PRESENTATIONS FOR CPLT 325 WORLD LITERATURE FROM 1650, CSU FULLERTON SPRING 2015 (05/08/15)
INSTRUCTIONS FOR THE PRESENTATIONS REQUIREMENT
Most sessions will feature one or more student presentations that will give you a chance to hear different perspectives on the course readings. Your presentations will also help me determine the direction my own comments, encouraging me to respond to your ideas rather than lecture continuously. See the syllabus for the presentation requirement's value as a percentage of the course grade.
1. Look over the authors or texts on our syllabus and then, next to your name on the roll sheet I will pass around on the first or second day of class, suggest a few authors/texts that you might like to present on -- it's usually a good idea not to choose the first author or two on the syllabus because that gives you little time to reflect and prepare. I'll try to give you the choices you have made, to the extent that the schedule permits. Each student will give one presentation. Be aware that if you choose only very popular authors or texts, I may need to schedule you for something different.
2. Within several days after signing up, check the schedule on this page to see when and on which author/s you are slated to present. Make sure you read the relevant assigned texts early.
3. One week before the in-class presentation, email me a written draft of the remarks you plan to make about the author/question you've been assigned. This draft should be proofread and spell-checked; it should also be substantive and refer to the actual language of the text being discussed, with page numbers, act/scene/line, or verse lines provided as appropriate. I will email you comments either suggesting how the presentation might be improved or affirming that what you've written sounds fine. If, however, my return comments on the draft you sent me suggested revisions, email me a final version at least one day before you present in class.
4. How to develop your ideas for a presentation -- since there are no specific study questions to work from for this course, you will need to generate questions of your own. Even so, that shouldn't be a problem -- remember that good critics, at base, are people who tell interesting "stories" about fiction or poetry or drama. They register something that catches their own interest, something they find significant, about a given work of art, and they manage to convey that "something" with clarity and insight. I'm not looking for presentations that sound like they were borrowed from some online "answers" site, and I'm not looking for a lot of biographical material either. Instead, I and your colleagues would really prefer to hear your own ideas about some aspect of the chosen text. Example: if I were going to do a presentation on Matsuo Basho, I might think to myself, "Well, this author's work is something of a travel narrative -- it's about a trip he took along a storied route, one saturated with history. At the same time, it's also sort of a spiritual journey, so it's interesting to concentrate on the latter kind of trip: what prompted Basho to go on this adventure or pilgrimage, and how did it affect him as he went from one place to the next? Is there any one particular part of the narrative that I found most enlightening about the questions I've just asked myself? Those basic questions might be the basis for developing my comments. Similarly, if I were going to work up a presentation on Dostoyevsky's Notes from Undergound,, I might just do something rather eccentric, like concentrate closely on one or several of those rascally friends of the narrator -- the ones who snub him in every possible way, yet whose approval or recognition he seems to need. What can I say about them that might not be obvious to others? I could make that my goal. And so on -- the point is to find out what interests you and then run with it.
5. On the scheduled day and when we reach the appropriate point in our discussion, I will ask you to come to the front of the class and give the most up-to-date version of your presentation. Your presentation should take about five minutes. Some students prefer to read their comments lecture-style, while others prefer to depart from the full written version and speak from a separate outline. If you read from prepared remarks, how long should they be? I'll use my own pace as an example: I speak at an average rate of 130 words per minute when I read conference papers. So a 5-minute presentation would run 650 words. Tips: at the outset of your presentation, very briefly explain the topic you have chosen to address. Address the entire class, and remind us of page numbers when you quote. Speak firmly and slowly enough so that everyone can follow. It's best to avoid bringing technology such as Powerpoint into play given the presentations' brevity. Still, I am open to creative ideas. I will not grade your in-class performance closely -- it's easy to do well if you prepare in advance and make a good effort, and your colleagues will be supportive. Completing the in-class component is 70% of the grade for each presentation; the emailed draft and potential revision is 30%.
6. Please check the schedule below on this page to verify the current status of your in-class presentation. Within a few days after you've completed both, next to your name should appear the notation (Presentation completed). If you see other notations as indicated below in "How I Evaluate Presentations," please contact me by email.
HOW I EVALUATE PRESENTATIONS
I will judge presentations on the following grounds: did the student 1) email me a timely advance final draft so that I can offer advice and determine the course of my own comments? and 2) seem to have put genuine effort into preparing rather than treating the presentation as a barren "answer" to a stale question. Students who do those two things will receive an "A" for the presentations requirement. I am not going to grade presentations so much on in-class factors as on how well students prepare and (again, if necessary) follow up. I will indicate whether students have completed the requirements: (Presentation completed), (Presented in Class but no written version), (Missed Presentation), (Rescheduled Presentation).
MISSED PRESENTATIONS / RESCHEDULING PRESENTATIONS
If you find that you will be unable to make it to class for one of your scheduled presentations, please let me know in advance if possible. So long as you have provided me with a timely advance draft of your remarks (I usually print them out and bring them to class), I will read the presentation for you and give you partial credit for the "in-class" portion of the presentation grade. If you haven't provided me with a final advance draft, I will not read it in class. In such cases, rescheduling on a new author or text may be possible at my discretion and if the schedule allows.
SESSION SCHEDULE: WORKS DISCUSSED ON DATES INDICATED
Tu. 01/20. Course Introduction.
Tu. 01/22. Matsuo Basho. The Narrow Road to the Deep North (Vol. D, 616-28). Read also Vol. D, 613-15 introduction, "The World of Haiku."
Tu. 01/27. Ihara Saikaku. The Life of a Sensuous Woman (Vol. D, 591-611). Read also "Early Modern Japanese Popular Literature" (Vol. D, 585-90).
Th. 01/29. Section "What is Enlightenment?": Samuel Johnson through Denis Diderot/Jean D'Alembert (Vol. D, 101-27). Read also the introduction: "The Enlightenment in Europe and the Americas" (Vol. D, 91-99).
Tu. 02/03. Section "What is Enlightenment?" Benjamin Franklin through the Marquis de Sade (Vol. D, 127-40 -- i.e. read all the selections in this section on the Enlightenment). Read also the introduction: "The Enlightenment in Europe and the Americas" (Vol. D, 91-99).
Th. 02/05. Voltaire. Candide, Chapters 1-18 (Vol. D, 355-85).
KAYLA DUFOUR. (Presentation Completed.)
Tu. 02/10. Voltaire. Candide, Chapters 19-30 (Vol. D, 385-413).
BERLIN EDMOND, JR.. (Presentation Completed.)
Th. 02/12. Johann Wolfgang von Goethe. Faust (Vol. E, 102-32). Read also Section Intro: "An Age of Revolutions in Europe and the Americas" (Vol. E, 3-21).
Tu. 02/17. Th. 02/12. Johann Wolfgang von Goethe. Faust (Vol. E, 132-76).
Th. 02/19. Johann Wolfgang von Goethe. Faust (Vol. E, 176-208).
NICHOLAS GORMAN. (Presentation Completed.)
JOURNAL SET 1 DUE BY EMAIL TUESDAY 02/24; SEE INSTRUCTIONS. (Reminder: this set includes Basho through and including Goethe. Please expect an email from me verifying receipt of this and subsequent journal sets.)
Tu. 02/24. Romanticism: William Blake's "The Tyger" ( Vol. E, 339) and "London" (Vol. E, 340); Friedrich Hölderlin's "The Half of Life" (343), "Hyperion's Song of Fate" (343-44), "Brevity" (344), "To the Fates" (344); William Wordsworth's "…Tintern Abbey" (351-54); Samuel Taylor Coleridge's "Kubla Khan" (379). Read also "Romantic Poets and Their Successors" (322-25).
MELISSA SARDINA ON BLAKE. (Presentation Completed.)
BRIANNA WOODS ON WORDSWORTH. (Presentation Completed.)
JAEL ORTEGA ON COLERIDGE. (Presentation Completed.)
Th. 02/26. Romanticism, continued: Heinrich Heine's selections (415-17) and Giacomo Leopardi's selections (418-20). Charles Baudelaire's selections from The Flowers of Evil (466-80).
KENNETH MAGHIRANG ON HOLDERLIN -- WE WILL HAVE READ THIS POET BY TUESDAY, BUT WILL SAVE DISCUSSION FOR TODAY. (Presentation Completed.)
MARISSA ISRAEL ON BAUDELAIRE. (Presentation Completed.)
Tu. 03/03. Fyodor Dostoyevsky. Notes from Underground, Part I entire and Part II, Chapters 1-3 (Vol. E, 635-708). Read also introduction, "Realism Across the Globe" (Vol. E, 625-74).
TAYLER REINHART. (Presentation Completed.)
Th. 03/05. Fyodor Dostoyevsky. Notes from Underground, Part II, Chapters. 4-10 (Vol. E, 635-708).
Tu. 03/10. Leo Tolstoy. "The Death of Ivan Ilyich," Chapters I-VI (Vol. E, 740-64).
SAMUEL ORTIZ. (Presentation Completed.)
Th. 03/12. Leo Tolstoy. "The Death of Ivan Ilyich," Chapters VII-XII (Vol. E, 764-78).
MYLES GARCIA. (Presentation Completed.)
Tu. 03/17. Anton Chekhov. The Cherry Orchard, Acts 1-2 (Vol. E, 850-72).
Th. 03/19. Anton Chekhov. The Cherry Orchard, Acts 3-4 (Vol. E, 872-89).
JOURNAL SET 2 DUE BY EMAIL THURSDAY 03/26; SEE INSTRUCTIONS. (Reminder: this set includes Blake through and including Chekhov.)
Tu. 03/24. Rabindranath Tagore. "Punishment" (Vol. E, 893-99) and "Kabuliwala" (Vol. E, 899-904).
YARITZA GARCIA. (No Presentation.)
Th. 03/26. Higuchi Ichiyo. "Separate Ways" (Vol. E, 907-13).
NATALIE KERAMATI. (Presentation Completed.)
Tu. 03/31. Spring Recess. No classes all week.
Th. 04/02. Spring Recess. No classes all week.
Tu. 04/07. Franz Kafka. The Metamorphoses, Chapters 1-2 (Vol. F, 210-31). Read also the introduction, "Modernity and Modernism, 1900-1945 (Vol. F, 3-13).
Th. 04/09. Franz Kafka. The Metamorphoses, Chapter 3 (Vol. F, 231-41).
SARAH PALIANI. (Presentation Completed.)
Tu. 04/14. Bertolt Brecht. The Good Woman of Setzuan, Prologue and Scenes 1-6a (Vol. F, 434-69).
Th. 04/16. Bertolt Brecht. The Good Woman of Setzuan, Scenes 7-10, Epilogue (Vol. F, 469-87).
RACHEL MCCLAREN. (No Presentation.)
JOURNAL SET 3 DUE BY EMAIL THURSDAY 04/23; SEE INSTRUCTIONS. (Reminder: this set includes Tagore through and including Brecht.)
Tu. 04/21. Jorge Luis Borges. "The Garden of Forking Paths" (Vol. F, 489-98).
QUESIA ALCARAZ. (Presentation Completed.)
Th. 04/23. Federico Garcia Lorca. "Lament for Ignacio Sanchez Mejias" (Vol. F, 577-83). Pablo Neruda. Read all selections (Vol. F, 585-99). Octavio Paz. "I Speak of the City" (Vol. F, 634-37).
RICHARD LINKLATER ON GARCIA LORCA. (Presentation Completed.)
CRISTINA RODRIGUEZ ON NERUDA. (Presentation Completed.)
Tu. 04/28. Nawal el Saadawi. "In Camera" (Vol. F, 1106-15). Nguyen Huy Thiep. "The General Retires" (Vol. F, 1210-23). Read also introduction "Contemporary World Literature" (Vol. F, 925-32).
QUINCEY AUSTELL ON EL SAADAWI. (Presentation Completed.)
LINDA TRAN ON HUY THIEP. (No Presentation.)
Th. 04/30. Ngugi Wa Thiong'O. "Wedding at the Cross" (Vol. F, 1038-49).
RACHEL MCCLAREN. (No Presentation.)
Tu. 05/05. Wole Soyinka. Death and the King's Horseman, Scenes 1-3 (Vol. F, 1051-78).
ARIADNA MARTINEZ. (No Presentation.)
Th. 05/07. Wole Soyinka. Death and the King's Horseman Scenes 4-5 (Vol. F, 1078-98).
JOURNAL SET 4 DUE BY EMAIL EXAM DAY; SEE INSTRUCTIONS. (Reminder: this set includes Borges through and including Soyinka.)