English 306:Literary Theory and Other Stuff

Hunter CollegeFall 2018

Professor: Daniel HengelOffice: A desk among the many, fourteenth floor, Room 1238Office hours: Tu/Th 3:30pm – 4:30pmMailbox: On the wall, “my” office, Twelfth floorE-mail: DHengel@Hunter.cuny.eduClass: ENG306Number: 64665Section: 08Hours: Tu/Th 5:35 p.m. – 6:50 p.m.Room: Thomas Hunter Hall 407

THE TEXTSTo Buy:

Nada, This class is . . .

Gratis:

Pi; Aronofsky, Darren “Dialectics;” Hegel, Georg Wilhelm Friedrich “Master Slave Dialectic;” Hegel, Georg Wilhelm Friedrich The German Ideology; Marx, Karl “The Eighteenth Brumaire of Louis Bonaparte;” Marx, Karl Introduction to “The Critique of Political Economy;” Marx, Karl The Interpretation of Dreams; Freud, Sigmund The Uncanny; Freud, Sigmund On Narcissism; Freud, Sigmund Literary Theory—a very short introduction, “Chapter Four;” Culler, Jonathan Selections; Saussure, Ferdinand De “On Truth;” Nietzsche, Fredrick; “The Will to Power;” Nietzsche, Fredrick Mythologies; Barthes, Roland Language and Symbolic Power; Bourdieu, Pierre “The Mirror Stage;” Lacan, Jacques “The Signification of the Phallus;” Lacan, Jacques The Black Hole of Trauma; van der Kolk, Bessel A. and McFarlane, Alexander C. “Plato’s Pharmacy;” Derrida, Jacques “Différance;” Derrida, Jacques “The Newly Born Woman;” Hélène Cixous “1890 Letter to J. Bloch;” Engels, Friedrich “Ideology and the Ideological State Apparatus;” Althusser, Louis

Gratis:

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The Power of Ideology and the Ideology of Power; Therborn, Göran Discipline and Punish; Foucault, Michel The History of Sexuality Volume 1; Foucault, Michel “The Forms of Capital;” Bourdieu, Pierre “Physical Space, Social Space and Habitus;” Bourdieu, Pierre “The Sublime Object of Ideology;” Žižek, Slavoj Domination and the Art of Resistance; Scott, James C. “Age, Race, Class, and Sex; Women Redefining Difference;” Lourde, Audre “Postmodern Blackness;” hooks, bell “The Social Construction of Race;” Lopez, Ian F. Haney Gender Trouble; Butler, Judith “Performative Acts and Gender Construction;” Butler, Judith Epistemology of the Closet; Sedgwick, Eve Female Masculinity; Halberstam, Judith Jack Orientalism and Culture and Imperialism; Said, Edward The Commitment to Theory; Bhaba, Homi K. “A Critique of Postcolonial Reason;” Spivak, Gayatri; “Can the Subaltern Speak;” Spivak, Gayatri; “Borderlands/La Frontera: The New Mestiza; Anzaldúa, Gloria Evangelina “The Formation of Intellectuals;” Gramsci, Antonio “Art in the Age of Mechanical Reproduction;” Benjamin, Walter “The Culture Industry as Mass Deception;” Adorno, Theodor and Horkheimer, Max “Culture, Ideology, and Interpellation;” Fiske, John “Slow Violence and the Environmentalism of the Poor;” Nixon, Rob “The Anthropocene: The Promise and Pitfalls of an Epochal Idea;” Nixon, Rob

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THE CLASS

This class aims to look beyond the veil that often shrouds “literary theory” in mystery and abstraction. Every time you discuss a text—which, we will see, can be just about anything—you already engage with the theoretical. Each interpretation we make (of anything) operates from a subject position informed by our social, historical, political, ideological, and/or linguistic matrices. In appreciating diverse, dissimilar, often discordant ways of reading texts we gain a set of tools to employ as we develop our unique critical voices and world perspectives. In this section of literary theory, we’ll look at readings from new criticism, semiotics, structuralism, post-structuralism, psychoanalysis, Marxist theory, deconstruction, cultural studies, gender and queer theory, race theory, post-colonial theory, and eco-criticism—among others. We’ll read a bit of literature, watch a movie or two, and mine the newspaper for ‘real-world’ applications of the theory we read.

This course will not be a lecture. You will have a voice. We are going to read and listen to music and watch films. We will sit at the same table and engage in discourse. You will be challenged to defend your readings of the texts to me and your classmates. Modeled after the graduate seminar this class asks you to participate in a theoretical discourse of ideas in a space of shared agency that encourages student engagement and persuasively argued critical thinking. We’re going to talk, a lot. Course requirements include: participation, a presentation, weekly responses, a few contributions to a class assignment that asks you to locate the theoretical in the everyday of NYC, and a student-designed final project—a final paper of approximately 7 pages, that’s like 2200-2400 words—a kind of synthesis of our seminar readings. Be ready, it’s going to be a great semester.

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POLICIES AND PROCEDURES

Course Requirements

Weekly Response Essays, Class Participation, Presentation, Presence and Preparation, The Project—Theory and Praxis: The New York City Experience (TPNYCE), and your Final Enterprise

The WeightsWeekly Response Essays: 20%Class Participation: 20%Presentation: 10%Presence and Preparation: 5%The Project—Theory and Praxis: The New York City Experience (TPNYCE): 15%Final Enterprise: 30%

Weekly Response Essays on the reading. 20% of your grade. Seriously easy stuff. There’s a handout.

Class Participation, accounts for 20% of your grade. Basically, it’s how much you talk in class. This is a discussion-based course. Just say, “yes.” Nodding works too. The Class Participation grade is quantitively graded—it’s a numbers game. You don’t have to reveal a brilliant bit of insight every time you talk. Just making an effort to join the conversation is enough for me. I’ll keep track of how many times you speak up in class on any given day. You can check your Class Participation score at any time throughout the course of the semester. For me, showing up is part of making an effort. I allot Class Participation points on a ten-point scale. Here’s how the distribution works:

8 points just for coming to class9 points for speaking once10 points for speaking twice

That’s it! Please note, if this is impossible, come see me. But, this class will be a fun, open space for you to flex your brilliant voice. Promise.

Presentation: worth 10% of your grade. One-time deal. See the handout for details. No worries

Presence and Preparation: 5%, see page 4.

The Project. Also known as Theory and Praxis: The New York City Experience (TPNYCE): There’s a super long, way too wordy handout, we’ll talk about this more next time—worth 15% of your final grade

Final Enterprise: This is the big one—30% of your grade—there will be options. There will be a handout. We’ll talk about this later in the semester. Do not worry.

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Grading

Transparency is important. [stage note: pantomime brief shout-out to Snowden]I use a thousand-point scale, which allows for clear computation of your final grade.

Breakdown:Weekly Response Essays: 200 pointsClass Participation: 200 pointsPresentation: 100 pointsPresence and Preparation: 50 points(TPNYCE): 150 pointsFinal Enterprise: 300 points

Letter Grade Range:970-1000—A+930-969—A900-929—A-870-899—B+830-869—B800-829—B-770-799—C+730-769—C700-729—C-600-699—D<600—F

Presence and Preparation, more commonly known as Showing up and Bringing Stuff to Class

Come to class. Here’s why. Because of that “Presence and Preparation” stuff on page 3. And because Literature is complicated business. What we learn one-day tumbles into the next new-born moment of cognitive brilliance. You will not understand today without yesterday. Oh, and you must bring your book and a pen and something to write on, everyday—seriously.What is past, is prologue.

Question: How many times may I be absent? What happens when I exceed my allotted absences?

Here’s the deal. You may be absent twice without penalty. Your third absence will result in a ten-point reduction of your Presence and Preparation score—if you max out the 50 P&P points, I’ll deduct additional points from your class participation score in ten-point increments. If you are absent more than five times you will almost certainly fail my class. I believe in rewarding effort. You can’t make a concerted effort in 306 if you aren’t there.

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Oh, and about that Preparation bit . . . Each time you come unprepared to class five points will be deducted from your Presence and Preparation score. I let the first two “oh, no I forgot my book” days slide.

Question: Is there a difference between an excused and an unexcused absence?

You don’t have to sweat bringing in a doctor’s note if you’ve got a cold or missed a day. If you’re going to be absent, please, email me before class and I’ll excuse the absence. That’s it, that’s all you have to do. Why does this matter . . . if your absence is excused, then, you may email me your response essay. If you end up seriously ill or something terrible happens, let me know and we’ll work something out. There’s always a way.

Question: What kind of bear is best?

That’s a ridiculous question. False. Black bear. That’s debatable. There are basically two schools of thought—Fact. Bears eat Beets. Bears. Beets. Battlestar Galactica.

Question: How will showing up late affect my grade?

I’ll make a note of every time you’re late. Two lates equals an absence. I tally the total at the end of the semester. By late, I mean excessively late—five to ten minutes is my typical cut-off. Do me a solid. Please, email me if you are going to be late.

Late Paper Policy

All deadlines in this learning community are firm. I give no individual extensions—lest you encounter some sort of unavoidable world-shattering life event. In part, this is because deadlines are for real. College is an excellent bubble but in the real world you need to be on time. But just as importantly, the policy also respects the need for parity: all students should have the same amount of time to work on an assignment. I do not comment on late papers.

If an emergency occurs and you cannot meet a due date, please contact me before the due date. The day of is cool the day after is not. For this kind of thing, I’m going to need some sort of proof. If something does happen, there’s always a way for us to work something out. When there are no extenuating circumstances, I apply the following deductions:

Late Papers1st time: 5 points per 24 hours (or portion thereof) late.2nd time: 10 points per 24 hours (or portion thereof) late.3rd time: 15 points per 24 hours (or portion thereof) late.1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597, 2584, 4181, 6765

More Paper Stuff

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Electronic submission of final versions of papers is not permitted—Response Essays on excused absences are the exception—unless I give you permission ahead of time or it’s something we’re doing online, like The Project. Why not? Because you want to have control over the final version of the paper that I receive, and often, during electronic transmission, something goes awry, and I get a paper that’s weirdly formatted or in a word processing program that my computer can’t accommodate. Also, I really don’t like reading on the computer. It hurts my face.

***If you do send me something through the ether, in the subject line, please title the document—all electronic documents must be word docs—in the following manner . . .

First Initial.Last Name; Title of Document. Ex: D.Hengel; Response Essay 5—Offred and Me

FROM HUNTER, WITH LOVESpecial Needs

In compliance with the American Disability Act of 1990 (ADA) and with Section 504 of the Rehabilitation Act of 1973, Hunter College is committed to ensuring educational parity and accommodations for all students with documented disabilities and/or medical conditions. It is recommended that all students with documented disabilities (Emotional, Medical, Physical and/ or Learning) consult the Office of AccessABILITY located in Room E1124 to secure necessary academic accommodations.  For further information and assistance please call (212- 772- 4857)/TTY (212- 650- 3230).

Academic Integrity

Hunter College regards acts of academic dishonesty (e.g., plagiarism, cheating on examinations, obtaining unfair advantage, and falsification of records and official documents) as serious offenses against the values of intellectual honesty. The college is committed to enforcing the CUNY Policy on Academic Integrity and will pursue cases of academic dishonesty according to the Hunter College Academic Integrity Procedures.

That was Hunter. This is me . . .

Cheating and Plagiarism

Do not do it. Here are some definitions of cheating and plagiarism so that we may avoid confusion.

Cheating: is the attempted or unauthorized use of materials, information, notes, study aids, devices, or communication during an academic exercise. Examples include but are not limited to:

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Copying from another student during an examination or allowing another to copy your work

Unauthorized collaborating on a take home assignment or examination Using unauthorized notes during a closed book examination Using unauthorized electronic devices during an examination Taking an examination for another student Asking or allowing another student to take an examination for you Changing a corrected exam and returning it for more credit Submitting substantial portions of the same paper to two classes without

consulting the second instructor Preparing answers or writing notes in a blue book (exam booklet) before an

examination Allowing others to research and write assigned papers (including the use of

commercial term paper services)Plagiarism: is the act of presenting another person's ideas, research or writing as your own:

Copying another person's actual words without the use of quotation marks and footnotes (a functional limit is four or more words taken from the work of another)

Presenting another person's ideas or theories in your own words without acknowledging them

Using information that is not considered common knowledge without acknowledging the source

Failure to acknowledge collaborators on homework or laboratory assignments Buying a paper and passing it off as your own

My policy—I give a Zero to any assignment you plagiarized or cheated on. On your second offense, you will fail the course.

Here’s how I’m going to know that you lifted someone else’s work: Safe Assign—it’s on Blackboard.And I will report you to the school—a note is made on your transcript.

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What you need to do when you are in my class—The Rules, I suppose

Be respectful of the room.All phones and other electronic devices must be silenced and put away before class begins.You will not need a laptop; skip it.Do not eat.Bring the text under discussion to every class. Make sure that you have read the material assigned and have done the writing required for a given day. Do not raise your hand. Okay, you can raise your hand, but I strongly discourage the practice.

“Well, if you want to sing out, sing outAnd if you want to be free, be free”

I will frequently, perhaps a little compulsively, encourage you to speak freely.

Do not talk while someone else is addressing the class. Do not whisper to each other while I am speaking. If you have a question just ask me, please. Throw up a hand, if you must, or interrupt me—better to interrupt me, seriously, it’s more fun—but do not query your neighbor in a clearly audible hushed voice. I get distracted and lose my train of thought and get lost in the wilderness and have no idea what I am talking about anymore. Please, please, please do not talk while another student is bravely speaking during our discussions. Let’s give each other our undivided attention.

Do not yawn out loud—I know, it’s amazing that this is on here, but seriously, just don’t. Oh, and cover your mouth, I mean we’re adults. It’s gross.

Volunteer. If you don’t volunteer, I’m going to end up calling on you, so be prepared and have something to say. Talking is fun, much less boring than listening. But please be aware that I am not trying to embarrass you or put you on the spot; rather, I am trying to involve you in the conversation. Let us know what you think about what we’re reading. You have awesome stuff to say. Please share. Also, you are awesome. And then there’s the whole it’s 20% of your grade thing.

Question: But why do we have to follow these draconic prohibitions?

Because I run a discussion-based curriculum. This class doesn’t work without respect for the room and your fellow students’ voices. Everyone should feel free to speak without fear of being slighted by a fellow student or ignored or dismissed or anything bad that I haven’t thought of. This is going to be a fun class. I promise. I care deeply about what you have to say and what you think about a text, life, the contributions of others, my own insanity. I wrote these rules to encourage an environment that most awesomely generates epic student discourse.

Thanks for Reading.

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FALL 2018

August 26 Sunday Last day to drop for 100% tuition refund

August 27 Monday Classes Begin

September 2 Sunday Last day to drop for 75% tuition refund; Last day to add a class

September 3 Monday Labor Day - College is closed

September 5 Wednesday Classes follow Monday schedule

September 9 Sunday Last day to drop for 50% tuition refund

September 10-11 Monday-Tuesday No classes scheduled

September 16 Sunday Last day to drop for 25% tuition refund; Last day to change or declare a major effective for Fall; Form A census cutoff

September 17 Monday Course withdrawal period begins; A grade of W is assigned to students who officially withdraw from a course

September 18-19 Tuesday-Wednesday No classes scheduled

October 8 Monday College is closed

November 6 Tuesday Course withdrawal period ends; Last day to withdraw from a course with a grade of W

November 22-25 Thursday-Sunday College closed - no classes

December 13 Thursday Reading Day

December 14 Friday Reading Day/Final Examination

December 15-21 Saturday-Friday Final Examinations - Day/Evening - or last instructional period where no final is given following the final exam schedule.

December 15-16 Saturday-Sunday Final Examinations - Weekend

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Classes - or last instructional period where no final is given following the final exam schedule.

December 21 Friday End of Term

December 24-25 Monday-Tuesday College is closed

December 28 Friday Final Grade Submission Deadline*

December 31 Monday College is closed

January 1, 2019 Tuesday College is closed

The Weekly Response “Essay” & Questions(REQ)

The Bones:

Due on the second meeting of every week of the semester—unless instructed otherwise.

What’s due:o One 300-ish word response to a text addressed in class—be sure to stop

when you get to one, double-spaced page of 12-point font. You can write more if you want, no worries, but you do not have to.

o Three questions that explore a text addressed in class. The response and questions must attend to different material discussed throughout

the week.o If you write a response to material discussed on the first meeting of the

week, then your questions should refer to material assigned for the second meeting of the week—and vice versa.

Type it, print it, hand it in—unless your absence is excused, then shoot me an email with your REQ attached as a word document.

You can write in whatever voice you choose. I only ask that you maintain some sort of professionalism. You do not need to produce a perfect document. But excessive, basic, grammatical errors are frowned upon. Seriously, all you have to do is hit the spellcheck button and give your REQ a quick read before handing it in.

If this takes you more than an hour a week, please stop, take a deep breath and come to a close.

Do not stress out. This is a low-stakes assignment.

Notes:

You can write whatever you want on anything you find intellectually curious. Pathos, logos, ethos, anythingos are all in play. Feel free to be as creative as you want to be.

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You can totally just try to explain what you think about a piece of theory we read during the week

Linking theory to a real-word moment abounds in awesomeness How does this bit of theory relate to your vision of the world Sometimes, quoting from the text is a good idea—you don’t have to. Think of this as a brainstorming activity. Please feel free to rant. There will be times when the week’s text(s) remains only tangentially related to

your REQ. This is totally cool. Have Fun!

Finally:

If you’re having trouble and would like a bit of guidance, please turn the page. You are in no way constricted to the model provided below.

Where do you start?

What follows are my three favorite introductory questions attending to the interpretation of texts. I believe it’s best to start simple before I go big, so, while you’re reading, watching, listening, observing ask yourself:

What do you see? What do you make of it? Why does it matter?

Step One: What Do You See?Identify something—a word, a character, a theme, a noun, a verb, an object, a subject, an image, a claim, an anything—that catches your attention. Find something that piques your intellectual interests, something that draws an emotional response from you. You should always write about something important to you. Something you can care about. Tip: marking up your page is a good way to discover what sparks your curiosity—circle words that stand out to you, highlight passages that make you smile, frown, laugh or turn the page in a hurry, scribble in the margins when words get weird or confusing.

Step Two: What Do You Make of It?Talk about what you see. What do you think about the “anything” you’ve seen in your text during step one? In answering this question, try to stick to how you respond to what you’ve seen in step one without rendering a value judgement; for example, “this book sucks,” “I really dig Mr. Darcy,” “I love Vonnegut.” Value judgements—the good, the bad, and the ugly—do little in the way of illuminating what you see. Instead, they tend to form terminal arguments that leave little room for explication. But beginning with the way a text makes you feel can be a powerful mode of discovery—in Aristotelian terms our pathos can illuminate our logos. Very often the “what you make of it” will operate as part of the claim you talk about during your REQ.

Step Three: Why Does It Matter?This is the key. The most important of our little questions, “why does it matter?” will, hopefully, form the foundation of your REQs, as the semester progresses. Frequently, I am asked by students, “Who does it matter to?” My answer: “It’s different every time we ask the question.”

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Sometimes, it matters to you, me, the character, the idea, the noun, the subject, the text as a totality, the sentence as it stands alone in a sea of other sentences. It matters to whatever you saw in step one and made of in step two. The who or what “it matters” to is far less important than your ability to answer the why of your “anything.”

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A Presentation

“Speech is power: speech is to persuade, to convert, to compel.”—Ralph Waldo Emerson

The Stats:The basics

Length—min 10 minutes; max 13 minutesYou pick the day—first come, first serveIt has to be goodSchool us on some theory stuffYou must clear the subject matter of your presentation with me firstYou cannot repeat an earlier presentation—no parrots pleaseIt’s a pretty good idea to bring something for us to look at or listen to or watch—a newspaper article or story illustrating the bit of theory we’re working on would be totally awesomeUnless you are some sort of public speaking savant; you should probably type something up—though presentations are at their best when not read directly from a piece of paper, mix it up

The source textThis is entirely up to you. You pick the day you want to present and what you want to present on. One caveat: your presentation should have something to do with the text we are reading for that day.

What you need to doTalk about something that you find intellectually curious. Present a well-reasoned and informative “speech.” Your presentation should illustrate to the class why you think what you are talking about is important to you, to us, to the text, to your reading of the text, to our reading of the text, to the text’s reading of the text.Illuminate. Be creative. Do what you dig. If you’re into history; give us a biography on the author or ground our reading in the cultural history of its production or tell us about the history and culture of the text’s place. If numbers are your thing; then, how about doing a bit on the economic realities of the novel—the nature of industry, the cost and condition of living, the value of money, the machinations of capital. If you do art; talk about art. How did the arts affect the author, what is their place in the text, what does the text say about the condition of art and man’s relationship to it? Show us some art. Do you like text stuff? What kind of book is it? Talk about the text’s literary genre and that genre’s history and that author’s intervention into said genre. You can do anything you want so long as you remember to tell us why it all matters without saying, “okay, so all this stuff matters because.”

Remember this is worth 10% of your grade. It’s kind of a big deal.

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THE PROJECT

Theory and Praxis: The New York City Experience(TPNYCE)

The Assignment: It’s a blog thingy and it’s going to be great. Divided into three parts, “Theory and Praxis: The New York City Experience” asks you to explore a space where one or more of our theoretical class constructs intersect, in New York City, and post about your experience with respect to anything we have read for, or talked about in, class. Find theory in the Real. You will also be asked to respond to other student experiences and to respond to responses of other student experiences in a matrix of student voices and awesomeness.

The Site: https://eng306literarytheoryandotherstuff.wordpress.com

The Space: Anything that exposes you to a nexus in which you can locate real-world intersections of theory and praxis. All I ask is that you check with me first. I’ll sign-off—you go for it.

The Post: There’s but one true rule governing your post. Your post must include text—written by your ‘hand’ and some sort of non-textual medium. Oh, and there should be a title of some sort, something epic.

The text you write can be: a journal entry recalling your moment of intersectional resonance and its relationship to a text or construct attended to in our class, a short story about your experience, a newspaper-styled article reporting on your event, an analysis of a cultural phenomenon you observed, a poem, a short feature exposing an agent of oppression, a description of the unreality of the dissonance you reckoned with as a displaced other, an anything that is written. There is no minimum word count—different forms of expression ask different utterances from us—but there is a maximum word count! Please, write no more than 600 words. You don’t have to write and write and write. This assignment is not meant to stress you out and burden you in an endless cycle of production. Try to have fun.

Your non-textual medium can be: anything that’s not written words, seriously anything. Be creative. You can: paint a painting, paste a collage, play a song, perform a poem, act out a scene you wrote, sketch a comic, parkour, design a graphic, build a GIF, link to a series of related images or sounds, edit a video montage, do a you-tube thing, draw a picture, or dance a dance. Did I mention you can do anything you want to do?

The Response: Write 300-ish words in response to a student post. How do you identify, complicate, question, (dis)agree with what was said, sung, drawn, seen, filmed, anything-ed, by the student you chose to respond to. How do your unique lenses overlap, diverge, inform and/or speak to one another? Please, be sure to read through the entire cycle of posts before responding—you never know what you may find. Feel free to supplement your response with something other than text.

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The Response to the Response: Join the Conversation. Try to look through the eyes of an-other as they appreciate the experience of someone else. How does another student’s response to a student post affect the way in which you internalize, appreciate, and/or understand the impressions of an-other? Your R2R should attend to both a post and a response—you’ve got to call them out by name. Again, 300-ish words should do it.

When: 1 2 3

Post: Noon, Fri, 09-28 Post: Noon, Fri, 10-26 Post: Noon, Sun, 11-25Response: Noon, Sat, 09-29 Response: Noon, Sat, 10-27 Response: Noon, Mon, 11-26R2R: Noon, Sun, 09-30 R2R: Noon, Sun, 10-28 R2R: Noon, Tue, 11-27

How Does This “When” Business Breakdown:

You will post only once in the semester. You will Respond to a post and an R2R twice this semester. In the cycle you post, you do not have to respond to a post or write an R2R—though if

you would like to engage with a response to your post in an articulate, considered internet debate, please do.

In days that you do not post, you must respond to a post and pen an R2R. The assignment is broken into threes. A third of the class will post in any one cycle, the

rest will Respond and R2R. You may pick your post day—first come first posts the post they want to post—email me

your best-life post list. I’ll do what I can. Your contributions will not count toward your grade on this assignment if they are late.

Feel free to post earlier than the due date—in fact, that’s totally encouraged. Responses and R2Rs must be executed sometime in their listed, 24-hour windows.

What’s THE PROJECT (TPNYCE) Worth to You: 15% of your final grade in this class.

Assessment: Careful consideration. Effort. Execution. Pride. There is no one, concrete, universal standard of excellence governing the assessment of this assignment. It depends on you.

Finally: Keep it clean-ish. VITAL, do not attack the human—argumentum ad hominem is a fallacy, it has no place here. You may question a position but you may not go after a person’s character.

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