1.
124
WEST
79TH
STREET,
SUITE
1B,
NEW
YORK,
NY
10024
PHONE
(212)
580-­‐0080
Academics
West
Summer
2015
M-­‐F,
1:00
–
2:00
pm
Zachary
Tutlane
zack@academicswest.com
302-­‐897-­‐5194
AW
English:
Textual
Analysis
and
the
Creation
of
Literary
Meaning
Welcome
and
Introduction
Welcome
to
Academics
West.
My
name
is
Zachary
Tutlane;
I’ll
be
your
instructor.
In
Textual
Analysis
and
the
Creation
of
Literary
Meaning
we
will
examine
a
variety
of
texts:
from
the
short
story,
to
the
novel,
to
poetry
and
the
critical
essay
(and
possibly
some
cinema).
The
aim
of
this
course
is
to
provide
you
with
a
toolbox
of
critical
approaches
with
which
to
conduct
textual
analysis.
While
segments
of
the
course
may
require
close
reading
and
traditional
interpretation
(of
imagery
and
character,
for
instance),
we
will
also
become
familiar
with
elements
of
basic
literary
theory,
which
will
provide
you
with
more
advanced
and
increasingly
critical
methods
of
analysis.
Specifically,
as
we
move
through
the
course,
the
focus
will
often
return
to
“intertextuality”
–
that
is,
the
way
texts
“speak”
to
one
another,
generating
meaning
within
the
spaces
(temporal,
generic)
between
them.
Course
Goals
• Understand
and
be
able
to
articulate
the
ambiguities
inherent
in
signification.
• Understand
and
be
able
to
articulate
the
functions
of
irony,
parody,
and
satire.
• Ability
to
recognize
double-­‐voiced
discourse,
as
articulated
in
parody,
etc.
• Ability
to
compare
and
contrast
aesthetic
approaches
to
similar
themes:
(Heart
of
Darkness/Apocalypse
Now,
for
instance).
• Work
through
more
difficult
theoretical
approaches
through
responses
(HW),
which
we
will
then
discuss.
• Incorporate
at
least
one
critical
approach,
and
at
least
one
primary
text,
in
final
paper.
Attendance
and
Make
Up
Work
Attendance
is
based
on
the
Academics
West
attendance
guidelines
and
can
be
altered
with
Director
approval.

2.
124
WEST
79TH
STREET,
SUITE
1B,
NEW
YORK,
NY
10024
PHONE
(212)
580-­‐0080
Course
Requirements
and
Grading
In
order
to
fulfill
the
requirements
of
the
course,
Max
should
attend
class,
which
will
combine
lecture
(and
occasional
discussion)
and
reading/examining
specific
passages
from
texts.
Homework
will
include
one
novel,
which
he
will
select
during
our
first
or
second
session
and
read
throughout,
eventually
writing
on
for
the
final
paper,
along
with
a
less
formal
response
question,
which
will
be
short
(1-­‐2
pages
in
length).
Class
attendance/participation
will
provide
30%
of
his
final
grade;
Response
paper
will
provide
15%;
and
the
final
paper
will
55%.
RUBRIC
FOR
FINAL
PAPER
(5-­‐7
PAGES)
=
20%
-­‐-­‐
Thesis
25%
-­‐-­‐
Grammar/Sentence
structure
15%
-­‐-­‐
Vocabulary
40%
-­‐-­‐
Structure/strength
of
argument
I
can
be
reached
at
any
time
via
email
or
telephone.
Information
is
at
the
top
left
corner
of
this
syllabus.
The
materials
listed
below
may
not
ALL
be
utilized.
Further,
if
Max
has
suggestions
that
fit
in
with
our
aims,
I
welcome
that
–
particularly
with
regard
to
the
novel,
which
he
will
be
bringing
home
and
using
for
his
final
paper.
SHORT
STORIES
“The
Nose”,
Gogol.
“In
the
Penal
Colony”,
“Before
the
Law”,
Kafka.
“Everything
that
Rises
Must
Converge”,
O’Connor.
“The
Lottery”,
Jackson.
“Where
are
You
Going,
Where
Have
You
Been?”,
Joyce
Carol
Oates.
“A
Small,
Good
Thing”,
Carver.
ESSAYS
“A
Modest
Proposal”,
Swift.

3.
124
WEST
79TH
STREET,
SUITE
1B,
NEW
YORK,
NY
10024
PHONE
(212)
580-­‐0080
“On
Truth
and
Lying
in
a
Nonmoral
Sense”,
Nietzsche.
“The
Futurist
Manifesto”,
Marinetti.
The
Work
of
Art
in
the
Age
of
Mechanical
Reproduction”,
Benjamin.
Selections
from
Mythologies,
Barthes.
“Notes
on
Camp”,
Sontag
Selections
from
Orientalism,
Said.
Selections
from
Postmodernism
or,
The
Cultural
Logic
of
Late
Capitalism,
Jameson.
POETRY
“There
Is
a
Garden
in
Her
Face”,
Campion.
“Sonnet
130”,
Shakespeare.
“To
His
Coy
Mistress”,
Marvell.
“Porphyria’s
Lover”,
Browning.
“The
Second
Coming”,
“Easter,
1916”,
Yeats.
“The
Love
Song
of
J.
Alfred
Prufrock”,
Eliot.
“Earthy
Anecdote”,
Stevens.
“The
Negro
Speaks
of
Rivers”,
selections
from
Montage
of
a
Dream
Deferred,
Hughes.
DRAMA
Oedipus
Rex,
Sophocles.
Medea,
Euripides.
Macbeth,
Hamlet,
Shakespeare.
NOVELS
The
Sorrows
of
Young
Werther,
Goethe.
Notes
from
Underground,
Dostoyevsky
Heart
of
Darkness,
Conrad.
To
the
Lighthouse,
Woolf.
Lolita,
Nabokov.
EPIC
The
Odyssey/
The
Iliad,
Homer
The
Aeneid,
Virgil
Divina
Commedia,
Dante
Alighieri
Required
Texts
Max
is
only
required
to
have
the
novel
he
chooses
to
bring
home
and
use
for
his
final
paper.
The
other
poems,
essays,
and
short
stories
are
either
available
at
the
Annex
or
are
easily
accessible
on
the
Web.

4.
124
WEST
79TH
STREET,
SUITE
1B,
NEW
YORK,
NY
10024
PHONE
(212)
580-­‐0080
7/6-­‐7/10
Introductions,
First
Essay,
Short
Stories
Nietzsche,
“On
Truth
and
Lying”,
Kafka,
“Before
the
Law”
,
“In
the
Penal
Colony”
Jackson,
“The
Lottery”;
Gogol,
“The
Nose”
“Everything
that
Rises
Must
Converge”,
O’Connor.
HW:
Begin
novel;
Annotate
in
whatever
way
works
for
you.
7/13-­‐7/17
The
Epic
Tradition,
Essay
Development
The
Odyssey/The
Iliad,
Homer
(excerpts)
The
Aeneid,
Virgil
(excerpts)
Divina
Commedia,
Dante
(excerpts)
Ulysses,
Joyce
(excerpts)
HW:
Continue
novel
Optional
(short
stories
II):
“The
Dead”,
James
Joyce
“Where
are
You
Going,
Where
Have
You
Been?”,
Joyce
Carol
Oates.
“A
Small,
Good
Thing”,
Carver.
7/20-­‐7/24
Writing
I;
The
Essay
I
Rp#1:
What
is
the
function
of
tradition
in
Shirley
Jackson’s
“The
Lottery”?
Why
do
you
think
its
publication
triggered
such
vitriolic
backlash?
Developing
the
essay
response:
In-­‐class
scaffolding:
• Separating
sections
of
prompt.
• Focus
on
key
words:
Etymologies,
word
(concept)
clusters.
• Address
major
thrust
of
the
question:
What
assumptions
inhere?
Who
is
posing
the
question,
and
to
whom
is
it
posed?
What
isn’t
stated?
• Context:
historical,
social.
How
does
context
contribute
to
or
create
meaning
in
the
text?

5.
124
WEST
79TH
STREET,
SUITE
1B,
NEW
YORK,
NY
10024
PHONE
(212)
580-­‐0080
“The
Futurist
Manifesto”,
Marinetti.
Selections
from
Mythologies,
Barthes.
“The
Work
of
Art
in
the
Age
of
Mechanical
Reproduction”,
Benjamin.
Selections
from
Orientalism,
Said.
Selections
from
Postmodernism
or,
The
Cultural
Logic
of
Late
Capitalism,
Jameson.
HW:
Continue
novel.
RP
#1
should
be
complete
by
Friday.
7/27-­‐7/31
The
Essay
II
“A
Modest
Proposal”,
Swift.
“Notes
on
Camp”,
Sontag
“E
Unibus
Pluram:
Television
and
U.S.
Fiction”,
David
Foster
Wallace
A
Theory
of
Parody,
Hutcheon.
(excerpts)
HW:
Continue
novel.
8/3-­‐8/7
Poetry
I;
Writing
II
“There
Is
a
Garden
in
Her
Face”,
Campion.
“Sonnet
130”,
Shakespeare.
“To
His
Coy
Mistress”,
Marvell.
“Porphyria’s
Lover”,
Browning.
Begin
development
of
thesis
for
final
(class-­‐time)
• More
formal
approach;
allot
more
time
for
development.
• Thesis
• Select
secondary
source
• List
of
possible
quotations
(cite
all
in
MLA
Style)
• Outline
HW:
Continue
novel.
Rough
outline
for
paper
should
be
in
place
by
8/10.
8/10-­‐8/14
Poetry
II;
Writing
III
“The
Second
Coming”,
“Easter,
1916”,
Yeats.
“The
Love
Song
of
J.
Alfred
Prufrock”,
Eliot.
“Earthy
Anecdote”,
Stevens.
“The
Negro
Speaks
of
Rivers”,
selections
from
Montage
of
a
Dream
Deferred,
Hughes.

6.
124
WEST
79TH
STREET,
SUITE
1B,
NEW
YORK,
NY
10024
PHONE
(212)
580-­‐0080
Continuing
final
paper
(class-­‐time)
• Review/refine
outline
• Select
pertinent
quotations
to
be
incorporated;
that
add
evidence
and
support
argument.
• Begin
first
draft;
paragraph
by
paragraph
HW:
Novel
should
be
complete
by
now.
Return
to
highlighted,
annotated
passages
and
reread
them
in
light
of
the
final
essay.
Thesis
should
be
well
in
place,
and
first
draft
should
be
ready
for
review
on
8/17.
8/17-­‐8/21
Drama
(Classical);
Writing
IV
Oedipus
Rex,
Sophocles.
Medea,
Euripides.
Final
paper
-­‐-­‐refine
(class-­‐time):
• Review
first
draft.
What
can
be
elided?
What
elements
of
the
argument
need
to
be
strengthened?
• Refine
overall
structure.
Does
the
argument
proceed
logically?
• Refine
grammar
and
sentence
structure.
• Intro
and
Conclusion.
• Works
cited/consulted
(MLA
Style)
HW:
Finish
formatting
final
paper;
make
any
last
minute
changes.
Bring
in
“Final”
iteration
on
Monday
8/24
(even
then
we
will
review
it
together;
if
it
requires
further
modification
we
will
work
together
to
iron
out
any
lingering
difficulties
the
week
of
8/24-­‐8/28).
8/24-­‐8/28
Drama
(Shakespearean)
Macbeth;
Hamlet,
Shakespeare.
Shakespeare:
The
Invention
of
the
Human,
Bloom
Hamlet,
Poem
Unlimited,
Bloom
HW:
Final
Draft
due
8/28.