others will have to wait until Monday for comments. I have started from the bottom of the alphabetical list this time in order to give first comments to those who received grades last for paper 1.  You will have over a week after receiving comments to revise.

In the meantime, you have an assignment to complete for Tuesday. As it says on the sheet that follows, responses to this exercise should be typed and one hard copy must be brought to class on Tuesday so that you can read from your page and share your response with a group.  This assignment requires you to re-read two of the critical essays in the back of Heart of Darkness and The Turn of the Screw and list the claims each reading makes, followed by the assumptions behind those claims; you’ll use these lists to compare and contrast the approaches the critics are using to read the primary texts. The critical essays we’ve read are challenging; please leave extra time to re-read and think about the two you’ve been assigned for this exercise.  You’ll be evaluated on this exercise and you should also consider it preparation for the final exam. The only way you can “fail” this exercise is not to do it at all.  Here are the directions: Consolidating the lenses, at-home writing and in-class exercise, due 12/6

If you have specific questions, please email me. However, first read the directions carefully. If you attempt to make your lists and want to know whether you have done so correctly, you can share your answers with my via email or stop by Klapper 350 before class on Tuesday.

For next week, Qudsia Rasuli will be our final main blogger. She will share an updated version of her draft with us by Monday at midnight, posting it as a response to this post. Commentators will then respond to Qudsia’s draft using the categories on our rubric (which is posted in the 5-6 page draft folder on Dropbox) by Wednesday, 12/7, at midnight.  Any other bloggers who would like to receive extra credit by posting their drafts should inform me of their intention via email and be sure to post the draft by Monday at midnight.

I have a lot of confidence in what all of you can accomplish in the next two weeks. Have a restful and productive weekend.

Looking forward to seeing you on Tuesday,



First drafts of your cultural artifact paper are due Thursday–main bloggers will present their drafts tomorrow

Posted in prompts at 1:47 pm by Dominique

Hi all,

I hope you feel full and rested after Thanksgiving break. Enes Mrkulic and Victoriane Liz will be our main bloggers for this week. During tomorrow’s session, our aim will be to use the main bloggers’ papers to collectively devise a rubric for the cultural artifact paper (paper 2).  We will treat their papers as our “texts” for the week, discussing how we see the writers applying a particular critical lens and considering what aspects of their approach we might replicate ourselves. If anyone else would like to have their drafts workshopped by the class, please contact me asap and make sure your first draft is in the Dropbox folder by midnight tonight.  

Once the main bloggers have posted their drafts in the Dropbox folder, I will post them here as well. I will then ask all commentators to respond to the drafts by Wednesday at midnight while you compose your own first drafts (to be submitted to Dropbox before Thursday’s class).  I will respond to all drafts posted in Dropbox individually between Thursday night and Saturday.

As you compose, remain aware of your reflections on your process. If you’re not someone who usually steps away from a paper to “incubate” while writing, try to leave a little time to do that–this means starting the paper today (if you have not already) and coming back to it for a couple of hours a day over the next two days. If you find that you settle too quickly on a starting point, try to start writing and then narrow down your starting point (your “perception of the problem”) later on. I’ll ask our main bloggers to say something about their own process when we begin class tomorrow.

Lastly, we’re meeting in I-Building 213 tomorrow afternoon. Please go straight there! (See my email for a reminder about this.)

See you on Tuesday,



No official main bloggers for next week … and an extra credit opportunity instead

Posted in prompts at 6:35 pm by Dominique

Hi all,

We ended class today with a run-through of the terminology you’ll want to use when crafting a Marxist reading of a text (an approach which some of you may still want to consider using for the cultural artifact paper).  When we reconvene on Tuesday, we’ll be coming back to the terminology on your handout, and spending some time with Bruce Robbins’ Marxist analysis of The Turn of the Screw. Then we’ll think about whether we see any crossover between Marxist criticism and reader-response– something I’ll ask you to write about during class, so please be sure you’ve read Wayne Booth’s “‘He began to read to our hushed little circle’: Are We Blessed or Cursed by Our Life with The Turn of the Screw?” (and the review of reader-oriented criticism that precedes it). 

For now, anyone who would like to blog this weekend will receive extra credit for reviewing the following New York Times Topics site on Occupy Wall Street (a portion of which was distributed in class today) and conducting a Marxist analysis–using the Bressler book and the packet of critical lens questions distributed last week–of the Occupy Wall Street movement: http://topics.nytimes.com/top/reference/timestopics/organizations/o/occupy_wall_street/index.html?ref=topics

Please keep your analysis to 500-550 words and we will discuss your thoughts at the start of class on Tuesday.

We’ll pick up with our main bloggers as soon as we return from Thanksgiving. Enes and Victoriane (and anyone else whom would like to complete his or her draft early and have it workshopped by the class…) will be posting the first full drafts of the cultural artifact papers by next Monday, November 28th.

Ah, and one last thing! I caught a typo on your assignment sheet for paper 2. The drafts of the cultural artifact paper for anyone submitting at the normal deadline are due on Thursday, December 1st (not Thursday, Nov. 28th…a day that does not exist).

As always, I’m looking forward to seeing you folks again on Tuesday,




For Tuesday, November 15th

Posted in prompts at 3:45 pm by Dominique

Hi all,

AnnMarie Mark and Emina Basic are our main bloggers for this coming week. By Monday at midnight, after reading chapter 8 on Marxist criticism in the Bressler book, they should respond to the following prompt in a two-paragraph post of 500-550 words:

In one paragraph, isolate certain aspects of Marxist criticism that seem similar to other critical lenses we have discussed this semester. Please discuss those similarities. (You may want to use the packet with questions from each critical lens I distributed on Thursday to help you see connections between multiple approaches. Read through all the categories of questions together and leave yourself time to reflect on the assumptions and focus of each type of criticism.)

In a second paragraph, please write a Marxist critique of the passage in The Turn of the Screw that hints at Peter Quint and Miss Jessel’s relationship, beginning at the top of page 58 and going through the end of section 7 (page 59); you may want to re-read sections before and after this as well for additional context.

Commentators should build upon either of the two paragraphs that AnnMarie and Emina have written, adding in their own thoughts about crossover with other lenses or Marxist ways of reading the particular scene in James’s novella, in posts of 150-200 words.

You also have a 2-3 page summary of your cultural artifact due before class this Tuesday; please be sure it is posted in the appropriate Dropbox folder before our Tuesday session. This summary should give both a detailed sense of the plot and main characters in your “text,” assuming that your reader knows little to nothing about it; it should also indicate and describe scenes that seem absolutely essential to understanding this text.  This is NOT an analysis; you are not being asked to apply any one (or more) of the lenses at this point. We’ll discuss your summaries in class on Tuesday, in addition to discussing the quizzes from last week, and covering a basic introduction to Marxist criticism.

Good luck and enjoy the rest of the weekend!





Your cultural artifact selections

Posted in Uncategorized at 1:03 pm by Dominique

After you respond to Alessandra and Cassandra posts in the forum below this one, please leave your three cultural artifact selections as a comment on this post (you may number them in order to indicate the one that seem the most compelling subject for analysis, if you’d like).  I will review these before class early Thursday morning in order to prepare for our workshop–please make sure your choices are represented here!


Reading about/as/through the gender critics…

Posted in Uncategorized at 7:00 pm by Dominique

Hi all,

Alessandra Cervinaro and Cassandra Ramlochan have agreed to be our main bloggers this week. They will continue the discussion we began at the end of class on Thursday by composing an analysis of The Turn of the Screw using a gender studies approach. Using the steps outlined on the handout you received in class, and selecting a useful “passage” (as modeled in class) that will support a gender-focused analysis, each main blogger will write a carefully-structured paragraph of 500-550 words using the guidelines below. These paragraphs should be submitted by this Monday at midnight.

First, consider the questions we addressed from a feminist perspective. (See the handout from last class on 11/1–also in your email box–especially for Steve E. who didn’t get a copy in class! A lot of feminist issues overlap with gender criticism–just remember what we said about gender critics approaching gender as a social construction.) Think specifically about how gender and sexuality were conceived of when the text was composed and/or published. See the gender criticism essay assigned for Thursday in the back of The Turn of the Screw about two central historical factors that make gender an interesting and challenging topic in the late 19th century: Oscar Wilde being put on trial for homosexual behavior and the rise of early women’s rights movements. You’ll want to acknowledge these historical circumstances as you dive into your analysis.

Then, focus on the following two-step method. Don’t think about responding to these questions in list form–rather use them as a guide to construct a fluid paragraph. If you focus more on some parts of the questions and leave others out in order to develop your ideas, that’s okay!

1. (More descriptive) How are gender norms established: What kinds of gender norms are present in the text? Are specifically gendered codes of behavior explicitly or implicitly dramatized in the text? (Are certain things assumed about how “males” and “females” should behave–how they should dress, interact, pursue a career, etc?)

2. (More analytical) How are gender norms transgressed: Do characters transgress general social codes of gender? If so, how does the text respond to this transgression? If not, why not? Do characters exhibit unexplained desire (or desire without a coherent object of that desire)? Are characters depressed or melancholy for reasons that are relatively unexplained? How are same-sex friendships described? Are these more or less passionate than opposite-sex couplings? Are these friendships seen as problematic?

When you think about how to craft your paragraph, try using the following outline:

I. In a sentence or two, establish the historical and cultural importance of gender issues at the time James is writing and consider why such issues might be reflected in James’s text, whether consciously or not. (This is where you establish your motive for using this particular critical approach. Alternatively, if you were using post-colonialism, you might discuss how the author is invested in/aware of how imperialism. If you were using psychoanalysis, you might want to note when the text was published in relation to Freud’s work and why the notion of the unconscious would capture people’s attention at that time.)

II. Describe the way gender roles are treated in the text more generally (see question 1 above). The purpose of providing this context is to help set you up to focus on one specific illustration of the way these roles are enforced and/or transgressed later on in the paragraph (and later on in an essay, if you were writing an essay).

III. Include a “passage” (carefully transcribed, properly indented, and cited, please!) that will allow you to focus in on one character, one relationship, or one type of gender “norm” that you can then analyze in more detail (thinking ahead to how you will use question 2 above as you cite your passage).

IV. Present your analysis of the passage, responding to some aspect of question 2 by highlighting the implications of specific language used or assumptions made in the passage.


Commentators should do this same exercise in a shorter form–in 150-200 words, by Wednesday at midnight–providing only one sentence for each part of the outline. While these paragraphs will clearly not be as well developed as those of the two main bloggers, this a useful approach to test out anyway; I hope it’s one with which we’ll grow more comfortable during the remainder of the semester and beyond this course.

This is also a model that I would like to see all of you adopt in your second paper, which you’ll be working on over the next four weeks and which I’ll tell you more about on Tuesday! I loved that we found a way to think about the Snickers commercials as feminist critics at the start of last class (thanks, Victoriane!). The upcoming paper assignment will allow for more of a similar kind of cultural analysis.

So, we’ll begin Tuesday’s class by returning to the handout on writing around “passages” from Thursday and briefly talking more about gender criticism. Then we’ll discuss Alessandra and Cassandra’s paragraphs. Next we’ll do…well….something else.**  And then we’ll end with a discussion of the next paper assignment. **In preparing for that “something else,” please make sure you have reviewed The Turn of the Screw, as well as your notes on psychoanalysis, feminism, and gender criticism, looking at any critical essays assigned for each of those lenses.  You may also want to practice using the paragraph structure above on your own so that you can see whether you run into trouble; if you hit a wall, contact me to show me how far you got, or stop by my office on Tuesday. As many of you have already realized, we might think we understand a critical lens when we’re discussing it in class but when we try to apply it in writing that can be a whole ‘nother ball game.

I’m looking forward to seeing you next week and will do my best to leave comments on the final versions of your Heart of Darkness essays by then.

Have a great weekend,




For this week: feminism, gender criticism, and more of The Turn of the Screw

Posted in prompts at 8:16 pm by Dominique

Hi everyone,

This weekend you’ll be revising your drafts and preparing to submit your final copies of the first paper on Heart of Darkness to the appropriate folder on Dropbox before class on Tuesday. Please see the sample essays and the “reminders” handout I distributed at the end of Tuesday’s class as you prepare your revised version of the essay. Please see my comments on your work in teh Dropbox folder.

Everyone will also be reading chapter 7 in Bressler’s book on feminism. Our main bloggers this week are Kathleen Ocampo and Maria Serrano. In posts of 500-550 words, to be submitted by Monday at midnight, each blogger will answer TWO of the following sets of questions to answer about The Turn of the Screw:

1. Who are the women in the text? Do different generations of women seem to have access to the same kinds of power and/or possibilities or not?

2. What does the domestic space look like?  Are women responsible for most of the  labor in this space?

3. Do women interact with each other the same way that they interact with men? (and vice versa)  Think about speech, diction, tone, etc.  In either case: how and why do interactions take place as they do? Do women speak for themselves or are they spoken for?  When, where, how?

4. Are there communities of women?  If so, are these communities offered as self-sufficient or do they require the presence of men?

5. Do women transgress? [socially, economically, sexually, etc?]  What are the ramifications of these transgressions – or lack thereof? (Think of Miss Jessel!) What does the text suggest as the “lesson” the reader is to learn about women’s roles and opportunities from the way transgressions are handled narratively?

6. What is the relationship between women and money?  Do women provide for themselves, make important economic decisions, etc?

7. Consider the traditional representational options for women: virgin, mother, or whore.  Does the text buy into these distinctions?  Does it resist them?  How and to what end?

8. How (if at all) are femininity and masculinity figured by the text?  Are they represented in the ways you might imagine or is there something surprising about those representations?  Are there moments when these representations break down?     If so, how, why, and to what end?

9. Is marriage and/or reproduction offered as the end-goal for all women or does the text offer other possible modes of happy existence and  satisfaction?  If marriage and/or reproduction are the goals, are these goals offered in seemingly traditional or untraditional ways?  Where do female authority, power, and control fit (if anywhere) in these relationships?

10. Do characters seem to learn their gender identities or are these identities offered as intrinsic and unquestioned realities?

11. How do female characters understand themselves? What role does gender play in these understandings?

12. How does class, race, disability, reproductive ability, or history interact with a particular character’s understanding of her gender and/or identity  (if at all)?  How do these features affect gendered representation?  Are certain kinds of women more “womanly” or feminine than others?  Who is offered as marriageable or desirable options and who is not?

13. Where are female desires and aggressions in the text?  What are its objects and directions?  Are these appropriate or transgressive?  What do these desires and aggressions reveal about the character, society, and/or female representation in the text?

14. Does the text assume a male or female readership? (You may need to know something about the reading practices of the time to answer this question. See the “Cultural Context” material in Part II of our edition for a little more on this.)  What bearing does that have (if any) on the way relationship that the text develops with its     reader?

Commentators will submit posts of 150-200 words by Wednesday at midnight that either build on Kathleen and Maria’s responses or select  ONE other question to answer.

Have a great weekend–eat some candy–and watch out for Peter Quint and Miss Jessel.



Starting The Turn of the Screw and drafting your first paper

Posted in prompts at 10:54 am by Dominique

Hi all,

While we don’t have a formal midterm for this class, we have reached the midway point of the semester (congratulations!); that said, we all have a busy weekend in front of us. Please set aside a solid portion of time this weekend to complete two important pieces of work for this course:  first, you’ll read the introductory material and the beginning of Henry James’s novella through the start of Book X (pages 1-68). Secondly, a full five-page draft of your first paper is due in the Dropbox folder before class on Tuesday. When creating this draft, please keep in mind that you are testing out what you proposed this week. If you find that your critical lens is not leading you to connections and insights across your three passages, or that your motivating question is something you can’t answer in a five-page paper of this kind, please don’t forge ahead blindly: this is the time to reflect on and revise your approach, if necessary. I’ve asked some of you to contact me in my comments on your proposals, and so expect to hear from a few of you this weekend.

On the draft due before the start of Tuesday’s class…

Please keep the two things I mentioned in class in your mind as you write:

1) No writing is easy, especially critical analyses of literary texts. You will hit road blocks where you’ve forgotten why you’re writing or don’t know what to say. That is okay! Step back, return to the assignment sheet and to your proposal, then turn back to the text itself. Reconnect with your sense of purpose: what are you trying to understand about this text? are you continually defining and developing your approach as you write? are you using the resources available to you to guide you through this task (e.g. class notes, the Bressler book, the models of critical analysis in the back of Heart of Darkness)?

2) The draft should adopt the following rhythm: set up the significance of an excerpt or scene in relation to your motivating question, cite the excerpt or summarize the scene, present an analysis. Don’t worry to much about composing a stellar intro and conclusion at this point. The analysis should draw our attention to particular language, implications, and/or thematic associations between scenes, noting the issues that would stand out to a critic using your particular approach and thinking about how such an approach helps us to understand the meaning of the passage within the work as a whole. I am not evaluating the draft on how assertively you insist on an idea but on how carefully was you go about interacting with the passage you’ve chosen and applying the types of questions that a Deconstructionist, New Historicist, Post-colonialist, or Reader-oriented critic, etc., would pursue.

(**A note on quoting: if you have chosen an excerpt that is more than five lines, please indent the text and include it on a new line. You should not be citing much more than five lines of text at a time, even if the excerpt you indicated is longer: please pick out the most crucial language that will allow you to illustrate your claim about the passage and then summarize the rest of the scene briefly.)

On The Turn of the Screw

Edward Mendoza and Nadia Bhagwandin have volunteered to be our main bloggers for this week. Their posts of 500-550 words, submitted by midnight on Monday, will consider the first half of the text through a psychoanalytic approach. They may address any one of the following sets of questions in relation to James’s novella (these questions, of course, might be applied in a psychoanalytic reading of any text, not just this one):

  • What kind of characteristics do the characters portray? Do whole characters (or elements of them) fit into Freud’s distinctions between the id, ego, and superego? Where do these elements come up in the course of the narrative?
  • Think about the characters’ speech and narrative voice. Are there strange phrasings or slips in logic or meaning? Are these moments conscious and intentional, or are they unconscious? If they are unconscious, are there other moments in the text that seem to unconsciously reveal themselves? (For this question, try to consider word choices, repetitions, and omissions in the text.)
  • Pay special attention to the way the characters interact with one another. Do they do so as a reader might expect? Are there unexpected interactions (e.g. does a child act more like a parent, a servant like a therapist, etc.)? Are confessions made? Is information withheld?
  • Are there notable characters in the novel who are no longer present (i.e. does the memory of those characters or some action they performed seem to loom over the story or over a particular character in some way)? How do you account for the continued importance of these characters? What might they do or inhibit, psychically, for those characters who remain?
  • Are there specific elements in the text that either the characters or narrative itself seem unable to speak about? Perhaps disturbing kinds of knowledge that might need to be repressed? (Think specifically about questions of race, class, gender, sexuality, disability, or other issues that it might be difficult to raise socially even within a family setting.)
  • Does the work chart the emotional, psychical or (socially-based) educational development of any character? If so, how does that development take place? Are there appropriate psychological models (Lacan’s “mirror stage,” for instance) for how the character comes to know him/herself and the world?
  • Where is desire in the text? Are desires articulated (spoken about, gestured to, acted on?) or do they remain repressed and unspoken?

Commentators, who will post comments of 150-200 words by midnight on Wednesday, may offer additional thoughts on the questions the bloggers have addressed or choose questions that have not yet been answered. Please be sure to indicate which question you are answering in your post!

Though the work load in getting heavier, this is an exciting and important time in our semester together. I have a lot of confidence in what you will be able to create over these next few days.  Good luck!



Prompt #8: Entering the Panopticon

Posted in prompts at 12:49 am by Dominique

Dear all,

We only scratched the surface of our journey into panopticism on Thursday; I hope to be able to hear a few more of your reactions to the in class exercise when we are together again this Tuesday. In the meantime, I am going to ask that you not forget to look at the helpful (and entertaining) guide to Foucault that I passed around in class. It will give you a clearer sense of how the notion of the “Panopticon” as a mechanism of coercion and control fits into Foucault’s larger beliefs about the way much of modern Western culture operates; it will also help you to begin to understand why one might call Foucault a New Historicist–something we’ll talk a bit more about on Tuesday.

Steve Carpio and Arianne Williams have agreed to be our main bloggers this week. By Monday at midnight, they will respond to the following prompt in 500-550 words:

After reviewing the packet that serves as an introduction to Foucault’s well-known New Historicist critique of power relations in modern society, Discipline and Punish (1975), please return to the excerpt from the chapter on “Panopticism” and re-read it. (It’s posted on the “course readings” page as part of the excerpt from Foucault’s work, pp. 206-213).

Then, find a passage from Heart of Darkness (no more than  250 words or so) that illustrates what you understand Foucault to be saying about the concept of “discipline.” Write out a passage from the novel and a passage from Foucault, too. You might start by thinking about the section I read aloud to you near the end of Thursday’s class: “…discipline fixes…it clears up confusion [read: it attempts to clear up confusion]…[it functions through] hierarchical surveillance, continuous registration, perpetual assessment and classification….[it is] a power that insidiously objectifies those on whom it is applied…” (208, 209). After you’ve made your selections and typed them out, write a three sentence description of  why the Foucault passage illustrates, highlights, or clarifies some aspect of Heart of Darkness for you.

By Wednesday at midnight, commentators will reply to the main bloggers’ responses in 150-200 words by describing a scene of their own from Heart of Darkness (NOT by writing out a passage but summarizing an event, dialogue, or reflective moment in the text in a few sentences) and indicating why you think it illustrates Foucault’s notion of discipline in the excerpt from “Panopticism.”  If you’re feeling brave, I invite you to look to the sections that precede “Panopticism” (“Docile Bodies”–Foucault’s critique of the soldier–and “The Means of Correct Training”–his analysis of the way exams work as instruments of power) to find other connections to scenes from Heart of Darkness. Finally (an in addition to your analysis of the text) if Foucault really gets you going, please let us know what examples of the power dynamics he’s describing seem to you to be reflected in the people, places, or interactions of your daily life!

Finally, two additional reminders:

1) In addition to the normal reading and post, your one-page proposal for the first paper is due in the appropriate Dropbox folder before the start of class this coming Tuesday. For a reminder of what belongs in the proposal and how to complete it, refer to your notes from the first half of Thursday’s class and to the prompt and directions for paper 1. If you have already searched your inbox and still cannot locate an invitation from me to join our shared folder, “English 170W, An Introduction to Literary Study” on Dropbox, please email me before the end of the weekend to gain access to that folder. 

2) The bookstore is beginning to send back books that have not been bought. If you need to buy The Turn of the Screw, which we’ll be using in about a week, please do so first thing on Monday before the bookstore sends it back. (Thanks for Marissa Gonta for alerting me to this!)

Have a fantastic, productive weekend,


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