English 220:  Fiction into Film

 

Course Schedule | Fall 2004

(Part 1)

In Fall 2004 there are 2 sections of English 220. 

Section A (Ref # 11460) meets for discussion MWF 8:30 in ECS 017.

Section B (Ref # 11470) meets for discussion MWF 10:30 also in ECS 017.

Films are shown Mondays 2:30-4:20 in KG 004, as indicated on the schedule below.

Be sure to read the guidelines on Using the Course Schedule.

18 Aug (W):  Introduction to the Course.

20 Aug (F):  Come to class having read Hemingway's short story  "Soldier's Home".

23 Aug (M):  Discussion of "Soldier's Home".  You'll want to have reread the story a couple of times over the weekend.

2:30-4:20 in King 4:  Showing of Robert M. Young's film Soldier's Home.

25 Aug (W):  Bring to class the short writing assignment on Hemingway's story and Young's film adaptation of it.

27 Aug (F):  Come to class having read Sherwood Anderson's short story "I'm a Fool".  There is a study guide for this story.  Be sure to use it.

30 Aug (M):  Discussion of Anderson's "I'm a Fool".  You'll want to have reread the story a couple of times over the weekend, in accompaniment with the study guide.

2:30-4:20 in King 4:  Showing of Ron Cowan's film I'm a Fool.

1 Sept (W):  Bring to class the short writing assignment on Anderson's story and Cowan's adaptation of it.

3 Sept (F):  Discussion of William Faulkner's short story "Barn Burning". There is a study guide to this story.  Be sure to use it.

Note:  Over the weekend, you should begin your readings in and about Joseph Conrad's novella Heart of Darkness.  Be sure to acquire the edition that has been ordered for our class and is available at Claflin Books and Copies.  (This is a casebook containing a number of essays that we'll be reading in accompaniment with the novella and two films based on it.  You will not find these essays in any other edition.) 

6 Sept (M):  No class:  University holiday.

8 Sept (W):  Showing in class (ECS-017) of the film Barn Burning.  You'll want to have reread the story at least twice, in light of the study guide.

Also by today, you should have read pp. 3-46 in our edition of Heart of Darkness.  This comprises the introductory essay (by the editor, Ross C. Murfin) "Biographical and Historical Contexts" for Conrad's novella, and Part 1 of the story.  There is also a study guide to Part 1, which you will find useful to exploit.

10 Sept (F):  Bring with you to class the short writing assignment on Faulkner's story and the film adaptation of it.

13 Sept (M):  Discussion of Heart of Darkness.  Before you come to class, you should have finished Part 2 of the story (pp. 46-71 of our edition), in accompaniment with the study guide to Part 2.

2:30-4:20 in King 4:  Showing of Nicholas Roeg's film Heart of Darkness (105 min).

15 Sept (W): 

• Have read Part 3 of Conrad's Heart of Darkness, in accompaniment with the study guide to this part.  This will enable us to begin our discussion of the novella.
• Bring to class the short writing assignment on Conrad's novella and Roeg's film.

17 Sept (F): 

• Since its publication, Heart of Darkness has been the focus of quite vigorous and various response.  Before coming to class today, read through Murfin's essay on the "critical history" of this novella.  (Be sure to finish the whole essay, even if you skim parts of it.)  You are not going to be responsible for memorizing all these positions!  The purpose of having you take this historical tour is to let you see how differently "professional" readers have approached this famous work, and how widely different their "takes" on their experience have been.  If you consider yourself an "amateur reader" (a noble category, all authors would agree!), you should be heartened by this demonstration that you have a right to your own response.  (The purpose of having you write about your response is to strengthen your skills of explaining why someone else should want to take it seriously, and consider incorporating it into his or her own.)

After class, over the weekend, visit the message board and have something to say about one of the reactions that Murfin summarizes in his history of the critical response to the novella.  Summarize in your own words the position you're discussing, and give a reason why you find it insightful and sound or off-the-mark (missing the point, distorting, arbitrary, unconvincing, or whatever).  You should take the time to see what classmates have written.  (If, when you look in, not many people have reported, be sure to look in later and see what newcomers have had to say.) 

20 Sept (M):  [Note:  During this week I may be sending you e-mails directing you to re-read specific passages of Conrad's novella.  When this happens, consider these re-readings part of the reading assignments for the days specified.]

• Have the following two essays read before coming to class.  In the first half of the class session, we'll discuss some of the issues that arise in in them.
  • Murfin's introductory essay "What Is Reader-Response Criticism?" (pp. 115-127)
  • Peter J. Rabinowitz's article, "Reader Response, Reader Responsibility:  Heart of Darkness and the Politics of Displacement" (pp. 131-144 in the casebook). 
• In the last half of the class session, we'll begin our showing of Francis Ford Coppola's film Apocalypse Now (an adaptation of Conrad's story to the Vietnam War).
  • In preparation for this, print off a copy of Study Guide 1 for Comparing Heart of Darkness and Apocalypse Now!  Keep this on hand to review before the showing of each segment of the film.  (We're having to break it up into a number of sessions, since it is of such epic proportions.)

2:30-4:20 in King 4:  Continuation of our showing of Coppola's Apocalypse Now.

After class, before Wednesday, visit the message board and have something to say about one of the reactions that Murfin summarizes in his history of the critical response to the novella.  Summarize in your own words the position you're discussing, and give a reason why you find it insightful and sound or off-the-mark (missing the point, distorting, arbitrary, unconvincing, or whatever).  You should take the time to see what classmates have written.  (If, when you look in, not many people have reported, be sure to look in later and see what newcomers have had to say.) 

22 Sept (W): 

• Have read before coming to class Murfin's introductory essay "What Are Feminist and Gender Criticism?" (pp. 148-161).  In the first half of the session, we'll discuss some of the issues that arise in this survey.
• In the last half of the class session, we'll continue our showing of Apocalypse Now.

After class, before Friday, visit the message board and have something to say about one of the reactions that Murfin summarizes in his history of the critical response to the novella.  Summarize in your own words the position you're discussing, and give a reason why you find it insightful and sound or off-the-mark (missing the point, distorting, arbitrary, unconvincing, or whatever).  You should take the time to see what classmates have written.  (If, when you look in, not many people have reported, be sure to look in later and see what newcomers have had to say.) 

24 Sept (F): 

• Have read before coming to class Johanna M. Smith's article "'Too Beautiful Altogether':  Ideologies of Gender and Empire in Heart of Darkness" (pp. 169-183).  In the first half of the session, we'll discuss some of the issues that arise in this essay.
• In the last half of the class session, we'll continue our showing of Apocalypse Now.

After class, over the weekend, visit the message board and have something to say about one of the reactions that Murfin summarizes in his history of the critical response to the novella.  Summarize in your own words the position you're discussing, and give a reason why you find it insightful and sound or off-the-mark (missing the point, distorting, arbitrary, unconvincing, or whatever).  You should take the time to see what classmates have written.  (If, when you look in, not many people have reported, be sure to look in later and see what newcomers have had to say.) 

27 Sept (M):  Have read before coming to class the following two essays:

• Murfin's introductory survey "What Is the New Historicism?" (pp. 221-233).
• Brook Thomas' article "Preserving and Keeping Order by Killing Time in Heart of Darkness" (pp. 239-257).
• Murfin's brief survey "What Is Cultural Criticism?" (pp. 258-271)

2:30-4:20 in King 4:  Conclusion of our showing of Coppola's Apocalypse Now.

• Before coming to this final session on AN!, print off and read Study Guide 2 for Comparing Heart of Darkness and Apocalypse Now!

After class, before Wednesday, visit the message board and have something to say about one of the reactions that Murfin summarizes in his history of the critical response to the novella.  Summarize in your own words the position you're discussing, and give a reason why you find it insightful and sound or off-the-mark (missing the point, distorting, arbitrary, unconvincing, or whatever).  You should take the time to see what classmates have written.  (If, when you look in, not many people have reported, be sure to look in later and see what newcomers have had to say.) 

29 Sept (W): 

• Bring to class the short writing assignment on Conrad's novella and Coppola's film.
• Have read before coming to class Patrick Brantlinger's article "Heart of Darkness:  Anti-Imperialism, Racism, or Impressionism?" (pp. 277-295).

After class, before Sunday, visit the message board and have something to say about one of the reactions that Murfin summarizes in his history of the critical response to the novella.  Summarize in your own words the position you're discussing, and give a reason why you find it insightful and sound or off-the-mark (missing the point, distorting, arbitrary, unconvincing, or whatever).  You should take the time to see what classmates have written.  (If, when you look in, not many people have reported, be sure to look in later and see what newcomers have had to say.) 

1 Oct (F): 

• Showing in class (ECS-017) of Randa Haines' film The Jilting of Granny Weatherall.
• Analytic Essay #1 due by midnight (to be uploaded to our course website or placed under the instructor's office door in ECS-127 by 5:00 p.m.).

4 Oct (M):  Have read before class Katherine Anne Porter's short story "The Jilting of Granny Weatherall".  There is a study guide to this story that you should use in your successive re-readings.

2:30-4:20 in King 4:  Optional re-showing of Nicholas Roeg's film Heart of Darkness (105 min).

6 Oct (W):  Bring to class the short writing assignment on Porter's story and Horton's film adaptation of it.

8 Oct (F): 

• In class we'll be discussing Porter's story and the film adaptation of it.
• Have read pp. 1-99 of Alice Walker's novel The Color Purple (page references are to the Harvest paperback edition ordered from Claflin Books and Copies).

11 Oct (M):  No class:  Student holiday.

13 Oct (W): 

• No class today:  for the rest of this week I will be in my office WF 8:30-11:20 and Th 8:30-5:30 to confer with you about the essays you are writing for Analytic Essay #2.
• Have read pp. 100-197 of The Color Purple.

15 Oct (F): 

• No class today:  I will be in my office 8:30-11:20 and 2:30-4:30 to confer with you about the essay you are writing that is due by midnight tonight (see below).
• Essay #2 due by midnight (to be uploaded to our course website).

18 Oct (M): 

• Have read pp. 198-289 (i.e., the end) of The Color Purple.
• Discussion of Walker's The Color Purple. 

2:30-4:20 in King 4:  Showing of Stephen Spielberg's film The Color Purple.

20 Oct (W):  Bring to class the short writing assignment on Walker's novel and the film adaptation of it.

   Go to course Home Page.

   Go to Part 2 of the Course Schedule.