Studies in Folklore – Folklore & Literature
Spring 2007
Required TEXTS (may be purchased at the bookstore)
Atwood, Margaret. The Handmaid’s Tale. New York: Anchor Books, 1986.
Bauman, Richard, ed. Folklore, Cultural Performances, and Popular Entertainments: A Communications-Centered Handbook. New York: Oxford University Press, 1992.
Brown, Dan. The DaVinci Code. New York: Anchor Books, 2003.
Carter, Angela. The Bloody Chamber & Other Stories. New York: Penguin, 1979.
Llosa, Mario Vargas. The Storyteller. Picador, 2001.
Mahfous, Naguib. Arabian Nights and Days: A Novel. New York: Anchor Books, 1995 (1982).
Momaday, N. Scott. The Ancient Child. New York: HarprePerennial, 1989.
Rushdie, Salman. Haroun and the Sea of Stories. London: Granta Books (Penguin), 1990.
Walker, Alice. Possessing the Secret of Joy. New York: Harcourt Brace, 1992.
ALSO: Reserve readings of tales & myth (in the library – read there or Xerox it)
Description
This course will focus on the interconnections between folklore and literature and how they influence each other in various ways. The major genres, theories and methodologies of folklore will be examined alongside and through the literary readings, each of which exemplifies a particular kind of folkloristic literature. We will read examples of novels that are based on or largely involve myths, tales, rituals, magical realism, fieldwork, and storytelling. We will read novels that are folkloristic in form, content, and reception. We will consider interconnections between disciplines in terms of folklore and literature, folklore in literature, folklore as literature, and literature as folklore. We will also read some examples of folk narratives, as well as theory, to better understand implied concepts, aspects, characters, and meaning of the literature. Poetry, stories and other supplemental readings may also be assigned as appropriate. Since this course will be run as a seminar, students should come prepared to discuss the readings each day. Students will be evaluated based on participation in class discussions, as well as completion of a number of written assignments, including two short essays, one long essay, a final essay exam, and various quizzes and short writings during class meetings. Graduate students will also be required to lead the class (a type of presentation) for part of one day. Students will meet with the professor regarding final essay topics.
Objectives The course is designed to encourage and enable students to achieve the following goals:
To begin to understand major concepts, theories, genres, and methodology of folklore and literature and how they are connected.
To distinguish the ideologies, periods, and aesthetics of various examples of folkloristic literature
To demonstrate understanding of the major concepts, theories, and examples covered in class in spoken and written forms
To evaluate the literary significance of certain representative works and influential texts of folkloristic literature
To enter into the dialogue of the appreciation, study, and debate of folklore scholarship today
To articulate a written critical argument that requires analytical close reading of literary works
To recognize and ponder the key issues and rewards of the broader academic field of the humanities
To sharpen critical reading, writing, and thinking skills
Two short critical responses to assigned readings (2-3 pages each). These will involve focused, detailed, textual analysis in answer to a specific question (or questions) to be distributed in class. You may be asked to analyze literary works in light of theories, concepts, etc. discussed in class.
An analytical essay (6-8 pages) in which you explore in depth one or more works of folkloristic literature, either according to a theoretical or contextual framework from class, or an equivalent one you research on your own. You must discuss this final essay with the instructor.
A final exam in which you answer specific essay questions about our readings and discussions. You should demonstrate familiarity with all the text from the semester, as well as an awareness of class issues, strong ability to analyze readings, and synthesis of your original insights.
Various in class writings, quizzes, or assignments that will count toward your participation grade.
Regular, active attendance. Be prepared to ask and answer questions, and to raise and discuss issues of significance to this class. This will also count toward your participation grade.
Timely completion of all assignments. Readings are to be completed before the lecture on the day on which they are to be discussed.
Critical Responses: 20% (10 % each) Examination: 30%
Final Essay: 40% Participation (& attendance): 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.
This syllabus is a guide and as such is subject to revision. It is your responsibility as a student to attend class faithfully, note and adhere to any changes announced, & to complete all work on time. If you miss a class, contact me for any changes in readings or assignments. I DO NOT keep track of what you have missed or must make up – that is YOUR responsibility.
I encourage you to communicate with me about any concerns, problems, or questions you may have during the semester during my office hours, by appointment or email (note that I have no email access at home and so will not respond at night).
Plagiarism and cheating are unethical and unacceptable. If you have any doubt as to what constitutes plagiarism and/or cheating, see me or consult your student handbook (see the honor code). ANY COPYING of information, ideas or words without proper citation is cheating and will constitute a violation. Violation of the code means failure (possibly of the course).
Faithful, punctual attendance is mandatory. If you have a documented excuse, be sure to inform me and show me your documentation. You must always keep track of (and still turn in on time) any work or assignments you miss. Excessive absences will result in an overall lower grade in the course.
Classroom activities, lectures, and discussions require enormous time and preparation and cannot be repeated or re-created for one individual student at a later time or date by the instructor. Fellow students may lend you notes & keep you informed, but duplicating a class is nearly impossible, hence the attendance policy. Do not ask me to repeat a class for you individually.
Active, respectful participation is required of all students. 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.
Cell phones (or computers with internet access) must be turned off and kept out of sight during class period. Any violation may result in lost participation points.
BREAKS during class are not allowed except in cases of sickness or extreme emergency. If you leave during class (even briefly), without documented medical necessity, you will be counted absent during that class period. Plan your time around class so that you can stay in the classroom and remain attentive throughout the entire one hour and 15 minute period.
Any student requiring 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 required in order to receive accommodation.
During a fire drill or other emergency, students will promptly and safely exit the classroom in an orderly fashion according to posted routes and teacher’s instructions, then congregate in the designated spot as instructed. Class will resume if possible.
Supplemental Recommended Readings
Bauman, Richard. Story, Performance, and Event: Contextual Studies of Oral Narrative. New York: Cambridge University Press, 1986.
_____ & Paredes, Américo. Towards New Perspectives in Folklore. Bloomington: Trickster Press, 2000 (1972).
_____. Verbal Art as Performance. Prospect Heights, IL: Waveland Press, 1977
Belanus, Betty. Seasonal [novel about folklore fieldwork]. Round Barn Press, 2002.
Brunvand, Jan Harold. The Study of American Folklore: An Introduction (4th ed). New York: W.W. Norton & Company, 1998, excerpts including “Ballads”, pp. 303-326, “Folk Music,” pp. 345-353, “Folk Gestures,” pp. 460-476
Burrison, John A. Brothers in Clay: The Story of Georgia Folk Pottery. Athens: University of Georgia Press, 1983.
_____. Storytellers: Folktales and Legends from the South. Athens: University of Georgia Press, 1989.
De Caro, Frank & Rosan Augusta Jordan. Re-Situating Folklore: Folk Contexts and Twetieth-Century Literature and Art. Knoxville: The University of Tennessee Press, 2004.
Dorson, Richard M (ed.) Folklore and Folklife: An Introduction. Chicago: University of Chicago Press, 1972, 240-251.
_____. Handbook of American Folklore. Bloomington: Indiana University Press, 1983.
Dundes. Alan, Interpreting Folklore. Bloomington: Indiana University Press, 1980.
_____. ed. Sacred Narrative: Readings in the Theory of Myth. Berkeley: University of California Press, 1984.
Eller, Cynthia. The Myth of Matriarchal Prehistory. Boston: Beacon Press, 2000.
Finnegan, Ruth. Oral Poetry: Its Nature, Significance and Social Context. Bloomington: Indiana University Press, 1992 (originally published Cambridge Univ. Press 1977, pp. 1-29, 170-188.
Glassie, Henry. Passing the Time in Ballymenone. Philadelphia: University of Pennsylvania Press, 1982.
_____. The Potter’s Art. Bloomington: Indiana University Press, 1999
_____. Turkish Traditional Art Today. Bloomington: Indiana University Press, 1993.
Hansen, William. Classical Mythology: A Guide to the Mythical World of the Greeks and Romans. Oxford: Oxford University Press, 2004.
Hymes. Dell. “In vain I tried to tell you.” Essays in Native American Ethnopoetics. Philadelphia: University of Pennsylvania Press, 1981.
Lévi-Strauss, Claude. Myth and Meaning. New York: Schocken Books, 1979. [& others by L.S.]
Lord, Albert. The Singer of Tales. Cambridge: Harvard University Press, 1960.
Oring, Elliott. ed. Folk Groups and Folklore Genres: An Introduction. Logan: Utah State University Press, 1986.
_____. Jokes and Their Relations. Lexington: University of Kentucky Press, 1992, pp. 29-40.
Schrempp, Gregory (ed.). Myth: A New Symposium. Bloomington: Indiana University Press, 2002.
Sebeok, Thomas A. (ed.). Myth: A Symposium. Bloomington: Indiana University Press, 1974 (1955).
Thompson, Stith. The Folktale. Berkeley: University of California Press, 1977 (1946).
Bright, William. A Coyote Reader. Berkeley: University of California Press, 1993
Brunvand, Jan Harold. Too Good to Be True: The Colossal Book of Urban Legends. New York: W.W. Norton & Company, 1999.
Dasent, George Webbe. East o’ the Sun & West o’ the Moon. New York: Dover, 1970.
Gates Jr., Henry Louis & Nellie Y. McKay (eds) The Norton Anthology of African American Literature. New York: W.W. Norton & Company, 1997, pp. 102-136. [Many good selections]
Morford, Mark. P.O. & Robert J. Lenardon. Classical Mythology, 7th edition, New York: Oxford University Press, 2003.
Thompson, Stith. (ed.) One Hundred Favorite Folktales. Bloomington: Indiana University Press, 1968
Sproul, Barbara. Primal Myths: Creation Myths Around the World. San Francisco: Harper, 1979.
Zipes, Jack. The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm. New York: W.W. Norton & Company, 2001 [& others by Zipes]
Schedule ENGL 4770 Spring 2007 ~ Folklore ~ Magoulick
NOTE: Readings are to be completed before the beginning of class on the day on which they are assigned.
Week 1 Jan 8 Introduction to syllabus and each other
Jan 10 What is folklore? Read: Bauman, pp. xiii-11 & 29-49
Week 2 Jan 15 Holiday (MLK birthday)
Jan 17 Read: Fairy tales on reserve at library & Bauman, pp. 53-59, 101-118
Week 3 Jan 22 New Fairy Tales, Angela Carter, The Bloody Chamber, Read pp. 1-84
Jan 24 New Fairy Tales (cont.), Read Carter, pp. 84-126
Week 4 Jan 29 Naguib Mahfouz, Arabian Nights & Days, Read pp. 1-105
Jan 31 Mahfouz (cont.), Read pp. 106-145
Week 5 Feb 5 Mahfouz (cont.), Read pp. 146-228
Feb 7 Read 1001 Nights excerpt from library & reserve reading on Myth 1st Critical Response DUE
Week 6 Feb 12 N. Scott Momaday, The Ancient Child, Read, pp. 7-123
Feb 14 Momaday (cont.), Read pp. 127-202
Week 7 Feb 19 Momaday (cont.), Read pp. 203-260
Feb 21 Momaday (cont.), Read pp. 263-315
Week 8 Feb 26 Mario Vargas Llosa, The Storyteller, Read pp. 1-108
Feb 28 Llosa (cont.), Read pp. 109-145
Week 9 Mar 5 Finish Llosa, Read pp. 146-246
Mar 7 No class (professor at conference) – work on papers
Week 10 Mar 12 Begin Rushdie, Haroun & the Sea of Stories, Read pp. 1-110
Mar 14 Rushdie (cont.), Read pp. 113-156 2nd Critical Response DUE
Week 11 Mar 19 Rushdie (cont.), Read pp. 159-211
Mar 21 Margaret Atwood, The Handmaid’s Tale, Read Atwood pp. 1-75 & Bauman, pp. 249-260
Week 12 Mar 25-Apr 1 SPRING BREAK – no courses
Week 13 Apr 2 Margaret Atwood (cont.), Read pp. 79-255
Apr 4 Atwood (cont.), Read, pp. 259-311 By this date: FINAL ESSAY CONFERENCES
Week 14 Apr 9 Alice Walker, Possessing the Secret of Joy, Read pp. vii-99
Apr 11 Walker (cont.), Read pp. 103-152
Week 15 Apr 16 Walker (cont.), Read pp. 155-234
Apr 18 Walker (cont.), Read pp. 237-286
Week 16 Apr 23 Dan Brown, The Da Vinci Code, Read pp. 3-202
Apr 25 Brown (cont.), Read pp. 203-320 FINAL ESSAYS DUE
Week 17 Apr 30 Brown (cont.), Read pp. 320-489
May 4 (Friday): FINAL EXAM DAY AND TIME: 2-4:45 pm