Final Project Proposals and BELOVED

Please read up to Book Two of Beloved (pg 169).

I'll just copy the language of the Final Project Proposal here, but please feel free to leave a comment on my blog if you have questions. Also, feel free to email me.

Online Proposal and Brainstorming

On Tuesday, Nov. 24^th, we will not have class. Instead, students will post a proposal by 9:30 am, outlining their ideas for their final project on their blogs. In this proposal, you will discuss what novels you will be working with, what sort of theoretical lens and/or literary criticism you will be drawing from, and how you plan to fulfill the criteria of the essay and/or project. The proposal should be roughly 500 words, quote from at least one of the texts we’ve been working with, and be indicative of real critical engagement.

By Tuesday, Dec. 1^st at 9:30 am, students will have responded to at least TWO of their peers’ proposals. Your comments can consist of ideas for revision, developing the student’s ideas, providing otherwise overlooked relationships or connections, asking questions, and/or giving useful passages for inspiration. I find it's often helpful to frame responses as a series of questions. This helps students to push their ideas and brainstorm better. Your posts must be 250 words EACH. Otherwise, they will not be counted.

There is a list of links to student blogs to the right of this page. Please make sure that responses to student posts are spread out equally. If you see someone without a response, respond to that student FIRST. If you click on a blog and a student has three responses, move on and find someone else FIRST. We want to make sure that everyone has at least a little feedback.

Since we will do this online activity instead of having class, failure to do any of the above will result in one unexcused absence.

INTERVIEW WITH A VAMPIRE

Below are a series of questions you can use to inspire your blog posts. I also encourage you to read other students' blogs and develop a blog in response to their ideas. Please make sure to provide the url to that student's blog so your readers can follow your analysis.
1) What differences do you see between the vampire characters in Dracula and the vampire characters in Interview? Considering our previous encounters with ghosts, ghouls, goblins, demons, and vampires, how do we see the concept of "the monster" being complicated in this novel? Consider the narrative perspective in this novel. How does Louis's first person narrative affect the way in which we view him as a "monster"?
2) What is the significance of slaves and slavery in this novel? How might this aspect of America's corrupt and violent past serve as a metaphor for vampirism in this novel? How is the slave/master relationship evident between several of the characters in this novel? What might be the significance of this theme?
3) Religion, specifically Catholicism, is certainly still with us in this novel. What is the significance of religion in this novel? What are some of the depictions of Catholicism in this novel? In broader terms, what sort of theological issues does this novel explore?
4) How might the vampire family we see in this novel be a "queering" of the traditional American nuclear family?

DRACULA

Please make sure to read the rest of Dracula for Tuesday. You will also want to start on Stephen D. Arata's essay, "Dracula and Reverse Colonization." Below are a few questions we'll be exploring this week. Feel free to draw from them, or to develop your own questions. You should also feel free to respond to another student's post.

1) In our edition of Dracula, Phyllis A Roth writes, "Perhaps nowhere is the dichotomy of sensual and sexless women more dramatic than it is in Dracula and nowhere is the suddenly sexual woman more violent and self-righteously pesecuted than in Stoker's 'thriller'" (412). There's been a great deal of discussion in our class blogosphere about the role of women in Dracula. Check it out:
http://samjanssen.blogspot.com/
http://kindling263.blogspot.com/
http://cihtog362hsilgne.blogspot.com/
http://leahgriesel.blogspot.com/
http://gothicnovel263.blogspot.com/

For your post, explore the depictions of women in the novel. Could "vampirism" be a way in which women can express an otherwise repressed sexuality? Consider Jonathan's run in with the "Brides of Dracula." How is he both allured and repelled by these women? Explore how Lucy and Mina both exceed but then at times transgress the stereotype of the angelic, Victorian woman. In what ways do both characters play "dangerously" with the role of the New Woman? How does Vampirism become symbolic of "dangerous" female sexuality?
2) In our last class, we explored the symbolism of the vampire and debated the question, "Why are we so obsessed with vampires?" Explore the symbolism of the vampire in this novel. In what ways is Dracula an "uncanny" figure? What sort of repression might he be symbolic of? Why? You might also want to explore why the Dracula character has continued to prevail in pop culture and film.
3) Examine the role of Dr. Seward in this novel. What do you think is the significance of the insane asylum in this novel? What is the significance of the emerging "science" of psychology in terms of the themes of this novel? Why is the character of Renfield signficant?
4) In our last class, we touched briefly on how Dracula functions differently than a novel such as The Monk precisely because it juxtaposes "modern" characters with "archaic" demons and monsters. Explore Dracula's relation to modernity. What is the role of technology in this novel? How,and why, does it work side by side with superstition and ancient Catholicism?
5) How does "blood" work symbolically in this novel? Consider the significance of the many blood transfusions that were given to Lucy. How does this quickly become sexual? What does that say about the symbolic "exchange" of fluids in this novel? Given that Victorians were so obsessed with "blood," bloodlines, and "race," how could this constant exchanging of fluids and "mixing" be considered an "uncanny" sort of trope in the novel?

Finally, here's a great link to an article that Keri found the other day. I thought it was worth sharing given are previous class discussion. http://www.msnbc.msn.com/id/33509755/ns/health-sexual_health/?GT1=43001#storyContinued

WUTHERING HEIGHTS

For Tuesday, read through the rest of Wuthering Heights. You might also want to get started on the Sandra M. Gilbert essay on page 379 of the Norton Critical Edition of the novel.

Here are some questions to get you started on your blogs. Feel free to use them or develop your own. Remember, you can also write a blog responding to another student's post. There's some pretty "controversial" blogs out there involving Catherine and Heathcliff, and I would like to see what you think.

1) Last Thursday we spent a great deal of time focusing on our two narrators: Lockwood and Nelly. We took note of the way Nelly, because of her constantly shifting loyalties, might be an “unreliable narrator,” and how Lockwood, with his stodgy Victorian values, might not be the ideal listener for this romantic tale of passion and familial tragedy. For this blog, feel free to choose a scene from the novel and rewrite that scene from another character’s point of view. You can write in any style you like, but you might consider writing in the form of a diary or a letter (think Catherine’s diary on pages 16-18 or Isabella’s letter to Nelly), but bear in mind who is telling this story and to whom this story is told. How might this character manipulate the details of an event to place him or herself in a more sympathetic light? Also, what might change about the narrative depending on the character’s particular audience for his or her tale?
2) Last class, students worked in groups to explore the ways various characters changed depending on whether they were at Wuthering Heights or Thrushcross Grange. Draw from the passages you found and develop a blog examining that character’s changes further. You can find other passages for that character to analyze, or you can choose another character all together.
3) Draw some relationships between our discussion of Rousseau and education and Frankenstein’s “Creature” and Heathcliff and Hareton. What is the role of education in this novel? How does social class influence the way various characters’ consciousness and sense of self develop in the novel? Last class we briefly touched on the “performative nature” of Heathcliff’s character. How does Heathcliff “learn” social class? Why does his mimicry of the upper class become so “horrifying” or “uncanny” for these families?
4) We’ve talked a great deal in this class about “the return of the repressed” in terms of the subconscious, but the nineteenth century saw a more “material” version of this in the form of what is often called “the colonial return” of the repressed. 1847—the year Bronte wrote her novel—was also one of the most calamitous years of the Irish famine or what is now more often called “The Great Hunger.” During this time, England saw an incredible wave of Irish immigration in London, Manchester, and most especially Liverpool. These poor Irish people were most likely sick, emaciated, dirty, spoke Irish Gaelic, and probably seemed to most English people as alien invaders from another planet than human beings and citizens in their so-called “United” Kingdom. During the famine, which killed over a million Irish people, the English government turned a blind eye to Ireland, avoiding the problem rather than working towards providing effective relief. In Heathcliff and the Great Hunger by Terry Eagleton, he explains the way in which Ireland figured as England’s “unconscious” (9), and sees Heathcliff as a “fragment of the famine” (11). He writes:
Part of the horror of the Famine is its atavistic nature—the mind-shaking fact that an event with all the premodern character of a medieval pestilence happened in Ireland with frightening recentness. This deathly origin then shatters space as well as time, unmaking the nation and scattering Irish history across the globe. That history will of course continue; but as in Emily Bronte’s novel there is something recalcitrant at its core which defeats articulation, some ‘real’ which stubbornly refuses to be symbolized. In both cases, this ‘real’ is a voracious desire which was beaten back and defeated, which could find no place in the symbolic order of social time and was expunged from it, but which like the shades of Catherine and Heathcliff will return to haunt a history now in the process of regathering its stalled momentum and moving onwards and upwards. Some primordial trauma has taken place, which fixates your development at one level even as you continue to unfold at another, so that time in Irish history and Wuthering Heights would seem to move backwards and forwards simultaneously. Something anyway, for good or ill, has been irrevocably lost; and in both Ireland and the novel it takes up its home on the alternative side of myth. (14-15)
Explain what you think Eagleton means in the passage above. What do you think of Heathcliff as a “fragment” of the Famine, or as a colonial “Other”? How do he and Catherine “haunt” history? What does that mean? Eagleton says that that time in Irish history and Wuthering Heights “would seem to move backwards and forwards simultaneously.” Where do you see evidence of this in the novel? What does Eagleton mean by the very last statement? How do these characters’ lives become the embodiment of myth? Who (or what?) is lost to “myth”?
5) Read through the excerpt below from Sir William Blackstone’s Commentary on the Laws of England:

Book the First : Chapter the Fifteenth : Of Husband and Wife pp 431-432
By marriage, the husband and wife are one person in law: that is, the very being or legal
existence of the woman is suspended during the marriage, or at least is incorporated and
consolidated into that of the husband: under whose wing, protection, and cover, she performs
everything; and is therefore called in our law-french a feme-covert; is said to be covert-baron, or
under the protection and influence of her husband, her baron, or lord; and her condition during
her marriage is called her coverture. Upon this principle, of a union of person in husband and
wife, depend almost all the legal rights, duties, and disabilities that either of them acquire by the
marriage. I speak not at present of the rights of property, but of such as are merely personal. For
this reason, a man cannot grant anything to his wife, or enter into covenant with her: for the grant
would be to suppose her separate existence; and to covenant with her, would be only to covenant
with himself: and therefore it is also generally true, that all compacts made between husband and
wife, when single, are voided by the intermarriage. A woman indeed may be attorney for her
husband; for that implies no separation from, but is rather a representation of, her lord. And a
husband may also bequeath anything to his wife by will; for that cannot take effect till the
coverture is determined by his death. The husband is bound to provide his wife with necessaries
by law, as much as himself; and if she contracts debts for them, he is obliged to pay them: but for
any thing besides necessaries, he is not chargeable. Also if a wife elopes, and lives with another
man, the husband is not chargeable even for necessaries; at last if the person, who furnishes
them, is sufficiently apprized of her elopement. If the wife be indebted before marriage, the
husband is bound afterwards to pay the debt; for he has adopted her and her circumstances
together.
--Blackstone, Sir William. Commentaries on the Laws of England (1st Ed.). Oxford: Clarendon Press, 1765-1769.

With the reality of English marriage laws in the 19th century in mind, return to the novel and find places where the discussion of “land” and “land inheritance” play a large role in the shaping of characters and events. What role might the transmission of wealth and the shifting of land and inheritance play in the development of the novel in general? What role does it seem to play in the gothic genre?
6) Finally, take time to explore the symbolism of the natural world in this novel. Feel free to draw parallels between Frankenstein and Wuthering Heights.

Frankenstein Questions

Please read through Volumes I and II by Tuesday. Below are a list of questions to help inspire you. Feel free to draw from them or to develop and attempt to answer your own. Remember that blogs are due by 9:30 am on Tuesday.

I also want to remind you that you can write on the essay we discussed last class, "Transgendering and _The Monk," if you wish. Remember, that this is a ONE TIME ONLY deal. If you wish to write on this essay, it will also be due by Tuesday at 9:30 am.

Here are the questions:

• We will be discussing this issue much more in depth on Tuesday, but for now consider what this novel might be saying about education. One of the biggest debates during the time in which Frankenstein was written was how to go about educating the populace, and specifically examining the different educational "needs" for both men and women. Rousseau claimed that the state of nature was the “ideal” of man and that we have traded our naturally free state for a condition of social slavery. He argued for a form of education in which the individual would develop without the oppression of authority, in natural surroundings which allowed close links with man’s originally “innocent” state. For women’s education, however, he offers very little insight, and seems to claim that women’s “natural sensibility” should not be “tainted” through any sort of instruction.
Mary Wollstonecraft, feminist philosopher and incidentally Mary Shelley’s mother, had much to say about Rousseau and his claims of the inherent irrationality of women:
“What nonsense! when will a great man arise with sufficient strength of mind to puff away the fumes which pride and sensuality have thus spread over the subject! If women are by nature inferior to men, their virtues must be the same in quality, if not in degree, or virtue is a relative idea; consequently, their conduct should be founded on the same principles, and have the same aim.” (From A Vindication of the Rights of Women, 1792)
To what extent can we see Frankenstein’s monster as the logical extension of these faulty educational practices? To what extent are women, like the monster, constructed by men, and yet struggling for their own self-identity?

• How does the presence of Robert Walton in this book affect the text's treatment of science? What is his scientific motivation and goal? How does it differ from the scientific quest that Victor Frankenstein relates?

• To what extent is the romantic conception of "imagination" involved in Victor's actions as a creator? How might his creation of the Being be a parody of the poetic or creative process -- i.e. a misuse of imagination?

• Why did Victor create the creature? What responsibilities did Victor, as the creator, have toward his creature? Why did Victor abandon the creature?

• What powers does the text attribute to nature with regard to human happiness? Follow out the fluctuations in Victor's relationship to and interpretations of his natural environment.
• Why can't ordinary humans accept the Being's appearance? What does this inability imply about the basis of human community? In other words, why so much emphasis on physical similarity or dissimilarity?

• In Book 2, the Being tells the story of his initial moments of consciousness. Describe some of his first impressions about himself and nature and comment on what you find significant about them.

Some links...

Here's a link to the full text of the Coleridge Review of The Monk. You'll have to scroll down a bit, but it's there.

http://www.english.upenn.edu/~mgamer/Etexts/coleridge.reviews

Here's another link to an article you might find interesting:

http://www.theonion.com/content/magazine/how_to_stay_goth_past_50

Have a great weekend, everybody!

THE MONK Questions

Dear Students,

Although I cannot say I will provide questions every week, below are just a few preliminary questions on The Monk to help you get started. You DO NOT have to answer these questions. Feel free to draw from them if you like, or develop your own. I would also encourage you to read each others' responses, as well (a list of links to student blogs is forthcoming). Good luck!

1) “Many young girls, from morning to night, hang over this pestiferous reading, to the neglect of industry, health, proper exercise, and to the ruin both of body and of soul…The increase of novels will help to account for the increase of prostitution and for the numerous adulteries and elopements that we hear of in the different parts of the kingdom” (The Evils of Adultery and Prostitution, 1792)

As we can see from the above sentiments, the leisurely practice of reading was once considered a potentially dangerous, if not downright lascivious, activity. This criticism had a particular trajectory towards the ever increasing female readership in the later eighteenth century, and female readers were often couched in terms of either “peril” or “pleasure” in reference to their reading practices. Although a mass reading public is perhaps commonplace now, in the eighteenth century this transition was fairly new and the “intimate” act of reading was often referred to as potentially subversive politically, socially, and sexually. As Jacqueline Pearson has pointed out in her book Women’s Reading in Britain, 1750-1835, this period saw a “constant elision of textuality and sexuality, especially in the case of women, whose reading is repeatedly figured as a sexual act or to reveal their sexual nature” (87). For your post, consider the many ways in which so-called “subversive” sexual acts or sexuality play a part in The Monk. What are some of the explicit and implicit messages being directed in this novel towards women? What are the tropes or “stereotypes” of women as constructed in the novel. What are the (limited?) roles that women are allowed to play? How are women sexualized (or not) within the novel? How is female sexuality being defined in this novel? Also, how is male sexuality being constructed within this novel? As you read, pay careful attention to actual acts of reading on the parts of various characters in the novel, and explore how reading in The Monk can be potentially "dangerous" or even sexual.

2) These questions about gender and gendered sexuality bring me to my next question. Michel Foucault in his book The History of Sexuality discusses the keen differences between sex (the biological act) and sexuality (the social constructions surrounding the biological act). To put it another way, “sexuality” is what we think of as “sexy,” i.e. being a “sub” or a “dom,” so to speak, leather, fishnets, muscles, cheerleading uniforms, fancy cars, and so on, all of which have very little to do with the actual sexual act, itself. Every society at every moment in history produces certain discourses in terms of defining “sexy” and “sexuality.” For Foucault, ideas of “sexuality” are often couched in terms of “power” and “knowledge.” Explore how The Monk defines a certain type of sexuality in terms of power relationships and in terms of knowledge (or bringing things out into the open). Notice moments of eroticism and examine what precisely makes them so. What sorts of narratives is Lewis producing about sexuality?

3) It is perhaps of little surprise that Lewis was condemned of charges of blasphemy for certain scenes in The Monk. Continue to explore the Lewis’s criticism of Catholicism. To what extent is his criticism religious or philosophical? In other words, in indicting institutions such as monastic orders and The Spanish Inquisition, how does Lewis actually work to define Enlightenment principles of rationality, law, and free will?

4) Make an attempt to apply some of the theories and ideas we read this past week from Hogle and Freud's essay to this novel. What does this novel suggest about class, revolution, sexuality, female representation, the "blurring" of boundaries, etc? What might be considered some "uncanny" moments in the novel? Where do we see a "return of the repressed" in the novel?