Required texts (in order):
_A Doll 's House_ and _Hedda Gabler_, Henrik Ibsen
_The Cherry Orchard_, Anton Chekhov
_Candida_, George Bernard Shaw
_Playboy of tne Western World_, John Millington Synge
_The House of Bernarda Alba_, Federico Garcia Lorca
_Becket_, Jean Anouilh
_Henry IV_, Luigi Pirandello
_The Good Woman of Setzaun_, Bertolt Brecht
_Waiting for Godot_, Samuel Beckett
_Hamlet_, William Shakespeare
_Rosencrantz & Guildenstern Are Dead_, Tom Stoppard
_Equas_, Peter Shaffer
Suggested reference text: MLA Handbookfor Writers of Research Papers, 4th edition, Joseph Gibaldi
Schedule:
Jan. 21 Introduction to the course; lecture/discussion: theoretical framework and critical methodology
Jan. 28 _A Doll's House_
Feb. 4 _Hedda Gabler_. Time line due.
Feb. 11 _Cherry Orchard_
Feb. 18 _Candida_
Feb. 25 _Playboy of the Western World_
March 4 _Bernarda Alba_. Midterm distributed (optional).
March 11 Becket. Midterm due.
March 18 Spring break
March 25 _Henry IV_
April 1 _Good Woman of Setcuan_
April 8 _Godot_
April 15 _Hamlet_ (see below)
April 22 Rosencrantz and Guildenstern
April 29 _Equus_
May 6 Presentation of papers; review and synthesis; final distributed
May 13 Final exam due
Course Overview and Objectives:
This course begins with the assumption that drama both reflects and shapes the culture from which it derives. The particular plays which we will study present societies in the midst of social, political, and philosophical upheaval: cultures in crisis. We will approach the plays from this perspective, examining A lC)oll 's House and Hedda Gabler in terms of the "new woman" question and sociat changes in Ibsen's Norway, for example, or The Cherry Orchard as it presents the decline of the aristocracy and the ascendancy of the bourgeoisie in pre-Revolution Russia.
My objectives are to provide you with a methodology for analyzing drama in general, an understanding of the specific plays covered in class as expressions of the cultures from which they derive, and a working knowledge of eleven of modern Burope~s major dramatists. I also hope that in the course of writing your major paper and one-page responses your writing skills will be sharpened, and I invite you to see me outside class if you'd like extra help in that area.
The plays, which cover nearly a century (from A Doll 's House in IS79 to Equas in 1974), are arranged roughly in chronological order and increasing structural and philosophical complexity, as the age moves from a modern to the beginnings of a postmodern Weltar~schanung. Inevitably some will be more to your liking than others, but I hope you will at least find all of them interesting. (Our textual analysis of the plays will occasionally be supplemented by readings in dramatic criticism and theory, as explained below.)
Assignments:
Timeline: Since a working knowledge of late nineteenth and twentieth century European history is necessary for a full understanding of the cultural matrix from which these works emerge, I would like you to compile a timeline of significant events from approximately 1875 - 1975. It should include events of generaI historical importance (e.g., the World Wars, the Russian llevolution, etc.) as well as economic, social, and cultural phenomena you deem significant. We will refer to our timelines as we begin our discussion of each play to provide the appropriate historical context. (I;or this reason, you may also find it helpful to locate the plays' composition dates on your timeline.) I will xerox two of the best timelines and distribute them to the class so that we have a common reference tool. Due: February 4 (25 points).
Oral presentations: Each student will be asked to make a brief (10 - 15 minute) presentation on the cultural milieu from which that evening's play is written, the historical/cultural background of the play's setting (which may or may not be the same as its composition milieu), and (in less detail) pertinent biographical information on the playwright. There is no written component required with this assignment, though you may choose to generate a handout for the class if you feel it would be helpful in conveying this information. You may, if you wish, choose the same playwright you select for your major paper. Please sign up for the play of your choice by Jan. 28. (25 points)
One-page papers: In addition to reading and preparing the play under discussion for each class period, students will write a one-page (typewritten, double-spaced) paper on the topic assigned the week before. Initially, I will use this assignment to determine the extent of your mastery of the cultural-structural method of analysis. When I feel comfortable with the class's control of this analytical method, the assigned topics will shift to other areas. I may, for instance, ask you to take a position on one of the issues the play deals with or to write an abstract of a critical or theoretical article. These brief papers should help to focus and enrich your preparation of the plays and our class discussions, as well as to fine tune your writing skills. I will grade these on a ten point basis and return them, with comments, the following class period. Total: 100 points (the lowest grade-there will be eleven in all-will be dropped).
Major paper Choose a playwright you want to work with, read another of his plays, and write a 10 - 15 page critical analysis, drawing upon (though not limited to) the culturalstructural methodology we will be using in class. As with all literary criticism, your objective should be to illumine the play. By explaining the cultural milieu of the play as contained in the characters and action, the ethos and mythos, as well as the play's structure, the issues and insights that this work sets forth should come into clearer focus. Your paper should refer to a minimum of four secondary sources, though you will probably wish to consult more than this in your research. Please include a title page (with a meaningful title) and observe standard MLA format for quotations and bibliography.
Due: three weeks after we conclude class discussion of your playwright. In the case of Ibsen, due date is Feb. 25; for Stoppard and Shaffer, May 6 (you may, of course, turn your paper in earlier if you wish). Total: 100 or 200 points, as you choose (see below).
Presentation of one-page papers: As a means of sharing your work and reviewing for the final exam, our last class period on May 6 will be devoted to oral presentations by each student. Choose one of your one-page papers, xerox it, and present it to the class. (You may, if your prefer, write a one-page precis of your major paper.)
Hamlet options: There are several options for the class period devoted to our study of Hamlet (in preparation for Stoppard's Rosencrantz and Guildenstern): a class trip to see Kenneth Branaugh's new movie, a video of Olivier's, Mel Gibson's, or another version, or a regular class discussion, whatever the class prefers.
Exams: midterm (optional) and comprehensive take-home final. (I reserve the right to require the midterm in individual cases.)
Grades and General Policies:
Grading:
The quantity and quality of your preparation for class and participation in class discussions will also be taken into account. All papers, oral presentations, and exams must be completed to receive credit for the course.
Please sign up for either Plan A or Plan B by Jan. 28. Once you have chosen an option you may not change your mind, so please consider your choice carefully.
Attendance: Since as a seminar, this class relies heavily on discussion, attendance is imperative. In the case of excessive absences (three or more), students may have their grade lowered or be asked to drop the course for insufficient attendance. If you need to be absent for an extended period (with a serious illness, for example), please contact me or teave a message with the English Department.
Office hours: My regular office hours are from 2 - 5 p.m. on Tuesdays, though I can also tee available immediately before this class if necessary. If it's more convenient for you to meet with me here in the classroom than to come over to the bank building, please let me know. I can also stay briefly after class, should that be more convenient. Other office hours are by appointment.
In case of urgent questions or problems, you may call me at home (274-3075), though I would appreciate it if you would exercise this option sparingly.
Plagiarism: In these days of litigation madness, I am obliged to tell you that academic dishonesty of any kind, should it occur, will not be taken lightly and will be dealt with according to departmental and university standards.
Special needs: If you have a visual or hearing impairment or any other special need, please see me after class so that I can make the necessary arrangements.
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