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E 349S Ernest Hemingway E 349S l Ernest Hemingway Instructor: Cox, J Areas: F or H Unique #: 35455 Flags: Writing Semester: Spring 2017 Restrictions: N/A Cross-lists: N/A Computer Instruction: N/A Prerequisites: Six semester hours of upper-division coursework in English. Description: In this course we will devote ourselves to a study of the author and celebrity Ernest Hemingway, the winner of the 1954 Nobel Prize for Literature. We will read short fiction, novels, and non-fiction from throughout his entire career, beginning with the Paris years, including In Our Time, The Sun Also Rises, and the posthumously published A Moveable Feast. The semester ends with the last book published during his life: the wildly celebrated, Pultizer-prize winning novel The Old Man and the Sea. We will take formal, historical, literary historical, and cultural approaches to all these works and discuss, for example, Hemingway the stylist; Hemingway as the voice of the Lost Generation; and Hemingway as an icon of American masculinity. We will also consider issues such as race, nationality, class, and religion that permeate his writing. During a week in the archives at the Harry Ransom Center, we will get a close look at Hemingway’s writing process and family life. Primary goals of the course include closely examining from the aforementioned perspectives the main concerns and features of Hemingway’s work as well as strengthening your critical reading and writing skills. Texts: The Sun Also Rises (1926) A Farewell to Arms (1929) The Short Stories: The First Forty-Nine Stories (1938) [includes the collections In Our Time (1925), Men Without Women (1927), and Winner Take Nothing (1933)] For Whom the Bell Tolls (1940) The Old Man and the Sea (1952) A Moveable Feast (1964) [not the Restored Edition published in 2009] Requirements & Grading: ATTENDANCE: You should plan to attend every class. Every absence after 4 will lower your final grade 3 points on the grading scale; it is not possible to earn credit for the course if you miss more than 9 classes. Please do not be late to class, as being late is disruptive and disrespectful to your classmates. Also, this class has a no screens policy. Please do not bring laptop computers to class and be sure to turn off your cell phones and any other electronic device you have before class begins. CLASS PARTICIPATION AND IN-CLASS WRITING: Please come to each class having read the assignment for that day. I encourage you to prepare questions and thoughtful comments in advance of class time so that you can participate fully in class discussion. To get ready for class, you might try these strategies: list by page number the references to repeated words or recurring images in the reading for the day; identify key passages in the narration or in dialogue; make notes on the descriptions of characters and/or settings; make a list of allusions the authors make to other literary or popular culture works or to historical events; and/or identify specific narrative strategies, such as point-of-view, stream-of-consciousness, or interior monologue. On some occasions, I will ask you to respond briefly in writing to a question about the reading for the day. PRESENTATION: I will ask each one of you to facilitate class discussion one day during the semester. For this assignment, please plan to speak for at least five but no more than ten minutes solely about the reading assignment for that day. There are several possible formats for your presentation. For example, you might focus your discussion on a single word or a phrase, sentence, or line of dialogue that figures prominently in your interpretation of the reading, or you might identify and analyze a pattern of words or images. In your presentation, please explain at least one cultural or historical reference that Hemingway uses in the reading for that day. A third possibility, therefore, is to present to the class an interpretation based on the cultural or historical context that you have identified as crucial to our understanding of the story. You are also welcome to watch film adaptations of Hemingway’s work and present to the class your critical assessment of the adaptation. No matter what approach you take, your main goal should be to share insights and incisive questions about the reading. NOTE: The presentations give you the opportunity to test ideas that you plan to consider in your essays. OFFICE HOURS VISIT: One approximately fifteen- to twenty-minute visit to my office hours is required following the return of your first essay. We will use this time to discuss the essay and any questions you have about my responses. If you are enrolled in a class that meets during my office hours, we will schedule another time to meet. FIVE-PAGE ESSAYS: Two (2) five-page, double-spaced analyses of a specific issue (literary, cultural, historical, political, etc.) or problem in one of the works we are reading. These papers should include an introduction with a general outline of your argument and its main points and a clear, specific thesis or claim statement. In addition, the writing should be clearly focused, well-organized, well-polished, and demonstrate careful reading of the text that you discuss. Please use one-inch margins and twelve-point type, preferably Times New Roman, and correct MLA format. Please see the essay due dates in the daily class schedule below. Each paper needs to focus on one of the works we have read since the previous essay was due. ALSO, PLEASE SUBMIT ALL ESSAYS TO ME VIA E-MAIL WITH THE TITLE OF THE DOCUMENT IN THIS FORMAT: LAST NAME ESSAY #1.DOC or LAST NAME ESSAY #2.DOC. I will respond to them using the insert comment function of MS Word and send them back to you electronically. ONE 6-8 PAGE SUBSTANTIAL REVISION OF A FIVE-PAGE ESSAY: This assignment involves a substantial rewriting and re-envisioning of one of the two five-page essays. One required component of this assignment is that you add a second book to your argument. My written comments on the graded essay should help you decide how to proceed. Additional discussion of the paper during my office hours will also help you prepare for this assignment. SEE DUE DATE IN THE DAILY CLASS SCHEDULE BELOW. PLEASE SUBMIT THIS ESSAY VIA E-MAIL, TOO, WITH THE DOCUMENT TITLE IN THE SAME FORMAT: LAST NAME ESSAY #3.DOC. For those of you who are concerned about your writing, determined to earn a high grade in the class, and/or interested in working on your writing skills, I will be happy to discuss your assignments in advance of the due date and will read one rough draft of your paper assignments. In addition, I have graded papers from other classes that you can read in order to get some sense of how I grade. Grades: Plus/minus grades will be assigned. Your overall grade will be calculated in the following way: Two (2) 5-page essays – 60% total One 6-8 page substantial revision of a 5-page essay – 20% total Attendance, class participation (quality and quantity), in-class writing, required office hour visit, presentation – 20% total Grading Scale [per university rules, no rounding up]: A 94-100 C+ 77-79 D- 61-63 A- 90-93 C 74-76 F 0-60 B+ 87-89 C- 70-73 B 84-86 D + 67-69 B- 80-83 D 64-66 Schedule: Week 1 (January 16 – January 20) T Jan 17 Introduction: Biography and Background TH Jan 19 Introduction: The Short Stories In Our Time, the first short story collection The Nick Adams stories The first short story: “Up in Michigan,” 1923 (The Short Stories, 81-86) Week 2 (January 23 – January 27) T Jan 24 In Our Time, “On the Quai” - “The Three-Day-Blow” and all inter-stories (The Short Stories, 87-125) TH Jan 26 In Our Time, “Chapter V” - “Out of Season” and all inter-stories (The Short Stories, 126-179) Week 3 (January 30 – February 3) T Jan 31 In Our Time, “Chapter XII” - “L’Envoi” and inter-stories (The Short Stories, 180-233) TH Feb 2 A Moveable Feast, “Preface” - “The End of an Avocation” Week 4 (February 6 – February 10) T Feb 7 A Moveable Feast, “Hunger Was Good Discipline” - “There is Never Any End to Paris” TH Feb 9 “Don’t Touch ‘A Moveable Feast’” by A. E. Hotchner Essay Day: Guidelines, Expectations, Questions, Concerns Week 5 (February 13 – February 17) T Feb 14 The Sun Also Rises, Chapters 1-16 TH Feb 16 The Sun Also Rises, Chapters 17-19 (to end) FIRST FIVE-PAGE ESSAY DUE BY 11:59 PM TOMORROW Week 6 (February 20 – February 24) T Feb 21 Nick Adams stories from Men Without Women “In Another Country” (The Short Stories, 267-272) “The Killers” (The Short Stories, 279-289) “Ten Indians” (The Short Stories, 331-336) TH Feb 23 Nick Adams stories from Men Without Women “An Alpine Idyll” (The Short Stories, 343-349) “Now I Lay Me” (The Short Stories, 363-371) and “Hills Like White Elephants” (The Short Stories, 273-278) Week 7 (February 27 – March 3) T Feb 28 Historical Context: “The Agony of Caporetto,” 1964 CBS News documentary TH Mar 2 A Farewell to Arms, Chapters I-XVII Week 8 (March 6 – March 10) T Mar 13 A Farewell to Arms, Chapters XVIII-XXX TH Mar 17 A Farewell to Arms, Chapters XXXI-XLI (to end) Week 9 (March 13 – March 17): SPRING BREAK Week 10 (March 20 – March 24) T Mar 21 Harry Ransom Center TH Mar 23 Harry Ransom Center Week 11 (March 27 – March 31) T Mar 28 Nick Adams stories from Winner Take Nothing “The Light of the World” (The Short Stories, 372-401) “A Way You’ll Never Be” (The Short Stories, 402-439) “Fathers and Sons” (The Short Stories, 440-499) and “A Clean, Well-Lighted Place” (The Short Stories, 379-383) TH Mar 30 “The Snows of Kilimanjaro,” Esquire, August 1936 (The Short Stories, 52-77) “The Short Happy Life of
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