21L.000J | Fall 2010 | Undergraduate

Writing About Literature

Pages

Notes on Close Reading (PDF)

Report Guidelines (PDF)

Guidelines for Revision (PDF)

Revision Workshop Worksheet (PDF)

The work will necessarily focus on certain core questions and issues, which will be important to class discussions, oral presentations, and written assignments:

  • Context: How do writers’ historical periods and biographies shape narrative?
  • Sources: What does an author’s use of sources tell us about the creative process?
  • Language: How can a close reading of the text provide understanding of the way different uses of language create and expand meaning?
  • Character: How does it develop throughout a text? What are the key turning points and actions?
  • Performance: How do characters perform their roles? How does the author make us aware of the social performance of identity and motivation?
  • Writing: How can writing define the self and by extension the world of the writer?
  • Research: How does investigating sources and contexts develop the meaning and significance of writing and performance?

Class work will consist of group discussion of the reading, student presentations based on research materials, and group collaboration on writing and peer review. Writing assignments will include:

  • One close reading of a passage or scene in Frankenstein (5 pp)
  • One research essay on Shelley’s use of sources, based on in-class presentations (5 pp)
  • One revision refining the research project (5 pp)
  • One study of a Melville character (5 pp)
  • One comparison of Wilde’s and Bechdel’s uses of a certain theme (5 pp)

Close Reading

(5 pp or 1250-1500 words - due LEC #6)

In order to speak knowledgeably about a text, you have to be able to read it carefully, to know at least parts of it intimately. For this essay, you will have a chance to reflect on a passage from Shelley’s Frankenstein.

Using the class handout as a guide, choose a brief passage from the novel (no more than a short paragraph or a few sentences) and analyze its technical features—such as diction, sentence patterns, tone, figurative language, and structure, as appropriate. Write a rough draft in which you investigate these elements of the passage in detail, quoting from the text and developing your point fully. Try to avoid the mechanical structure and narrow range of the five-paragraph essay model. This format, while helpful for certain kinds of writing, will restrict your options here, where you want to explore different possibilities for interpretation. Give yourself room to entertain problems in and even contradictions to your initial assumptions. These will prove useful in the end.

When you have a firm grasp of the specific elements of the passage, write a second draft in which you propose a thesis, your idea of what are the effects or implications of Shelley’s use of language in this passage. Use your new introduction to frame your close reading, introducing a thesis statement, topic sentences, and transitions that structure and develop your idea. Conclude with a thoughtful paragraph that opens up your analysis for further reflection. You do not want your conclusion to summarize material that you have already explained well in the paper, nor do you want to suggest that the subject is closed.

You do not need to advance an argument for the whole novel. Your reading will proceed from careful and sustained attention to one small piece of the larger work. Remember that you are writing for people who have read the book as you have and will not need a report on or summary of its content. Present your reading as part of a continuing dialogue among other interested readers.

Give your essay an evocative title.

Research Essay

(5 pp or 1250-1500 words - due 1 day after LEC #10)

This essay draws on your brief in-class presentation to consider more fully Shelley’s use of sources in her text. Unless you have had a complete change of heart, you would be wise to continue working on the topic on which you presented to the class. You will expand your preliminary information and research, ground your observations in a deeper knowledge of the texts, and advance a thesis about how Shelley drew from materials in her culture to build her story.

Using the in-class report as a foundation, address the following points by offering information from your research and by developing your own analysis:

  1. What is the literary or cultural source that interests you? Read enough of or about it so that you can write about it knowledgeably.
  2. How would Shelley have known about this source or context? What was its status in nineteenth-century European culture?
  3. Where does this source or context appear in Frankenstein? What makes it important to the narrative, development of character, or implementation of a particular theme or idea?
  4. Does Shelley treat this source or context reverently? Satirically? As significant or not?
  5. How does your understanding of the source or context affect your reading of a particular scene or example of its appearance in the text?

Use your opening to pose your research question and advance an argumentative thesis. Organize your paper around clear supporting points that develop the thesis logically, using specific details, information, and examples from your texts. Conclude with a firm statement of the implications of your argument—not just a summary of what you said but rather an indication of why it matters for our understanding of your theme.

Revised Essay

On Frankenstein(5 pages or 1250-1500 words - due 2 days after LEC #14)

This revision has two objectives: to improve the research essay and to refine it so that your research supports a more fully developed thesis. In your meetings with the writing advisor, you will have a chance to discuss which of these issues requires your greatest attention, but you will need to address both to get the most out of the assignment.

To improve the essay, you will need to go over the comment sheet and consider the ideas, organization, style, mechanics, and other matters that you want to focus on. Practice pruning wordiness and work on making the material more succinct and economical so that you can open up new ideas. You will also want to engage your reader, who now knows the material well, in new ways. Be sure to make the argument and language more lively, the analysis of examples more exciting, the presentation of facts more surprising. You can also be more selective about what research or supporting materials you offer; decide which details serve your argument best and jettison the others.

The second aspect of your revision would be to refine your original ideas in light of the new work done in class and new thinking of your own. Your argument should show that you have given the original thesis new attention, have developed it more fully, and have introduced fresh ideas or examples into the paper.

Revision, then, does not mean making the first paper perfect but giving it significant new thought, a re-vision of the original project. Seriously reconsidering your thesis allows you to be selective and to get rid of material that no longer fits. Enjoy the feeling of tearing your essay apart and rebuilding it. You will produce better results, even if they have a few ragged edges.

As before, supply a correct and responsible list of works cited and quote correctly. Please submit your original essay with its comments when you hand in the revision.

Character Study

(5 pp or 1250-1500 words - due 5 days after LEC #19)

Your examination of Melville’s Benito Cereno as a rewriting of a chapter in Amasa Delano’s travel narrative has highlighted, among other things, how much Melville emphasizes the mysteries of character. Individuals whom the historical Delano sees and identifies clearly as certain types become dubious, secretive, or equivocal in Melville’s narrative. In particular, Melville makes readers aware that character is being performed, that individuals play certain roles as if in a theater. What are we to make of this performance or fictionalization of identity? How does performance or fiction-making relate to or comment on what is “real” or “known”?

Choose one character in the story and a moment when Melville makes this character’s actions especially striking, puzzling, revealing, or meaningful. Drawing on your skills of close reading and analysis, examine the scene’s details for evidence of significant implications of the character’s behavior. Use these questions to get you started:

  1. What does Melville’s narrator tell us about the character at this moment? What does he leave out?
  2. What does the character say for him- or herself? Does the character use words, gestures, objects, silences, or other means to communicate?
  3. How does the character’s behavior at this moment reflect or distract from his or her true intentions? How does Melville make us aware of what those intentions are? In what ways and to what effect might the character seem to be playing a part?
  4. How do markers of dress, gender, race, profession, nation, or class communicate in place of words? What are the significance of these external markers?
  5. How does the character’s behavior in this scene reflect upon Melville’s themes or issues elsewhere in the text? (You don’t have to cover all possible themes or the whole text.)

You will not need to do outside research for this essay, but do include a Works Cited list and correct documentation for your text and quotations.

Comparison Essay

(5 pp or 1250-1500 words - due 2 days after LEC #25)

Oscar Wilde’s The Importance of Being Earnest may be thought of as a source for Alison Bechdel’s Fun Home, much as Milton’s Paradise Lost is a foundation for Shelley’s Frankenstein, but the points of intersection and contact between the two texts seem both less direct and more rich than what you would expect of a text and its source. Bechdel seems drawn to a number of themes, plot structures, and characters from Wilde’s play and to be interested in the analogies between his work and her own. These range from obvious references to Earnest to more subtle echoes and nuances. What does a close comparison between details in the two texts reveal?

A good comparison will select a focused topic and a limited range of scenes or details. Beyond that you will want to explore as many possible dimensions of your comparison as you can before coming to a decision about your thesis. Once you have assembled all the elements of your comparison, consider: which is more interesting, the similarities or the differences? Then try switching the relationship to see what happens. Often one’s first assumptions turn out to be unsatisfactory.

In structuring your essay, you will also want to think about whether to use a block structure (putting all the material from one text first before turning to the other) or a point-by-point comparison. Your decision will depend on your material, but in many cases the point-by-point comparison has the advantage of requiring clear topic sentences and, if it’s done well, emphasizes a logical structure rather than an assemblage of details from two texts.

Remember to think about and to inform your reader why the comparison is useful, beyond being an academic exercise. Is it enough that Bechdel refers explicitly to Wilde? What in her response to the play (as form and style as well as theme) reveals her intentions in the narrative? You may find your consideration of performance and identity in Benito Cereno useful for addressing similar issues here.

Remember too that we have been thinking this term about writers as writing about literature. One clear corollary of this point is that when writers write about literature, they are readers. What does Bechdel’s graphic novel say about reading? How does she model different ways to read and understand Wilde’s play or other texts?

As always, document your sources and give your paper a good title. Think of this essay as reflecting what you’ve achieved from your reading and writing this semester. Although your scope must remain narrow, you can draw on a wider range of materials than in previous essays to show what you’ve learned.

Shelley, M. S. Frankenstein. New York, NY: Norton, 1995. ISBN: 9780393964585.

Melville, H. Benito Cereno. Boston, MA: Bedford/Saint Martin’s, 2006. ISBN: 9780312452421.

Bechdel, Alison. Fun Home: A Family Tragicomic. Boston, MA: Mariner’s Books, 2007. ISBN: 9780618871711.

Wilde, Oscar. The Importance of Being Earnest, and Other Plays. New York, NY: Oxford University Press, 2008. ISBN: 9780199535972.

LEC # TOPICS
2 Shelley, M. S. Frankenstein. Preface, and preface to 1831 edition. Vol. I. New York, NY: Norton, 1995. ISBN: 9780393964585.
3 Shelley, M. S. Frankenstein. Vol. II. New York, NY: Norton, 1995. ISBN: 9780393964585.
4 Shelley, M. S. Frankenstein. Vol. III. New York, NY: Norton, 1995. ISBN: 9780393964585.
7

Sources and Contexts for Frankenstein: Reports (5 minutes) on Prometheus Myth (Hesiod’s Theogony, Aeschylus’ Prometheus Bound), Scientists (Erasmus Darwin, Luigi Galvani, Humphrey Davy), and Explorers (James Cook).

8

Sources and Contexts for Frankenstein: Reports on Creature’s reading list (Plutarch’s Lives, Milton’s Paradise Lost, Goethe’s The Sorrows of Young Werther).

9

Sources and Contexts for Frankenstein: Reports on Romantic Poets (Shelley, Byron, Coleridge) and the Sublime (Burke).

10

Sources and Contexts for Frankenstein: Philosophy (John Locke, Jean-Jacques Rousseau, William Godwin, Mary Wollstonecraft).

12

Frankenstein Adaptations: Early Silent Film

Branagh, Kenneth. Frankenstein. 1994

13

Frankenstein Adaptations: Early Silent Film (cont.)

16 Melville, H. Benito Cereno. Boston, MA: Bedford/Saint Martin’s, 2006. ISBN: 9780312452421.
17 Melville, H. Benito Cereno. Boston, MA: Bedford/Saint Martin’s, 2006. ISBN:9780312452421. (cont.)
18 Melville, H. Benito Cereno. Boston, MA: Bedford/Saint Martin’s, 2006. ISBN: 9780312452421. (cont.)
21 Wilde, Oscar. The Importance of Being Earnest, and Other Plays. New York, NY: Oxford University Press, 2008. ISBN: 9780199535972.
22

Wilde, Oscar. The Importance of Being Earnest, and Other Plays. New York, NY: Oxford University Press, 2008. ISBN: 9780199535972. (cont.)

Parker, Oliver. The Importance of Being Earnest. 2002

23 Bechdel, Alison. Fun Home. Boston, MA: Mariner’s Books, 2007. ISBN: 9780618871711.
24 Bechdel, Alison. Fun Home. Boston, MA: Mariner’s Books, 2007. ISBN: 9780618871711. (cont.)

Resources

On Close Reading - English and Comparative Literary Studies 
From University of Warwick. Targeted at reading poems but useful for brief prose passages as well.

Resources for Literary Study at the MIT Libraries 
Link to databases for scholarly articles and other resources.

Citation Guidelines 
MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. This resource, updated to reflect the MLA Handbook for Writers of Research Papers (7th ed.) and the MLA Style Manual and Guide to Scholarly Publishing (3rd ed.) offers examples for the general format of MLA research papers, in-text citations, endnotes/footnotes, and the Works Cited page.

MLA Documentation Guide 
Linked from the MIT Writing and Communication Center.

Jenkins, Henry. “What Wikipedia Can Teach Us About The New Media Literacies (Part One)”.

Argument and Thesis 
Ways to test your thesis statement. From Purdue OWL.

Grammar and Style

MIT Libraries Style Manuals and Guides 
Resources for Writers.

Fowler, H. W. “The King’s English”.

University of Chicago Writing Program 
Grammar resources from around the web.

Davidson, Willing. “Elements and Elegance: Fifty Years”. The New Yorker, April 16, 2009.

Corbett, Philip B. “Subject, Meet Verb”. The New York Times, August 4, 2009.

Frankenstein

Murphy, Brian T. “Frankenstein”.

Electronic Text of Frankenstein 
1831 edition. From the University of Virginia database.

Myth of Prometheus (in Hesiod’s Theogony) 
Start at Book II, lines 507-616.

Byron, Lord George Gordon. “Prometheus”.

Prometheus Bound 
In Harvard classics, at Bartleby.

Volney’s The Ruins: Meditation on the Revolutions of Empires

John Milton, Paradise Lost, Book IX 
Lines 743-45, the epigraph to Frankenstein. Not in book X, as the Norton note indicates.

Complete Paradise Lost

Goethe’s The Sorrows of Young Werther

Plutarch’s Lives

Voice of the Shuttle Romantics Page

Romantic Circles 
A scholarly site with many essays, links, and resources on Romantic poets, including a large selection of materials on Frankenstein.

Samuel Taylor Coleridge, The Rime of The Ancient Mariner

Wordsworth, William. “Lines … Tintern Abbey”.

Edmund Burke on the Sublime (excerpt) 
From the Norton Anthology Of English Literature.

Wollstonecraft, Mary. A Vindication of the Rights of Woman. New York, NY: Konemann, 1998. ISBN: 9783829008983.

Phillips, William D., Jr., and Carla R. Phillips. The Worlds of Christopher Columbus. Cambridge, UK: Cambridge University Press, 1993. ISBN: 9780521446525. [Preview with Google Books]

Benito Cereno

Full Text of 1855 The Piazza Tales 
Edited by Robert Robbins for Electronic Scholarly Publishing.

See what the fans say . . .

Melville page at American Authors site 
Edited by Donna Campbell at Gonzaga University.

Uncle Tom’s Cabin and American Culture 
Edited by Stephen Railton, includes rich materials on sources for Stowe’s book, information on slave narratives.

Bushman, Jay. “The Good Captain”.

Gilder Lehrman Center page on the Amistad

Oscar Wilde

The Victorian Web 
The Victoria Web Archive.

Wilde, Oscar. “The Decay of Lying”.

Craft, Christopher. “Alias Bunbury: Desire and Termination in The Importance of Being Earnest”.

Alison Bechdel

Chute, Hillary. “Gothic Revival”. The Village Voice, July 4, 2006.

Dykes to Watch Out For 
Alison Bechdel’s Web site and blog.

Wilsey, Sean. “The Things They Buried”. The New York Times, June 18, 2006.

Course Meeting Times

Lectures: 2 sessions / week, 1.5 hours / session

Course Description

Students, scholars, bloggers, reviewers, fans, and book-group members write about literature, but so do authors themselves. Through the ways they engage with their own texts and those of other artists, sampling, remixing, and rethinking texts and genres, writers reflect on and inspire questions about the creative process. We will examine Mary Shelley’s reshaping of Milton’s Paradise Lost, German fairy tales, tales of scientific discovery, and her husband’s poems to make Frankenstein (1818, 1831); Melville’s redesign of a travel narrative into a Gothic novella in Benito Cereno (1856); and Alison Bechdel’s rewriting of Oscar Wilde’s The Importance of Being Earnest (1895) in her graphic novel Fun Home (2006). Showings of film versions of some of these works will allow us to project forward in the remixing process as well.

Course Requirements

Readings

Shelley, M. S. Frankenstein. New York, NY: Norton, 1995. ISBN: 9780393964585.

Melville, H. Benito Cereno. Boston, MA: Bedford/Saint Martin’s, 2006. ISBN: 9780312452421.

Bechdel, Alison. Fun Home. Boston, MA: Mariner’s Books, 2007. ISBN: 9780618871711.

Wilde, Oscar. The Importance of Being Earnest, and Other Plays. New York, NY: Oxford University Press, 2008. ISBN: 9780199535972.

Assignments

Students are expected to complete a minimum of 20 pages of writing, revise a written assignment based on feedback, and develop facility in oral presentations and discussions. The emphasis is on writing: the writing process, from pre-writing through drafting, revising, and editing; and the rhetorical dimensions of writing: the audience for whom one is writing, and the purpose for which one is writing—to argue, inform, persuade, explain, convince, and so on. Students also address major trouble-spots in grammar, mechanics, and style; effective paragraph construction; and proper use and citation of research materials and sources. In-class workshops offer peer feedback on writers’ work in progress, allowing students to develop a critical vocabulary and giving writers suggestions for revision. There is no final exam in this class.

Grading

ACTIVITIES PERCENTAGES
Close reading essay (5 pp) 10%
Class presentation / handout 10%
Research essay (5 pp) 15%
Revision (5 pp) 15%
Character study essay (5 pp) 15%
Comparison essay (5 pp) 15%
Active participation 20%

Active Participation

Active participation, including thorough reading of assigned materials before class, attendance in class and meetings with writing advisor, and participation in discussions and workshops is highly encouraged and counts towards 15% of the overall grade.

Expectations

  • Written work should be double-spaced, with standard margins and font sizes.
  • Attendance at film showings is required. Discussion will follow the showing.
  • Come to class. Attendance will be noted and constitutes part of the participation grade.
  • Participate in class. A central goal of the class is creating a vital space for learning within a participatory culture.

MIT Statement on Plagiarism

Plagiarism—use of another’s intellectual work without acknowledgement—is a serious offense. It is the policy of the Literature Faculty that students who plagiarize will receive an F in the subject, and that the instructor will forward the case to the Committee on Discipline. Full acknowledgement for all information obtained from sources outside the classroom must be clearly stated in all written work submitted. All ideas, arguments, and direct phrasings taken from someone else’s work must be identified and properly footnoted. Quotations from other sources must be clearly marked as distinct from the student’s own work. For further guidance on the proper forms of attribution, consult the style guides available at the Writing and Communication Center and the MIT Web site on Plagiarism.

Calendar

LEC # TOPICS KEY DATES
1 Introduction  
2 Shelley. Frankenstein, preface, preface to 1831 edition and volume I  
3 Shelley. Frankenstein, volume II  
4 Shelley. Frankenstein, volume III  
5 Writing workshop: Close reading. Choose a report topic.  
6 Library research workshop Essay 1 (Close reading of a passage in Frankenstein - 5 pp) due
7

Frankenstein Sources and contexts: Reports (5 minutes) on Prometheus Myth (Hesiod’s Theogony, Aeschylus’ Prometheus Bound), Scientists (Erasmus Darwin, Luigi Galvani, Humphrey Davy), and Explorers (James Cook)

 
8

Frankenstein Sources and contexts: Reports on Creature’s reading list (Plutarch’s Lives, Milton’s Paradise Lost, Goethe’s The Sorrows of Young Werther)

 
9

Frankenstein Sources and contexts: Reports on Romantic Poets (Shelley, Byron, Coleridge) and the Sublime (Burke)

 
10

Frankenstein Sources and contexts: Philosophy (John Locke, Jean-Jacques Rousseau, William Godwin, Mary Wollstonecraft)

Essay 2 (Research paper on the implications of a source or context for Frankenstein - 5 pp) due 1 day after LEC #10
12

Frankenstein Adaptations: Early Silent Film

Branagh, Kenneth. Frankenstein. 1994

 
13

Frankenstein Adaptations: Early Silent Film (cont.)

 
14 Revision workshop Essay/Revision (Analysis of Shelley’s use of a source in Frankenstein - 5 pp) due 2 days after LEC #14
16 Melville. Benito Cereno  
17 Melville. Benito Cereno and Amasa Delano  
18 Melville. Benito Cereno and Performance  
19 Writing workshop: Character study Essay 3 (Study of character and performance in Benito Cereno) due 5 days after LEC #19
21 Wilde. The Importance of Being Earnest  
22

Wilde. The Importance of Being Earnest (cont.)

Parker, Oliver. The Importance of Being Earnest. 2002

 
23 Bechdel. Fun Home  
24 Bechdel. Fun Home (cont.)  
25 Writing workshop: Comparison essay Essay 4 (Comparison of Wilde’s and Bechdel’s uses of a theme - 5 pp) due 2 days after LEC #25

Course Info

Instructor
Departments
As Taught In
Fall 2010
Learning Resource Types
Written Assignments