COURSE DESCRIPTION

This course focuses on major works in the Modernist literary canon that exhibit in one form or another—psychological, social, cultural, artistic—a condition of discontent. The dis- in “discontent” should be read not as a concellation of contentment but an orientation toward the contentedness of disorientation (dis- can mean "apart, in a different direction, between"). Modernist forms evolved around the experience of dislocation and distraction that makes content uneasy (content as in what’s inside our important ideas and concepts, but also content as in how we feel about these ideas, how content they make us feel). The Bildungsroman comes to be, in the modernist epoch, the pre-eminent form of disharmony, while the high modernist poem expresses the discontinuous pastiche of a tradition. The Modernist artist-hero might well be described as a malcontent (or miscreant) who strikes out against the accepted modes of being content with one’s lot and oneself. His discontentment is a sign of authenticity, for he “kicks at the pricks” of artistic and ideological norms. In many different ways throughout the works we will study, the modernist hero and the modernist author resist contentment in the sense of “embodying the norm” and seek instead to turn away from the norm (dis as in “do the opposite of”) and “to live as the norm,” as if the norm could be created from within one’s own experience (i.e., autotelically). It may well be that the reader’s discontent plays a fundamental role in the creation of Modernist literature, or at least the solicitation of that discontent, for which there is ample evidence from Wilde to Benjamin. Subtending all of this is a logic of misrecognition that draws on the philosophical tradition of idealism (particularly Hegel) and finds an innovative place at the heart of modernist critical theory (especially in Adorno) and Freudian psychoanalysis. The origins of Modernism well and truly are in the land of Dis.

Eng. 478 //\\ 25586

Twentieth-century British and Irish Literature

Modernism and Its

Discontents

Spring 20111:30-2:45 TTh *

Professor Gregory Castle E-mail:dedalus@asu.edu

Office: LL 202A; Ph. 965-0856Off. Hrs: T Th 3-4 & by appt.

This course fulfills the Literacy and the upper-division Humanities requirements for General Studies. Students who finish this course should be able to:

describe and exemplify the chief characteristics of Modernism (in literature as well as in the culture at large) in a critical context (chief measure: exams)

synthesize a wide variety of Modernist works in order to identify common components (themes, plots, characters etc) (chief measure: exams, second paper)

demonstrate an understanding of the social and cultural contexts of Modernist literary traditions (chief measure: exams)

construct a literary argument using methods appropriate to different genres (e.g., fiction, poetry, drama, non-fiction), with a clear thesis and logical development of that thesis (chief measure: papers)

incorporate the ideas of others (in the form of criticism) and/or apply literary and culture theory in literary analysis (chief measure: paper)

write clearly and concisely, using proper grammar, syntax, spelling and punctuation, with diction, word choice and paragraph development appropriate to an upper-division course in literary studies (chief measure: papers, exams)

REQUIRED TEXTSLawrence Rainey, Modernism: An Anthology (Blackwell 2005)Oscar Wilde, Picture of Dorian Gray (1891) (Norton 2007) James Joyce, A Portrait of the Artist as a Young Man (1916) (Norton 2007)Virginia Woolf, Mrs. Dalloway (1925) (Harvest 2005)Franz Kafka, The Trial (1925) (trans. Breon Mitchell) (Schocken 1999) Samuel Beckett, Molloy (1951) (1994) (Grove) Sigmund Freud, Civilization and Its Discontents (Norton 1989)

COURSE REQUIREMENTS ASSIGNMENTS AND EXAMINATIONS. You’ll each write 2 critical papers (8-10pp), and take midterm and final examinations. Papers will include participation on Blackboard during the development phase (thesis and outside sources).

2 Critical Papers 25pts ea / 50 pts 20/30%Midterm Examination 20 pts 15%Final Examination 20 pts 25%Participation* 10 pts 10%

______________Total 100 pts

* Class participation means more than simply taking part in class discussion. It also means attending class regularly, bringing your book, taking notes, demonstrating you’ve read the assignments, attending office hours, turning assignments in on time and, of course, not reading materials for other classes or texting or sleeping, or… well, you get picture. Note: not everyone need be doing all these things well all at once. But they are the factors that help me determine the “class participation” grade.

Standard format for papers is 12pt. type (preferably Times Roman), 1¼ inch margins. No cover sheets please. Policy on late assignments: 1/3 grade per day, incl. weekends. Missed assignments may result in a failing course grade.

Grading: A+ 97-100 A 93-96 A- 90-92 // + 87-89 B 83-86 B- 80-82 // C+ 77-89 C 73-76 C- 70-73 // D 60-69 // E 59

NOTA BENE. For more information about paper format and construction, citation guidelines and matters of style, consult the ASU Guide to Style, which is no available on line: http://www.public.asu.edu/~dedalus/guidetostyle/index.html.

ATTENDANCE AND CLASS DECORUM. Attendance, of course, is mandatory. Anything beyond two (3) absences may result in a grade penalty. Excused absences beyond this limit must be documented.* Excessive absence may result in a failing grade for the course. Excessive tardiness may have the same effect.

* Doctor’s notes must be produced immediately after the absence in question and must indicate a specific and sufficient reason for missing class. Whenever possible, notify the instructor via e-mail if you are going to claim an excused absence.

All students are expected to conduct themselves in a manner befitting a college classroom. So no cellphones, ipods and other electronic devices during class. Laptop computers are not permitted during class time. Try not to leave before class is over, unless it is an emergency.

PLAGIARISM. Academic dishonesty (cheating and plagiarism) will not be tolerated. In the “Student Academic Integrity Policy” manual, ASU defines “’Plagiarism” [as] using another's words, ideas, materials or work without properly acknowledging and documenting the source. Students are responsible for knowing the rules governing the use of another's work or materials and for acknowledging and documenting the source appropriately.”  For additional information, See Guide to Style and the student affairs website: http://www.asu.edu/studentaffairs/studentlife/judicial/academic_integrity.htm#definitions

SCHEDULE OF READING ASSIGNMENTS“Rainey” indicates the anthology Modernism. Unless otherwise noted, read all items by the author listed below. We will look closely at works at every class meeting, so it is important to read the assigned material carefully and in advance and to bring your books each day. Don’t forget to read the headnotes in Rainey.

Week 1 Tues, Jan 18 Introduction.Thurs, Jan 20 Rainey, Introduction to Modernism (xix-xxviii)

Mao and Walkowitz, “New Modernist Studies” (pdf)Levenson, “Modernism” (pdf)

Week 2 Tues, Jan 25 Wilde, The Picture of Dorian GrayTues, Jan 27 Wilde, The Picture of Dorian Gray

Week 3 Tues, Feb 1 Joyce, A Portrait of the Artist as a Young ManThurs, Feb 3 Joyce, A Portrait of the Artist as a Young Man

Week 4 Tues, Feb 8 Joyce, A Portrait of the Artist as a Young ManThurs, Feb 10 Marinetti, “Founding and Manifesto of Futurism” (Rainey, 3-6)

Loy, Aphorisms on Futurism and Psycho-Democracy (Rainey, 427-31)

Week 5 Tues, Feb 15 Pound, essays (Rainey 94-9) & early poems (Rainey, 39-48)Yeats At the Hawk’s Well, “Easter 1916,” “Second Coming” (in Rainey)

Thurs, Feb 17 Pound, continue early poems

Week 6 Tues, Feb 22 Pound, “Hugh Selwyn Mauberley” (in Rainey)Thurs, Feb 24 Loy / HD, selected poems (in Rainey 417-26 and 441-54

respectively )

Week 7 Tues, Mar 1 Eliot, The Waste Land and other poems (Rainey 114-43); “Tradition and Individual Talent” and “Ulysses, Order, and Myth” (Rainey 152-6 and 165-7 respectively)

Thurs, Mar 3 Eliot, The Waste Land and other poems (in Rainey)

Week 8 Tues, Mar 8 Midterm (through Eliot) Thurs, Mar 10 Tzara, “Dada Manifesto” (Rainey 479-84)

Breton, “Manifesto of Surrealism” (Rainey, esp. 718-19, 23-30, 38-9) and “After Dada” (Rainey 498-9)

First paper due 3/11 5pm, my box/office, HARD COPY ONLY

Spring Break Mar 13-20

Week 9 Tues, Mar 22 Surrealist poems by Apollinaire, Breton, Aragon, EluardBenjamin, “Surrealism” (Rainey 1087-95)Adorno, “Looking Back on Surrealism” (Rainey 111-13-16)

Thurs, Mar 24 Yeats, The Tower (Rainey 309-43)

Week 10 Tues, Mar 29 Yeats, The Tower (Rainey 309-43)Thurs, Mar 31 Stevens, “Sunday Morning,” “The Idea of Order at Key West”

(Rainey, 604-7 and 614-15 respectively)Moore, “Poetry” (Rainey 649-50 and

Week 11 Tues, Apr 5 Woolf, “Modern Fiction,” “Mr. Bennett & Mrs. Brown” (Rainey 897-903)

Woolf, Mrs. DallowayThurs, Apr 7 Woolf, Mrs. Dalloway

Week 12 Tues, Apr 12 Freud, Civilization and Its DiscontentsThurs, Apr 14 Freud, Civilization and Its Discontents

Week 13 Tues, Apr 19 Kafka, The TrialThurs, Apr 21 Kafka, The Trial

Week 14 Tues, Apr, 26 Beckett, Molloy Thurs, Apr 28 Beckett, Molloy

Week 15 May 3 Beckett, Molloy, Endgame (in Rainey)May 4 Reading Day

Second paper due 5/5 5pm, my box/office, HARD COPY ONLY

Final Examination Tues, May 10, 12:10-2:00

Drop/Add Deadline 17-23 /// Tuition & Fees Refund Deadline Jan 31Course Withdrawal Deadline Apr 8-10 /// Complete Withdrawal Deadline May 3

REVISED ITINERARY

Spring Break Mar 13-20

Week 9 Tues, Mar 22 Surrealist poems by Apollinaire, Breton, Aragon, EluardBenjamin, “Surrealism” (Rainey 1087-95)Adorno, “Looking Back on Surrealism” (Rainey 111-13-16)

Thurs, Mar 24 Continue

Week 10 Tues, Mar 29 Woolf, “Modern Fiction,” “Mr. Bennett & Mrs. Brown” (Rainey 897-903)

Thurs, Mar 31 Woolf, Mrs. Dalloway

Week 11 Tues, Apr 5 Woolf, Mrs. DallowayThurs, Apr 7 Freud, Civilization and Its Discontents

Week 12 Tues, Apr 12 Freud, Civilization and Its DiscontentsThurs, Apr 14 Kafka, The Trial

Week 13 Tues, Apr 19 Kafka, The TrialThurs, Apr 21 Kafka, The Trial

Week 14 Tues, Apr, 26 Beckett, Molloy Thurs, Apr 28 Beckett, Molloy

Week 15 May 3 Beckett, MolloyMay 4 Reading Day

Second paper due 5/5 5pm, my box/office, HARD COPY ONLYELECTRONIC FORM BY MIDNIGHT 5/5

Final Examination Tues, May 10, 12:10-2:00

Sasha.Andersen@asu.edu; Zachary.Andresen@asu.edu; zackandresen@gmail.com; Brian.Bahe@asu.edu; Thomas.Bender@asu.edu; Nathan.Bollig@asu.edu; Sara.Coggins@asu.edu; Catherine.Conelly@asu.edu; jaconnor@asu.edu; Adriana.Cortez@asu.edu; Charles.Dardenne@asu.edu; Andrew.K.Davidson@asu.edu; Richard.Duffy@asu.edu; Dante.Graves@asu.edu; Katelynn.Greene@asu.edu; Adam.Gurley@asu.edu; grhays@asu.edu; Christopher.Jelen@asu.edu; Megan.Kiwor@asu.edu; Jamie.Peckham@asu.edu; Anthony.Musa@asu.edu; Stephanie.Nelsen@asu.edu; Catherine.Pisani@asu.edu; Priya.Ravindra@asu.edu; Erin.Rossi@asu.edu; Alysia.Santellan@asu.edu; Maleri.Sevier@asu.edu; Kimberly.Sterling@asu.edu; Steven.Totten@asu.edu; Jenna.Velaski@asu.edu; aaventur@asu.edu; Alanna.Watson@asu.edu; Alysha.Williams@asu.edu

No longer participating: David.B.Brewer@asu.edu; Diane.Buchman@asu.edu; Chad.Capeloto@asu.edu; Sean.Carstensen@asu.edu; Kathryn.H.Davis@asu.edu; mohamed.hussein@asu.edu;

STUDENTS WHO SIGNED UP TO FULFILL THOERY REQ: Adriana.Cortez@asu.edu; Dante.Graves@asu.edu; Maleri.Sevier@asu.edu; Jenna.Velaski@asu.edu; Megan.Kiwor@asu.edu; Alysia.Santellan@asu.edu; Steven.Totten@asu.edu; Priya.Ravindra@asu.edu; Kimberly.Sterling@asu.edu;

Eng. 478 Modernism and Its Discontents Spring Semester 2011 Topics for Paper 1

For your first term paper, I’d like you to write on one of the following authors: Wilde, Joyce, Pound, HD, Loy or Eliot. The task in this paper is to show, by reference to his or her primary literary work, how the author you’ve chosen is a Modernist. You will be expected to construct a literary argument using methods appropriate to the genre of work you have chosen (e.g., novel or poem) and to incorporate the ideas of others (e.g., literary critics or theorists) in your discussion. While I want you to focus on literary works we are studying, you may include in your discussion the manifestos and other works by your chosen author. But you will be expected to focus for the most part on a single work (or multiple works, in the case of lyric poetry).

Your paper must be at least 8 pages (exclusive of notes and bibliography). It must include a thesis statement, which is supported by the argument throughout. Of course you are expected to write clearly and pointedly (avoid digressions and uneven development), and to use proper grammar, syntax, spelling and punctuation, with diction, word choice and paragraph development appropriate to an upper-division course in literary studies.

Format should follow the guidelines detailed in the Guide to Style (link is on the syllabus). Use MLA style for citation and bibliography. No internet sources allowed, with the exception of sites like Project Muse and JSTOR that store print journals electronically. There is no need to indicate the web address for sources found on Project Muse or JSTOR.

Please turn in (electronically or in hard copy) a first paragraph, with thesis statement underlined or highlighted no later than Tuesday March 1 in class. If I receive this document after 2:45 on Tuesday March 1, I will consider it late. If you fail to turn this paragraph in or are late, I will subtract 5 pts from the 25 total for the paper. Late papers will receive a grade deduction of 5pts per day. If I do not receive the paragraph by Friday March 3, I will record a grade of 0 points. The paper is due Friday, March 11 no later than 5pm, in my box in the main English office or under my office door. HARD COPY ONLY.

Please read the information on the syllabus and Guide to Style on plagiarism. Any form of plagiarism, no matter how small, will result in a failing grade for the class.

Eng. 478 Modernism and Its Discontents Spring Semester 2011 Topics for Term Paper 2

Choose one of the following topics for your second term paper assignment. Please note the detailed instructions that follow the list of topics.

1. One of the most important elements of the novel is the representation of character. In modernism, this becomes a problem not only of realistic depiction of action and motivation, but also of subjectivity itself. In your paper, discuss the issues and problems associated with the modernist representation of women and of a woman’s subjectivity in Woolf’s Mrs. Dalloway.

2. Kafka’s The Trial has long been praised for its depiction of the uncanny, both in terms of abstractions like justice and the particulars of everyday life in a bureaucracy. This “uncanny” quality could be regarded a symptom of modernist alienation. In what way is Kafka’s protagonist alienated? In what way does Kafka’s treatment of his protagonist constitute a specifically modernist development?

3. Beckett’s Molloy has been described as a “terminal novel,” that it comes at the end of a novel tradition that had reached its apotheosis in the work of the great modernist—like Joyce, Faulkner, Woolf, Thomas Mann and so on—and signaled beginning of a new age. In what specific ways does Molloy signal the “death of the novel”? Alternatively, is it possible to regard this text as an exemplar of late modernism?

Paper (content/argument) 100pts Definition of modernism 5ptsThesis paragraph 10pts Format (bibliographic) 10ptsSources (w/annotations 10pts Proofreading/format (general) 5pts and justification) Conference 5ptsReport on first paper 5pts TOTAL 150pts

147-150 A+ 131-134 B+ 116-119 C+140-146 A 125-130 B 110-115 C135-139 A- 120-124 B- 105-109 C-90-104 D 0-89 E

Your paper should be 8 pages (2400 words, +/- 100 words), exclusive of works cited section; please do not go over 2500 words. Less than 2300 words will be considered “below minimum length.” All papers must incorporate at least 3 but no more than 5 critical sources (see below, “Note on sources”). All parts of the paper must be in 12pt New Times Roman, double-spaced, with one inch (1”) margins top and bottom, one and a quarter (1.25”) margins on left and right sides (yields approximately 295 w/p). For more information, see below “Note on format.”

Hard copies of your papers are due in my office on May 5, between 12:00 and 5:00. Early papers are welcome. I must also receive an electronic version of the paper (which I will enter into the SafeAssign anti-plagiarism system) by midnight May 5.

Late papers (hard copy and electronic version) will be docked 10pts per day (papers turned in after May 5, 5pm will be marked late one day). After three days, a 0 will be logged for the paper and you may fail the class due to non-compliance with deadlines.

Format for the paper will consist of six (6) sections:1. Opening paragraph(s) with clearly marked thesis statement (i.e., a statement clearly telling the

reader what your argument is).2. Concise definition of modernism and the chief components of it relevant to your thesis.3. Short consideration of the sources you have chosen and their relevance for your argument.4. Body of paper (approx. 6-7pp)5. Conclusions6. Works Cited (annotated)

These sections must be in this order with section numbers; do not give titles to these sections.

Schedule of datesReport on first paper (see below under “Notes on assignments”) Apr 5 in classFirst paragraph (with thesis) and sources (with annotations) Apr 7 in class (see below under “Notes on assignments”)Conference (see below under “Notes on assignments”) Weeks 12-14Final due date for paper May 5

Notes on Assignments. Students will be required to stick to the topic of their initial paragraph, thesis statement and source selection. Students who change their topic, thesis statement or sources will be subject to point deductions. Students who turn in the thesis paragraph and/or sources late will lose 5pts per day. After three days, a 0 will be logged for the paper and you may fail the class due to non-compliance with deadlines.

All students will be required to meet briefly with the instructor to review thesis statement and sources. Failure to make and keep this appointment (or missing it) will result in a 0 for the paper and you may fail the class due to non-compliance with deadlines.

All students will compose a 500 word report on their first paper. In this report, you must clearly summarize the areas of concern noted by the instructor and suggest what you will do to address these problems in your second paper. Your report must be accompanied by the original version of the first paper (i.e., with the instructor’s remarks). Students who turn in this report and the original paper late will lose 5 pts. After three days, a 0 will be logged for the paper and you may fail the class due to non-compliance with deadlines.

Note on sources. This paper requires a minimum of three critical sources (no more than 5) and at least one must come from a book published after 2000. A “critical source” is an essay published in a peer-reviewed academic journal, a book by a single author, or a chapter in an edited collection of critical essays. Reviews, magazine and newspaper articles, biographies and the editorial apparatus of anthologies (headnotes, footnotes) are not critical sources.

Please do not cite sources published before 1980 without prior approval from the instructor. No matter how many sources you use, no more than two may come from journals. All sources must focus specifically on the work on which you are writing. Please do not use as sources the following: websites, reviews, handouts, lecture notes, powerpoints, dissertations or dissertation abstracts. Dictionaries may be used, but they are not to be counted as critical sources (use one of the following: Merriam-Webster’s Collegiate Dictionary, American Heritage Dictionary or the OED). Please avoid quoting definitions unless the word in question is obscure or esoteric.

Please do not quote from the headnotes, footnotes or any other part of the editorial apparatus in the Rainey or any other anthology. Please do not use encyclopedia entries as critical sources (except the “Modernism” entry by Levenson already distributed; exceptions are possible, but (a) they must be approved by the instructor and (b) they cannot count toward the 3-5 critical sources required for the assignment (this includes the Levenson entry on “Modernism”).

All sources must be annotated; please see Guidelines for Term Papers for information on annotations.

Note on citations. Failure to follow proper bibliographic format (in works cited section and in citing works in the paper) will result in a 10pt demerit. Please do not quote more than 5 lines (indented) or two sentences (in text). Do not use more than 3 indented quotations. All quotations must be cited by page number or, in the case of poetry, line number.

Note on format. Please follow the ASU Guide to Style on all matters concerning style and citation. Do not include “Print” or any other information after the standard bibliographic information.

Eng 478 Modernism and Its DiscontentsSpring Semester 2011 Midterm Examination

Part I. Short Response. Please provide a concise 4-5 sentence response to only four of the following topics. Avoid whenever possible generalities and irrelevant details. Approx. 10 mins. each (15pts each, total 60 pts.)

1. Modernism is frequently discussed today in terms of its transnational nature. What is transnationalism and why is it modernist?

2. Joyce, one of the most important modernist novelist, used the free-indirect style in a revolutionary way in Portrait. Describe this technique and how it changed the novel form.

3. What is the relationship between the Gothic and modernism in Wilde’s Dorian Gray?

4. What are the chief social contexts for understanding Joyce’s Portrait as a modernist text?

5. Describe precisely how HD’s “Sea Rose” functions as an imagist poem.

6. Pound’s poetry has been described as using language and images using a “ply over ply” method. Please describe this method and give one example of it.

7. What role do manifestos play in the modernist movement? What do they tell us about the social conditions of modernist artistic production?

8. In Eliot’s The Waste Land, we experience the sensation of a new kind of poetic voice. Describe this voice and its significance for Modernism.

9. Please discuss the relationship between machinery and human desire in Loy’s “Human Cylinders.”

Part II. Essay Question. Please choose only one of the following topics and write a short essay of about 800-1000 words. Be as concise and detailed as you can in the allotted time. Please avoid whenever possible generalities and irrelevant details. Also, note the restrictions place on tthese topics in italics. Approx. 35 mins (40 pts.)

1. Modernism is often described in terms of new forms of understanding the past. Describe briefly one of these new forms and show how they are exemplified in two of the authors we have studied this semester.

2. HD was a pioneer in the Modernist critique of representations of women in Greek mythology. Discuss briefly here revisionist rewriting of the Orpheus and Eurydice story and how it expresses the social realities of women in early-twentieth century Europe. Do not choose this topic if you have responded to #5 in Part One.

3. Bildung is the German term for the ideal of self-development that is at the heart of the novel tradition in the nineteenth century. Modernist novels like Wilde’s Dorian Gray and Joyce’s Portrait depict Bildung as a problematic concept for the Irish subject. What is it about Ireland in the period 1890-1922 that made self-development so problematic? Do not choose this topic if you have responded to #2 or 4 in Part One.

4. The “long form” of poetry undergoes startling new developments in the modernist era. Please discuss the chief features of the long form, using either Eliot’s The Waste Land or Pound’s Hugh Selwyn Mauberley as your test case. Do not choose this topic if you have responded to #6 in Part One.

Eng 478 Modernism and Its DiscontentsSpring Semester 2011 Final Examination

There will be no texts or other aids allowed during the examination. You will be allowed one single page (8 ½ x 11) of handwritten notes. All electronic devices must be turned off or otherwise removed from your desk. Any one detected using such a device during the examination (for reasons other than an emergency) will be asked to leave and will receive a failing grade for the examination.

Part One. Please choose four of the following topics and give a short response (5-7 sentences). Stay focused on the key words/terms/authors/characters and try not to spend too much time on each item. (Approx. 30 minutes; 40 pts)

1. Discuss the role of dreams in surrealist poetry. Refer to at least one specific poem in your response.

2. Define “free indirect style” and explain why it is so characteristic of modernist fiction?3. What is the significance of Elizabeth Dalloway, in terms of the plot of Mrs. Dalloway or its

themes?4. Drawing on Freud’s Civilization and Its Discontents, describe the relation between

civilization and human instincts.5. Discuss the concept Law as it pertains to Kafka’s Trial.6. Explain how the “late modernist” novel differs from early forms, like Wilde’s Dorian Gray

and Joyce’s Portrait. Focus on Woolf, Kafka or Beckett.7. Discuss briefly Beckett’s attitude toward “master narratives.” Be specific.8. Molloy and Moran, in Beckett’s Molloy, seem to degrade before our eyes. What does this

say about the nature of the subject in the modernist novel.

Part Two. Discuss the three most important elements of modernism, drawing on examples from the texts we have studied to illustrate your discussion. Focus on at least three texts and/or authors. (Approx. 30 minutes; 40 pts)

Part Three. Please write a comparative essay on Beckett’s Molloy and two or three other texts studied throughout the semester, in relation to their treatment of only one of the themes/problems/literary approaches we have covered in the course, and that are listed below. Please orient your discussion according to the theme/problem/approach you have chosen and avoid the temptation to do more. Be as precise in your summaries, illustrations and arguments as you can. This part is cumulative; please include at least one text from the beginning of the course. (Approx. 50; 70 pts).

Themes / Problems / Literary ApproachesDiscontentThe Problem of the Subject/SubjectivityDreams and the UnconsciousBildung and the Bildungsroman

Eng 478 Modernism and Its DiscontentsSpring Semester 2011 Final Examination

The final examination will consist of three parts. In part one, you will be asked to respond to four short-answer questions in response to passages from readings in the second half of the course (approx. 30 mins). In part two, you will be asked to write a mid-length essay on the concept “modernism,” exemplifying your definition with examples from course materials (approx. 30 mins). In part three, you will be asked to write a comparative essay on three texts studied throughout the semester, in relation to their treatment of only one of the themes/problems/literary approaches we have covered in the course, and that are listed below. (approx. 50 mins). Part three is cumulative; you must include at least one text from the first half of the course.

There will be no texts or other aids allowed during the examination. You will be allowed one single page (8 ½ x 11) of handwritten notes All electronic devices must be turned off or otherwise removed from your desk. Any one detected using such a device during the examination (for reasons other than an emergency) will be asked to leave and will receive a failing grade for the examination.

Themes / Problems / Literary ApproachesRepresentation of WomenThe Problem of the Subject/SubjectivityDreams and the UnconsciousNarrative Point of View Bildung and the BildungsromanPastiche in Poetry The Sense of the Past Aesthetic Autonomy

For the examination, I will only four of these, from which you will choose one on the final.