邢唷��>� np��m��欹�g� ��kHbjbjVV ;€r<r<k@��@@��|+d�� (��"��l n n n n n n $w$�)'z� �� 8 8 8 ��l 8 �l 8 8 8 ��1+<'杆��8 X � 0� 8 �'8 �'8 �'�8 ��8 �� 8 �� '��@!a: English 167, Steinbeck Susan Shillinglaw Spring 2011. Tues/Thurs. 12-1:15, DMH 354 Office, FO 118: Hours: Tues/Thurs: 1:30-3 and by appointment Phone: 924-4487 Email: susan.shillinglaw@sjsu.edu Description John Steinbeck, Californian, was intimately connected with the region of his birth. Born in Salinas in 1902, he grew up loving the broad Salinas Valley, 揝alad Bowl of the Nation.� On the shores of the nearby Pacific his family had a summer retreat, and throughout his life he yearned to be near the sea. The writer who knew he would be a writer at age 14 spent a lifetime writing about humans living in place, about the connections between and among human, animals, environment, region. He wrote in the early 1930s: 揈ach figure is a population and the stones梩he trees the muscled mountains are the world梑ut not the world apart from man梩he world and man梩he one inseparable unit man and his environment. Why they should ever have been understood as being separate I do not know. Man is said to come out of his environment. He doesn抰 know when.� Steinbeck抯 vision of place is holistic: human communities and natural communities intersect. In this course we will consider fully the biographical, textual, and social implications of Steinbeck抯 ecological holism. In addition, students will consider how that holistic sensibility, delicately rendered in prose, is translated into other mediums, particularly film. We will view several films made from Steinbeck抯 works to consider how effectively the writer抯 sensibilities are rendered visually. After mid-semester, students will present their own focused adaptations of a single scene in Steinbeck抯 work: those adaptations may be dramatic, musical, visual, or kinesthetic. Requirements: Students are expected to attend each class and engage in discussion, to read assigned texts carefully, and to watch films with analytical sensibilities. Grades will be assigned based on the following: Active class participation and quizzes on the readings (20%); final essay exam on film and texts (20%); reading notebook (40%); group presentation on Hooptedoodle section, (20% ). The Steinbeck Reading Notebook: 14 entries minimum by May 17 SECTION I梤esponses to reading (6 polished entries). In this part of the notebook students will comment on ideas and questions generated by primary material. Please comment on five different texts in entries of at least 400 words each (a page and �). Please write on specific and focused observations about that text. Write about your greatest ideas梑ut don抰 try to cover issues broadly. Narrow, narrow, narrow. Select a scene from a book that reflects a major theme in the book. Focus on a minor characters. Look at image patterns. Note comparisons, perhaps between a scene in a film, two scenes in a text. Consider gender, ethnicity. Sense of place and how evoked in one scene. Please do not discuss the same scenes we covered in class discussions, but choose other issues in the text that intrigue you. Please do not read secondary sources on Steinbeck for these entries. SECTION II--Enrichment (7 polished entries) Certainly the value of a single author course is the time to focus on one writer's career. Please examine materials in the Center for Steinbeck Studies, which is open daily. Include the following in this section of your notebook: 2 commentaries on any secondary works on Steinbeck (see bibliography attached to syllabus); 1 commentary on book reviews for one text, contained in binders in the Center for Steinbeck Studies; 1 entry on at least 20 pp of Working Days, the Grapes journal; 1 entry on at least 20 pp of Journal of a Novel (more recommended); 1 entry on 20 pp of Steinbeck: A Life in Letters and 1 entry on 30 pp of Benson抯 or Parini's biography. For these entries, please briefly summarize the part of the text you read (4-6 sentences) and then give your insights on how this material affected your reading of Steinbeck抯 work. SECTION III桯ooptedoodle (select at least 1 for your notebook and work on another for group presentation) In this section add material that has increased your appreciation of Steinbeck. -- Steinbeck films other than those shown in class (select one)桾ortilla Flat, The Grapes of Wrath and the 1939 or 1992 Of Mice and Men (in each case, entire film), Viva Zapata! --Televised East of Eden --Steinbeck抯 collaborations: A Russian Journal, Sea of Cortez --responses to Steinbeck's manuscripts, especially the 揕ong Valley Ledger� --unpublished letters in the CSS --film scripts/treatments for Lifeboat or Viva Zapata --Tom Collins reports --Steinbeck抯 journalism桳etters to Alicia, WWII dispatches. Also see America and Americans and Selected Nonfiction. Select at least 6 pieces to discuss. --Steinbeck and World War II: Bomb抯 Away, Lifeboat, The Moon is Down (play, film, or book) --Archive of letters sent to Steinbeck when he won the Nobel Prize --Documentary photography in the 1930s and 揟he Harvest Gypsies� --Sweet Thursday music (Pipe Dream) and novel. --The Forgotten Village and 揳ntiscript� --Ricketts� essays Students will turn in notebooks twice before submitting the final version with a minimum of 11 entries. After notebooks are returned to you in late February and early April, you may revise entries. But please consider a revision a rewriting/rethinking of original commentary. And please turn in both the original and revision, each clearly marked and clipped together in the notebook All final notebooks will be in binders and will include a Table of Contents. Remember: These entries are not to be summaries of books or articles; rather they should be thoughtful responses to the reading, to the critics, to the films. You will be graded on the specificity and thoughtfulness of your responses. In-class Presentations Working in groups of 3- 4, you will select something from Hooptedoodle梠r come up with a Hooptedoodle of your own. (which must be approved). The group will research background information about the topic and incorporate that into a creative presentation. Student presentations are meant to delight and inform the audience. Think of the best plays you抳e seen, the most thoughtful films, dance performances, art, lectures and presentations. Please consider that you are teaching your classmates about your topic, so a group might incorporate additional materials--letters, photographs, film clips, etc. Each group will meet on February 3 to discuss ideas/interests/Hooptedoodle choice. By February 15, I will ask each group to submit their choice for presentation. Please visit the CSS during that time to consider topics. Although most group meetings will be outside of class, I will also give you class time for discussion of your presentation. Each presentation will be no more than 10 minutes: FIRM. Each presentation will be thoughtfully evaluated by peers, and you should consider the points on the evaluation sheets carefully when preparing your presentation. Academic policies and English Department Student Learning Goals You are responsible for reading the 无忧短视频 academic polices available online: HYPERLINK "http://www.sjsu.edu/english/comp/policyforsyllabi.html"http://www.sjsu.edu/english/comp/policyforsyllabi.html STUDENT LEARNING GOALS (SLG on syllabus) In the Department of English and Comparative Literature, students will demonstrate the ability to: 1.牋牋� read closely in a variety of forms, styles, structures, and modes, and articulate the value of close reading in the study of literature, creative writing, and/or rhetoric; 2.牋牋� show familiarity with major literary works, genres, periods, and critical approaches to British, American and World Literature; 3.牋牋� write clearly, effectively, and creatively, and adjust writing style appropriately to the content, the context, and the nature of the subject; 4.牋牋� develop and carry out research projects, and locate, evaluate, organize, and incorporate information effectively; 5.牋牋� articulate the relations among culture, history, and texts. Texts To a God Unknown The Long Valley Tortilla Flat In Dubious Battle OPTIONAL: Of Mice and Men The Grapes of Wrath A Journey into Steinbeck抯 California Cannery Row Journal of a Novel Travels with Charley East of Eden Schedule January 27: Introduction; Steinbeck A&E biography February 1: Steinbeck抯 Valleys and Mountains: To a God Unknown. [SLG 1, 4] Ch 1-11 3: To a God Unknown Ch 12-20; Group meetings for presentations. [SLG: 1, 4] 8: To a God Unknown: Complete. The Long Valley, 揅hrysanthemums� [SLG: 1, 2] 10: The Long Valley: 揑 am writing many stories now. Because I should like to sell some of them, I am making my characters as nearly as I can in the likeness of men. The stream underneath and the meanings I am interested in can be ignored.�(LL 94) 揥hite Quail,� 揟he Snake,� 揟he Harness� 揟he Murder� [SLG: 1] 15: The Long Valley: 揊light� 揟he Vigilante� 揓ohnny Bear� [SLG: 1] 17: The Long Valley: 揟he Red Pony� [SLG: 1] 22: The Long Valley; 揟he Red Pony� and Aaron Copland抯 music. In Dubious Battle, CH 1-3 [SLG: 1, 5] 24: In Dubious Battle: CH 4-10. 揑t has three layers. Surface story, group-psychological structure, and the philosophic conclusion arrived at, not through statement but only through structure. I guess the first is all that will be seen though and it doesn抰 matter a damn.� (JS to Albee, 1934) [SLG: 1, 5] 27: Steinbeck抯 Birthday; celebration in Salinas. March 1: In Dubious Battle Complete [SLG: 1,5] PRESENTATION 1 [SLG 3, 4] 3: Of Mice and Men, (1/2) Text and film, opening scenes. [SLG 1,2 損lay-novelette擼 [NOTEBOOKS DUE: A-M. SLG 4] 8: Of Mice and Men Complete. [SLG 1, 2] [NOTEBOOKS DUE: N-Z. SLG 3, 4] 10: The Grapes of Wrath: Chapters 1-4; [SLG 1, 2, 5] 揟he Ghost of Tom Joad� Springsteen. 15: The Grapes of Wrath: Chapters 5-12. [SLG 1, 2, 5] PRESENTATION 2 [SLG 4] 17: The Grapes of Wrath, Chapters 13-22. [SLG, 1, 2, 5] 21 The Grapes of Wrath, Complete: 揟he Plow that Broke the Plains� and 揟alking Dust Bowl� [SLG 1, 2, 5] 23: The Grapes of Wrath and 揟he Plow that Broke the Plains� PRESENTATION 3 [SLG 4] SPRING BREAK, MARCH 28 TO APRIL 1 April 5: East of Eden: Part I. [SLG 1, 2, 5] PRESENTATION 4 [SLG 4] Journal of a Novel recommended. 7: East of Ede: Part II [SLG 1, 2] Journal of a Novel recommended 12: East of Eden Part III. [SLG 1, 2] Journal of a Novel PRESENTATION 5 [SLG 4] 14: East of Eden Part IV.[SLG 1,2] Journal of a Novel recommended 19: East of Eden film [SLG 1,5] PRESENTATION 6 [SLG 4] NOTEBOOKS DUE, N-Z (at least 8 entries). [SLG 3,4] 21: East of Eden film [SLG 1,5] NOTEBOOKS DUE, A-Z (at least 8 entries). [SLG 3, 4] Monterey Trilogy (minus Sweet Thursday] 26: Tortilla Flat [SLG 1,5] 28: Tortilla Flat [SLG 1,5] PRESENTATION 7 [SLG 4] May 3: Cannery Row. [SLG 1,5] 揂bout Ed Ricketts� and HYPERLINK "http://www.npr.org/templates/story/story.php?storyId=1252560" \o "http://www.npr.org/templates/story/story.php?storyId=1252560" http://www.npr.org/templates/story/story.php?storyId=1252560 5: Cannery Row. [SLG 1,5] PRESENTATION 8 [SLG 4] 10: Travels with Charley [SLG 1, 2, 5] 12: Travels with Charley [SLG 1,2, 5] PRESENTATION 9 [SLG 4] 17: Travels with Charley film [SLG 1,5] Steinbeck Country Tour. MAY 7 OR 14. Recommended Secondary Reading Principal Collections Bancroft Library, University of California, Berkeley, California. Bracken Library, Ball State University, Muncie, Indiana. Center for Steinbeck Studies, San Jose State University, California. Columbia University, New York, New York. Humanities Research Center, University of Texas, Austin, Texas. National Steinbeck Center, Salinas, California. Pierpont Morgan Library, New York, New York. Stanford University Library, Stanford, California. University of Virginia Library, Charlottesville, Virginia Selected Secondary Reading. Please select from the following or any essays published in scholarly journals in the past 10 years. See MLA bibliography. Astro, Richard. John Steinbeck and Edward F. Ricketts: The Shaping of a Novelist. Minneapolis: U of Minnesota P, 1973. Beegel, Susan F., Susan Shillinglaw, and Wesley N. Tiffney, Jr, eds. Steinbeck and the Environment: Interdisciplinary Approaches. Tuscaloosa: U of Alabama P, 1997. Benson, Jackson. ed. The Short Novels of John Steinbeck. Durham, NC: Duke UP, 1990. _____. The True Adventures of John Steinbeck, Writer. New York: Viking P, 1984. Bloom, Harold, ed. Introduction. Modern Critical Views: John Steinbeck. New York: Chelsea House, 1987. Coers, Donald V. John Steinbeck as Propagandist: The Moon is Down Goes to War. Tuscaloosa: U of Alabama P, 1991. DeMott, Robert. Steinbeck抯 Reading: A Catalogue of Books Owned and Borrowed. New York: Garland Reference, 1984. ______.Steinbeck抯 Typewriter: Essays on His Art. Troy, NY: Whitston , 1996. Ditsky, John. Critical Essays on Steinbeck抯 The Grapes of Wrath. Boston: Hall, 1989. ______. John Steinbeck and the Critics. Rochester, NY: Camden House, 2000. Everest, Beth and Judy Wedels. 揟he Neglected Rib: Women in East of Eden.� Steinbeck Quarterly 21.1-2 (1988): 13-23. Fensch, Thomas, ed. Steinbeck and Covici: The Story of a Friendship. Middlebury, Vermont: Paul S. Eriksson, 1979. Fiedler, Leslie. 揕ooking Back After 50 Years,� San Jose Studies 16.1 (1990): 54-64. Fontenrose, Joseph. John Steinbeck: An Introduction and Interpretation. New York: Barnes and Noble, 1963. French, Warren. A Companion to The Grapes of Wrath. NY: Viking, 1963. Rpt. NY: Penguin, 1989. ______. John Steinbeck. New York: Twayne, 1961. _____. John Steinbeck抯 Fiction Revisited. New York: Twayne, 1994. _____. John Steinbeck抯 Nonfiction New York: Twayne, 199 . Gladstein, Mimi. The Indestructible Woman in Faulkner, Hemingway, and Steinbeck. Ann Arbor, Michigan: UMI Research P, 1986. _____. "The Strong Female Principle of Good杘r Evil: The Women of East of Eden." Steinbeck Quarterly 24 (1991): 30-40. Hadella, Charlotte. Of Mice and Men: A Kinship of Powerlessness. Hayashi, Tetsumaro, ed. After the Grapes of Wrath, John Steinbeck, 1936-1939. Tuscaloosa: U of Alabama P, 1993. _____. Steinbeck抯 Women: Essays in Criticism. Steinbeck Monograph Series (9) 1979. 36-48. Heavilin, Barbara, ed. The Critical Response to John Steinbeck抯 The Grapes of Wrath. Westport: Greenwood P, 2000. Jones, Lawrence William. John Steinbeck as Fabulist. Ed. Marston LaFrance. Steinbeck Monograph Series, No. 3. Muncie, IN: Ball State University/John Steinbeck Society of America,1973. Lewis, Cliff and Carroll Britch. Rediscovering Steinbeck: Revisionist Views of His Art, Politics and Intellect. Lewiston, NY: Mellen, 1989. Lieber, Todd M. 揟alismanic Patterns in the Novels of John Steinbeck.� American Literature 44 (1972): 262-75. Lisca, Peter. Nature and Myth. New York: Crowell, 1978. _____. The Wide World of John Steinbeck. New Brunswick: Rutgers UP, 1958. McElrath, Joseph, Jr., Jesse S. Chrisler, Susan Shillinglaw, eds. John Steinbeck: The Contemporary Reviews. Cambridge: Cambridge UP: 1996. Millichap, Joseph R. Steinbeck and Film. New York: Frederick Unger, 1983. Noble, Donald, ed. The Steinbeck Question: New Essays in Criticism. Troy, NY: Whitston,1993. Owens, Louis. John Steinbeck抯 Re-Vision of America. Athens: U of Georgia P, 1985. _____. 揟he Mirror and the Vamp: Invention, Reflection and Bad, Bad Cathy Trask in East of Eden.� Writing the American Classics. Ed. James Barbour and Tom Quirk. Chapel Hill: U of North Carolina P, 1990. 235-57. _____. The Grapes of Wrath: Trouble in the Promised Land. Boston: Twayne, 1989. Parini, Jay. John Steinbeck: A Biography. New York: Henry Holt, 1995. Railsback, Brian. Parallel Expeditions: Charles Darwin and the Art of John Steinbeck. Moscow: U of Idaho P, 1995. Rucklin, Christine. 揝teinbeck and the Philosophical Joads,� Steinbeck Newsletter 10.1 (1997): 11-13. Simmonds, Roy S. John Steinbeck: The War Years, 1939-1945. Lewisburg: Bucknell UP, 1996. Timmerman, John H. John Steinbeck's Fiction: The Aesthetics of the Road Taken. Norman and London: U of Oklahoma P, 1986. _______. The Dramatic Landscape of Steinbeck's Short Stories. Norman: University of Oklahoma P, 1990. Wyatt, David, ed. New Essays on The Grapes of Wrath. 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