Louise Bishop's teaching pages

Paper format instructions | What is an A paper?
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HC 221 -- Listening to Wisdom, Fall '11small logo

Course description

What counts as knowledge in pre-modern societies? What makes knowledge last? What, if anything, differentiates knowledge (scientia) from wisdom (sapientia)? Stories – narratives -- carry knowledge in its many forms in both pre-modern and modern societies. In his book The Literary Mind (Oxford UP, 1996), Mark Turner suggests that narrative—story--is the foundation of language itself. Yet in the western Renaissance or early modern era, story becomes devalued as "mere story"—so Francis Bacon called it in 1626. Modernity makes history into story's opposite: history gives us fact rather than fiction, story gives us imagination rather than reality. Aren't facts more important than fiction?

Reading pre-modern texts with attention to discovery, interpretation, and use can help us understand the value of narrative and our own positions within a sea of story. We'll use many kinds of tales (a tale is also a "mere story," according to the OED) and their "translations" (meaning "to carry, to transfer") to grapple with representations of self and other, and with the value of imagination and emotion. We'll let the root of education -- educare, to lead forth -- lead us to new sorts of intellectual and emotional understandings as we consider the ways pre-modern cultures produced and saved these tales. We’ll also investigate how and why we’ve gotten our hands on them in 2011 Oregon. Your literary journey starts here.

Close reading is vital; interpretive muscle grows from it. Written work for the class includes ungraded response papers, two 1500-word formal papers, class presentations, and a comprehensive final examination. Some special events related to the class, such as films or readings, will be arranged during the term.

Your own writing is, of course, both formally and contextually situated. HC 221 H Honors College Literature integrates writing analysis (composition) with the study of literature. Please be advised of two resources: the University Composition Program's resources, and the Teaching and Learning Center in the basement of PLC.

Texts: The Epic of Gilgamesh, Aeschylus's Prometheus Bound , The Bhagavad-Gita, the Biblical Book of Job, Dante's Vita Nuova, and Shakespeare's Hamlet.

Requirements

  • First writing assignment, due Wednesday, September 28. One to two pages, 250 to 500 words. Towards the end of Tablet One of Gilgamesh, Gilgamesh recounts to his mother Ninsun two dreams that presage his meeting with Enkidu. Ninsun interprets the dreams for Gilgamesh, and Gilgamesh responds by embracing the challenge Enkidu presents. In the style of Gilgamesh, create the dreams you could have had (but use third person) that presage your encounter with the university and/or the Clark Honors College, recounting the dreams to one of your parents/guardians who then interprets the dreams for you. You'll be writing in a long tradition: Mesopotamian students parodied Gilgamesh some 3000 years ago.
  • Response papers.You'll write four one- to two-page response papers this term. Check due dates on the schedule below. Response paper are formal in the sense that spelling, grammar, and thinking count; at the same time, these are papers in which to try out ideas, to experiment and challenge yourself intellectually. Here are the steps for writing response papers:
    • No fewer than four days before a paper is due, think about discovery, interpretation, and use, and re-read the text.
    • No fewer than three days before the due date, free write, meaning that you make notes, construct an outline, or write a complete draft (this may be handwritten)--either a method you habitually use, or a method you're trying out for the first time. Get something down on paper. Then put away whatever you've written for at least six hours.
    • Reread and revise what you've written, again looking at our text for evidence. Have a typed, final copy of your essay complete before noon Friday.
    • Attach your notes/outline/draft to your finished copy and hand it in.

    I will read these papers, comment on them, and grade them pass/no pass. Normally, a no-pass paper lacks a thesis and/or contains egregious writing errors. Four passing papers will count as a 4.0, three as a 3.0, two as a 2.0, one as a 1.0. No-pass papers may be re-written, and handed back to me within a week. You may also request that I give any response paper a "grade," meaning the grade it would receive were it a graded assignment: I'll "grade" the paper in order to give you an idea of how grading works on formal papers, but the grade won't "count," per se.

  • Graded formal papers. Two five-page (1250 to 1500 words) papers, each of which can use an observation originally explored in a response paper and/or an informal study group. See also tips for topics. Paper 1, due Wednesday, Oct. 19, will treat Gilgamesh and/or Prometheus Bound . Paper 2, due Wednesday, Nov. 23, will treat The Bhagavad-Gita, Job, or Vita Nuova (and, if desired, could compare one of those texts to another text). Note paper due dates: turn in your papers on the date specified. The first paper may also be rewritten (due one week after returned; include the original paper when submitting the rewrite), with the two grades averaged for the paper's final grade.
  • Writing portfolio and reflective essay. During the term, keep all of your work in this portfolio; at the end of the term, you'll write a reflective essay about your writing, using your portfolio in order to include specific examples of your writing's strengths and weaknesses, and to list what you hope to continue to improve in your writing. You'll give me your writing portfolio, with reflective essay, along with your final exam, no later than Tuesday, December 6, at 5:15 pm. Completing this assignment contributes 10% to your final grade.
  • Final exam. Take-home exam, focusing primarily on Hamlet, due no later than Tuesday, December 6, at 5:15 pm.

Extra credit: Informal study groups.

The learning community of the Honors College affords you an opportunity to test your ideas and grow intellectually in a supportive yet challenging environment. To facilitate conversations about our texts, you can, along with at least one other student, contribute a "discovery" to our Blackboard discussion site before Sunday midnight for each Monday's class. In-person conversations only, please. You're on the honor system for the listing of contributors' names. You may get credit only once for each week, but of course you'll benefit from chatting about many different discoveries. List the discussants' names and include on the Blackboard "discussion site" for that text a question your discovery led to (but as many questions as you wish). Again, all this must be posted before midnight on the appropriate Sunday.

If you complete the assignment for each of the eight weeks, you'll receive 3 tenth-points extra-credit on your final grade; for seven, 2; for six, 1; for five, half a tenth.

Grading

The response papers constitute 15% of your grade; the two formal papers, 25% and 30% respectively; the reflective essay 10%; participation, 5%, and the final exam will constitute 15% of your grade. Please note the University's "grade point value" system effective 9/90, as I will be using this system (unless otherwise noted):

A+ = 4.3

B+ = 3.3

C+ = 2.3

D+ = 1.3

A = 4.0

B = 3.0

C = 2.0

D = 1.0

A- = 3.7

B- = 2.7

C- = 1.7

D- = 0.7

Note that a grade of "C" is, according to academic regulations, "satisfactory," while a "B" is "good." That means that a "B" is better than average, better than satisfactory, better than adequate. The average grade, then, is a "C"; a grade of "B" requires effort and accomplishment.

Mondays

Wednesdays

Sept. 26 class introduction "world literature" and respecting difference; groundrules for class; introduction to Gilgamesh, the "joy-woe" man (I, 234)--the purpose of story

First writing assignment due
Sept. 28 Gilgamesh, a poem of the human condition Tablet 1: Kingship, nature, the creation of Enkidu; Tablets 2 and 3: Enkidu, Gilgamesh, and the quest; eroticism, male bonding, heroic challenge and anticipation: preparations for the quest

Why present Gilgamesh as a bad king? Why do the animals reject Enkidu after he has intercourse with Shamhat? What does their rejection mean? Why does reason and understanding result from Enkidu's episode Shamhat? What more defines a man, according to the epic? Why does Gilgamesh propose killing Humbaba? What role does Ninsun play in the drama? Assess the approach/avoidance motif shared between Gilgamesh and Enkidu.

Oct. 3 Gilgamesh Tablets 4 through 6: Humbaba and the journey to the Cedar Forest; Ishtar, sex and heroism;

What distinguishes Gilgamesh from Enkidu? Why detail Gilgamesh's dreams? What do his dreams mean? Does anything make Humbaba a sympathetic character? Is Gilgamesh afraid of Ishtar? Is Gilgamesh's pride involved? Why does Ishtar want Gilgamesh in the first place? What is Enkidu's role in the rejection and in the death of the Bull of Heaven? How does the Bull of Heaven's death compare with Humbaba's?

#1 response paper due
Oct. 5
Gilgamesh
Tablets 7 through 11: the death of Enkidu and Gilgamesh's reaction: violence and sympathy; the journey to the underworld, the flood story, and walls

Why does Enkidu change his mind about cursing Shamhat? How do curses compare with dreams? Tablet 10 culminates in Utanapishtim's description of death. How have we been prepared for this description? How does it differ from other actions and descriptions that preceded it? From scorpion-men and Siduri the tavern-keeper to Utanapishtim, how does their advice count for Gilgamesh and for the audience? Since death is so much this text's concern, how do you account for its failure to recount Gilgamesh's death?

 

Oct. 10

Prometheus Bound: Greek drama and myth Please read the entire play before class.
Dialogue is what a play is all about. How does dialogue change in form and content relative to particular speakers?
Think of the pacing of the play; why does it begin with? How does a "chorus" work? Why include the chorus in a play? Compare short and long speeches (for instance,): what are their different effects?

#2 response paper due
Oct. 12

Prometheus Bound
: find a passage that exemplifies the entire play.

What would you write your Greek play about? Think of this play's action from another character's perspective


Oct. 17 Prometheus Bound and Gilgamesh the role of knowledge and wisdom

What is the role of the human in the epic and the play? What is the role of the gods? how would these cultures define wisdom? What's similar? What's different?


*First formal paper due

Oct. 19 The Bhagavad-Gita: Introduction with Prof. Veena Howard

Oct. 24 The Bhagavad-Gita

Krishna the chariot driver


Oct. 26 The Bhagavad-Gita:

Why does Arjuna decide to continue the battle?

Oct. 31 The Book of Job
Surprises: read the introductions and through Chapter 7

#3 response paper due
Nov. 2
The Book of Job read through page 132

Nov. 7 The Book of Job
God in the whirlwind --through page 158

Nov. 9 Catch-up day: medieval/early modern
Periodicity and what it means

Nov. 14 The Vita Nuova
The role of poetry
Dante's life; chronology
The "stil nuovo", "new style"; love's contradictions and sufferings, its tensions with moral/social structures
1292-95 composition of VN, Dante aged 27-30
immaterial and transcendent realities (this is a very challenging part of the intro)
Time--past, present, and future
Issue of manuscript and text divisions (primarily for Italianists)
Temporality and narrativity: also a challenge

 

#4 response paper due
Nov. 16
The Vita Nuova
What is love? Poetry as experience, experience as poetry: be sure to have read the entire text
The destabilizing effect of romantic love

Nov. 21 The Vita Nuova

Vocation and wisdom

Transcendent and immanent love, experiential and ideal; see the complete Petrarch (1304-1374) Canonziere online

*Second formal paper due
Nov. 23

intro to Hamlet

 


Nov. 28
Hamlet

The role of knowledge: "Oh, my prophetic soul!"

Nov. 30 Hamlet

The rest is silence