Texts (available at the bookstore; also some Xeroxed readings will be on reserve in the library)

Abe, Kobo. The Woman in the Dunes. New York: Vintage International, 1991.

Camus, Albert. The Stranger. New York: Vintage, 1989 (orig. publ 1946).

De Beauvoir, Simone. Ethics of Ambiguity. Citadel Press, 2000.

Dostoevsky, Fyodor. Notes from Underground. New York: Vintage Classics, 1994.

Hale, Janet Campbell. The Jailing of Cecelia Capture. Albuquerque: Univ of New Mexico Press, 1986.

Kafka, Franz. The Trial. New York: Schocken Books, 1998.

Kierkegaard, Søren. Fear and Trembling / Repetition. Princeton: Princeton University Press, 1983.

Nietzsche, Friedrich. Twilight of the Idols. Indianapolis: Hackett Publishing Company, 1997.

Sartre, Jean-Paul. Literature and Existentialism. Citadel Press, 1994. & No Exit (play – at library)

Course Description

We will consider various classic and contemporary works of modern literature, especially those considered existential. Existentialism is a branch of philosophy that ponders the meaning of existence, especially in terms of the subjectivity and finiteness of the human experience, and how we are all restricted to our own situation. This is in opposition to rationalism, which assumes the world and our experiences all logically fit together and that the thinker’s perspective may be infinite (which existentialists find presumptuous). A key observation of existentialism is the actuality of existence, that the infinite human spirit is lodged in finite flesh, lending an ironic paradox to existence. We will look for themes dealing with this inherent paradox or contradiction of existence in all our readings. This course will involve lectures and discussions of the works students will read outside the classroom as homework. The professors will offer background and contextual information for each of the works to be considered and will lead students in careful textual analysis of the novels we read. Students will write critical responses to selected readings, a final, in-depth, analytical, researched essay, and will be responsible for in-class writing assignments (possibly quizzes), and a presentation on a reading.

Course Objectives As a result of this course, the students will be able to do the following:

* Demonstrate a reasonable level of mastery of the ideologies, periods, and aesthetics of various examples literature considered to be existential

* Demonstrate a reasonable level of mastery of major theoretical strands in literary criticism related to various examples of existential literature;

* Evaluate and discuss the literary significance of certain representative writers of existential literature, as well as certain influential texts in terms of historical periods, literary merit, theoretical frameworks, and major existing criticism in the field;

* Understand complexities of existential literature in terms of biographical, historical, artistic, and intellectual contexts.

* Develop a researched, complex approach to a work of existential literature in order to lead a class seminar/discussion of that work.

* Articulate an independent, in-depth, critically complex written argument that requires close analytical reading of one or more works of existential literature while also situating said argument within the body of existing criticism on the work and topic

Requirements

T Five critical responses to assigned readings (5 pages each). You do not have to do any research or additional reading but should write detailed analysis of one particular passage, theme, concept or issue from one or more of our readings in which you demonstrate detailed analysis (assignment sheets with specific questions will be distributed in class one week before the due date).

T An in-depth, final, researched, analytical essay (20 pages) in which you explore one or more works of existential literature and philosophy, either according to a theoretical or contextual framework from class, or an equivalent one you research on your own. You must discuss your topic with at least one of the professors before beginning work on the assignment. Part of the grade for this assignment will be based on mandatory completion of a written proposal and annotated bibliography of your sources. (More details below)

T A presentation in which you lead the class in discussion (from prepared notes) to an assigned reading. This will require you to lead the discussion for no more than 30 minutes of class time. The presentation should generate discussion and demonstrate your teaching ability. On the day that you give your presentation you must turn in during class time your notes that outline your plan, questions you ask students, background information you research, and so on.

T Questions you bring to class, quizzes, and in-class written responses to the readings – all count toward your participation grade – absence means a zero on such assignments.

T Regular, active attendance. Be prepared to ask and answer questions, and to raise and discuss issues of significance to this class (note that you will sometimes be assigned to bring a written question).

T Timely completion of all assignments. Readings are to be completed before the lecture on the day on which they are to be discussed.

Grading

Critical Responses: 30%

Participation (quizzes, etc.): 10%

Presentation: 20%

Final Essay: 20%

First Draft 10%

Proposal 10%

Grades on individual assignments will be based on effort and thoughtfulness as well as correctness of logic and development of ideas. Critical responses should use the text as a guide in analysis. Prior to mid-semester, you will receive feedback on your academic performance in this course.

Contact

E-mail us if you have any questions or concerns about the class, readings, or assignments. It is your responsibility as a student to keep up with work and any changes in the syllabus (even for classes you may miss). Late work will not be accepted and make-up tests will not be possible. Attendance in this class is mandatory. Respectful participation is expected. This syllabus is a guide and is subject to revision. It is your responsibility as a student to note and adhere to any changes.

Participation

This course will be a seminar – that is a discussion where everyone is encouraged to participate. Participation counts toward your final grade. Active, respectful participation means listening to others’ opinions, presentations, and ideas even if an initial reaction is to disagree. Responses should be thoughtful, respectful, and based on readings or class information. Critical thinking (the basis of all college education and higher reasoning) requires you to attend to various sides of issues. You should learn to evaluate, compare, and judge information based on reason and logic rather than emotion. Active participation involves listening attentively and respectfully as much as it involves speaking. Aggressive or rude behavior will not be tolerated and will result in lower participation points.

Attendance Policy

Since one of the most important goals of this seminar is to interpret these texts together, attendance is mandatory. More than two absences will result in the assignment of extra work and/or the down grading of a student's final grade. If you must be absent and have a documented excuse (legitimate excuses include documented medical problems, documented extreme family emergency, or a documented official school activity), be sure to inform us of your absence and show us your documentation. You must always keep track of (and still turn in on time) any work or assignments you miss. More than two absences (including excused absences) in one semester are not allowed except in extreme situations (which must be discussed with us promptly).

Academic Honesty

Cheating and plagiarism are unethical and unacceptable (and a waste of your tuition). Doing your own work helps you learn and makes the most of your experience here. Any time that a student quotes more than five words from someone else without quotations and proper footnoting, this constitutes plagiarism. Proven cases of plagiarism will result in a grade of "F," which cannot be made up. On your written assignments we are asking for a close reading of the text. This does not mean that you are simply to copy the text. Again, if you copy more than five words from the text without using quotation marks and without footnoting your source you are guilty of plagiarism. Egregious cases of plagiarism will result in the failure of the course and/or reporting of the offense to the college.

Incompletes

The grade of incomplete will be given only in special circumstances such as illness, accident, or death in the family.

Special Notice to Students in Milledgeville

In the event of a fire alarm signal students should exit the building in a quick and orderly manner through the nearest hallway exit. First and Second floor classes should exit through ground level exits; Third floor classes through the nearest stairwell to a ground level exit. Do not use an elevator. Third floor stairwells are areas where disabled people may communicate with rescue workers. Be familiar with the floor plan and exits of this building. (Source: GC&SU Coordinator of Environmental Health and Occupational Safety)

Requests for Modifications

Any student requiring instructional modifications due to a documented disability should make an appointment to meet with the instructor as soon as possible. An official letter from GC&SU documenting the disability will be expected in order to receive accommodations. (Source: GC&SU Special Education Coordinator).

Calendar of Classes / Readings

Readings should be completed before the beginning of class on the date assigned.

Written assignments are due at the beginning of class on the date assigned.

Week 1

Wed. 8-16 Introduction to Class, syllabus distributed, first lecture on existentialism

Week 2 What is existentialism?

Mon. 8-21 Read: Essay by Sartre, “Existentialism is a Humanism” – may be found online (free) at http://www.marxists.org/reference/archive/sartre/works/exist/sartre.htm

Wed. 8-23 Begin Kierkegaard, Fear and Trembling (1843), Read pp. ix-xxxix & 1-23

Week 3

Mon. 8-28 Read and discuss Kierkegaard (cont.) Read pp. 27-81

Wed. 8-30 Kierkegaard (cont.) Read pp. 82-123

Week 4

Mon. 9-4 No class – Labor Day Holiday

Wed. 9-6 Read and discuss Dostoevsky, Notes from Underground (1864) – Read whole text

Week 5

Mon. 9-11 Read and discuss Nietzsche, Twilight of the Idols (1888), Rd pp. _____ 1^stCrit Response DUE

Wed. 9-13 Nietzsche (cont), Read pp. _____ – st presenter____________

Week 6

Mon 9-18 Read and discuss Kafka, The Trial (1925/1914) Read pp. 1-73

Wed. 9-22 Read and discuss Kafka, The Trial (1925/1914) Read pp. 74-112 – st presenter____________

Week 7

Mon. 9-25 Read and discuss Kafka, The Trial (1925/1914) Read pp. 113-196 – st presenter____________

Wed. 9-27 Conclude Kafka, Read pp. 197-229 & begin Film 2^nd Crit Response DUE

Weeks 8

Mon. 10-2 Film (cont.) & discussion ESSAY PROPOSALS DUE (appts. for conf. before this time)

Wed. 10-6 Read and discuss Sartre, No Exit (1946) (copy on reserve) – st presenter_____________

Week 9

Mon. 10-9 Read and discuss Sartre essay from book, Read: pages TBA______ st presenter___________

Wed. 10-11 Read and discuss Sartre essay, Read: pages TBA______ 3^rd Critical Response DUE

Week 10

Mon. 10-16 Read and discuss de Beauvoir, Read: pages TBA ______ st presenter_____________

Wed. 10-18 Read and discuss de Beauvoir, Read: pages TBA ______

Week 11

Mon. 10-23 Film (on de Beauvoir & Sartre) & discussion 4^th Critical Response DUE

Wed. 10-25 Read and discuss Abe, Woman in the Dunes (1964) Read pp. 1-71 – st presenter____________

Week 12

Mon. 10-30 Read and discuss Abe, The Woman in the Dunes Rd pp. 75-155 – st presenter______________

Wed. 11-1 Read and discuss Abe, The Woman in the Dunes. Rd. pp. 156-208 st presenter______________

Week 13

Mon. 11-6 Conclude Abe – Read pp. 211-241 & begin Film

Wed. 11-8 Film (cont.) & discussion 1^st Draft of Paper DUE

Week 14

Mon. 11-13 Read and Discuss Camus, The Stranger (1946) Read pp. 1-60 st. presenter _______________

Wed. 11-15 Read and discuss Camus, The Stranger. Read pp. 61-100 st. presenter _______________

Week 15

Mon. 11-20 Read and discuss Camus, The Stranger. Read pp. 101-144 Final Draft DUE of Big Essay

Wed. 11-23 THANKSGIVING – NO CLASS

Week 16

Mon. 11-27 Read and discuss Hale, The Jailing of Cecelia Capture (1985) Read pp. 1-85

Wed. 11-29 Read and discuss Hale, The Jailing of Cecelia Capture Rd pp. 86-127 st presenter___________

Week 17

Mon. 12-4 Read and discuss Hale, The Jailing of Cecelia Capture Rd pp. 127-201 st presenter___________

Final Critical Response DUE

The research paper should be about 20 pages long and should include a thoughtful discussion of ten outside sources as well as your own views. You should discuss your topic with us before you begin writing. The difference between this and the literature option is that you must demonstrate more outside research and engagement with the historical and theoretical context of existentialism.

The essay will be written in three stages. By the beginning of class on Monday, the 2^nd of October, you will submit a 6-page Paper Proposal and annotated bibliography of at least ten sources. By November 8^th (at the beginning of class) you will submit a first draft of 12 pages that includes at least eight outside sources. The final draft will be turned in on Monday November 20^th at the beginning of class.

GENERAL ASSIGNMENT: You should offer a theoretical framework for a sustained, developed argument that takes into account history, theoretical nuances, key thinkers, or the context of existentialism.

WRITING STANDARDS: Your work should measure up to your own (and your professors’) exacting standards of the best argument you can write in the time you have. Pay attention to grammar, mechanics, citation formatting, etc. (see below)

ORIGINALITY: Be sure you have YOUR own focus, argument, or position – for instance an original reading of a text or insight into a theory, aspect or movement within existentialism. Use theory and research as tools to enhance your argument. Do not let quotes become the main voice in your essay. Use your analysis to make and prove a position of your own about the literature or theory in question (i.e. you must have a thesis that you argue).

Your paper proposal will be, at least, six pages long. It should include a thesis statement explaining what you will be trying to show in the paper. If you are having a difficult time formulating your thesis, we suggest that you frame your thesis in terms of two or three questions that your paper will try to answer. After articulating your thesis, please explain how your paper will go about examining your thesis. Outline (in paragraph form) your major proofs. It should also include a few paragraphs about why this topic is important and interesting.

You should choose a topic that is closely related to the material covered in the course. We suggest that you write on the ideas expressed by one or two of the authors that we are discussing in class, but this is not a requirement. If you wish to write on an author who is not covered in the course, however, you must clear the topic with us before you write your proposal. Even if you are writing on one of the authors covered in this course we suggest that you discuss your proposal with us before you write it.

Included with your paper proposal will be a bibliography with at least 10 references. Along with each reference you must include a sentence or two about how this source will be used in your paper. It should be clear, from looking at the bibliography, that you have read at least part of the article or book that you are including in your bibliography.

The thesis proposal will count for 10% of your final grade. Failure to turn in the proposal on time will lead to the lowering of your paper grade by one full letter grade.

The first draft of your research paper must be at least 12 pages long and include a discussion of at least 8 sources. Before turning in the first draft ask yourself the following questions. First, do you have a clear thesis and have you articulated this thesis at the beginning of your paper? Second, how does each of your paragraphs contribute to the exploration of your thesis? Third, have you presented your evidence in the most logical, persuasive order? Fourth, have you used outside sources effectively to help you explore your thesis? Remember your ideas are primary. You should use footnote or end notes to document your sources.

In grading these papers, we look for clarity of expression, familiarity with the texts and thoughtful and original critical analysis. We will also be looking to see how well the student uses the secondary literature.

FINAL ESSAY ASSIGNMENT – Research Paper – Literature Option

The research paper should be about twenty pages long and should include a thoughtful discussion of at least one of the key works of literature from class, plus at least eight outside sources, as well as your own views. You should discuss your topic with us before you begin writing. The difference between this and the philosophy option is that you must demonstrate more in-depth textual analysis of literature, while still situating your discussion within a framework of theory and historical context.

The essay will be written in three stages. By the beginning of class on Monday, the 2^nd of October, you will submit a 6-page Paper Proposal and annotated bibliography of at least eight sources. By November 8^th (at the beginning of class) you will submit a first draft of 12 pages that includes at least six outside sources. The final draft will be turned in on Monday November 20^th at the beginning of class.

GENERAL ASSIGNMENT: You should delve into detailed textual analysis supported by a theoretical framework. Shape your analyses of passages into a sustained, developed argument that takes into account both existential literature (either those we read or similar novels you read on your own) and theories of existentialism (again either from class or of a similar vein – be careful not to use theories that are not peer-reviewed or scholarly). You might use a literary text to “test” a particular aspect of the theory, or you might use theory to see how it helps you understand one or more works of literature.

ORIGINALITY: Be sure you have YOUR own focus, argument, or position – for instance an original reading of a text or insight into a theory, aspect or movement within existentialism. Use theory as a tool to enhance your argument. Do not let quotes become the main voice in your essay. Use your analysis to make and prove a position of your own about the literature or theory in question (i.e. you must have a thesis that you argue). It may be your insight into the unique ways the literature and theories inform each other that is your controlling thesis for the overall essay (in this case).

Your paper proposal will be, at least, eight pages long. It should include a thesis statement explaining what you will be trying to show in the paper. If you are having a difficult time formulating your thesis, we suggest that you frame your thesis in terms of two or three questions that your paper will try to answer. After articulating your thesis, please explain how your paper will go about examining your thesis. How will your analysis of specific literary texts enhance your argument? Also include a few paragraphs about this topic’s importance and interest.

You should choose a topic that is closely related to the material covered in the course. We suggest that you write on the ideas expressed by one or two of the authors that we are discussing in class, but this is not a requirement. If you wish to write on an author who is not covered in the course, however, you must clear the topic with us before you write your proposal. Even if you are writing on one of the authors covered in this course we suggest that you discuss your proposal with us before you write it.

Included with your paper proposal will be a bibliography with at least 8 references. Along with each reference you must include a sentence or two about how this source will be used in your paper. It should be clear, from looking at the bibliography, that you have read at least part of the article or book that you are including in your bibliography.

The proposal will count for 10% of your final grade. Failure to turn in the proposal on time will lead to the lowering of your paper grade by one full letter grade.

The first draft of your research paper must be at least 20 pages long and include a discussion of at least 6 sources. Before turning in the first draft ask yourself the following questions. First, do you have a clear thesis and have you articulated this thesis at the beginning of your paper? Second, how does each of your paragraphs contribute to the exploration of your thesis? Third, have you presented your evidence in the most logical, persuasive order? Fourth, have you used outside sources effectively to help you explore your thesis? Fifth, how effective is your literary analysis in helping to clarify your points? Use foot or end notes to cite all sources.

Ø You MUST have a THESIS. From the Greek, thesis literally means POSITION. This means your thesis must make a clear and effective argument (take a position on something). In a literary essay your thesis can persuade the reader of the validity of your analysis. But you still have to state your specific insight, interpretation or analysis of the work very clearly and boldly in the first paragraph, and then you need to spend the rest of the paper demonstrating (or proving) your thesis, with specific discussion/analysis of passages and strategic use of quotes from your research.

Ø YOU MUST CITE correctly all sources of outside information. Your citation should be in standard MLA or similar format. Mechanical mistakes in citations will detract from the overall grade you receive on the final draft.

Ø Be sure your interpretation / analysis / argument is logical and convincing. Remember if it doesn’t make sense to you it probably won’t make sense to your reader.

Ø Your ideas should be organized in a logical and convincing fashion. For instance think about putting your strongest examples first, or arrange your ideas in order of ascending importance.

Ø All paragraphs should support the thesis statement. If you don’t know why a paragraph is there or if you can’t show how it supports the thesis, then cut it out (or change your thesis to accommodate that paragraph). Also, be sure to make clear how the details you give actually connect to / support your thesis. Don’t assume that if something is clear to you it will be clear to your reader. Explain each stage in your thinking. Step back and analyze your own writing objectively to make sure it communicates the whole argument / analysis clearly and effectively.

Ø Write sentences that show the connections between supporting details and your thesis. For example, if your thesis is that Flannery O’Connor’s work is not bitter in spite of her often dark subject matter and you just analyzed a passage from the story that shows this, be sure to include a sentence or two after your analysis tying it back to the thesis, as follows: “The situational irony of Hulga being duped because of her faith in the boy’s goodness lends the story a humorous edge that keeps the reader from taking her situation too seriously or grimly. Thus O’Connor uses humor and irony in her stories as central elements that alleviate a potential cynicism that bitterness relies upon. She is not dwelling on the ugliness of the situation, but humorously on Hulga’s own hypocrisy.” These several sentences show a PARTIAL discussion that might only be based on a line or two from O’Connor’s story. Show connections between each stage of your thinking.

Ø Your interpretation / analysis (i.e., your ideas) should be the central focus of your essay. Only use outside information (required sources) to support or demonstrate your ideas. Do not overuse quotes, facts, expert testimony, etc. Long quotes are rarely necessary and instead tend to show your attempt hide your own confusion or lack of willingness to write your own analysis.

Ø Keep your essay interesting. Work on a topic that you enjoy and find stimulating, and about which you really have something important to share. Be sure your topic is useful and interesting to you and then try to maintain that enthusiasm throughout the essay.

Ø Keep your essay as CLEAR, SIMPLE, and STRAIGHTFORWARD as possible. Do not try to sound fancy or complicated. Bigger words are only better if they are the best possible words for what you are trying to say. If you don’t understand a word or phrase you are using, neither will your reader. Write in language that is comfortable for you. Remember that writing is about communication. If you communicate your ideas effectively and follow these other rules, you will not be graded down because your language is “too easy.” Simple can be the most beautiful, as long as it is effective.

Ø Proofread carefully. Incorrect grammar, spelling and mechanics do detract from your overall message and make it seem as though you don’t care enough about your work to do your best.

Ø Writing is a PROCESS. Always be willing to consider your essay a work in progress that can be revised, edited, changed, updated, and improved. Be open minded, flexible and honest in your revisions and self-appraisal.

Ø Length is less important than QUALITY of your argument. It may be possible to make an effective and well-developed argument in fewer words than are required. But you might need more space to develop your argument. The important thing is that you make your point and prove it with developed, well-analyzed examples and key research sources. Talk to us if you are in doubt.