Assignments
American Transcendentalism: Beyond and Beneath
the I
English 319-75: American Literature from 1830 to 1865
Fall 2004, MW 4:00-5:15PM, Bingham
Humanities Bldg 113
First Day Poems
Ralph Waldo Emerson
"The Apology"
Think me not unkind and rude
That I walk alone in grove and glen;
I go to the god of the wood
To fetch his word to men.
Tax not my sloth that I
Fold my arms beside the brook;
Each cloud that floated in the sky
Writes a letter in my book.
Chide me not, laborious band,
For the idle flowers I brought;
Every aster in my hand
Goes home loaded with a thought.
There was never mystery
But 't is figured in the flowers;
Was never secret history
But birds tell it in the bowers.
One harvest from thy field
Homeward brought the oxen strong;
A second crop thine acres yield,
Which I gather in a song.
"Art"
Give to barrows, trays and pans
Grace and glimmer of romance;
Bring the moonlight into noon
Hid in gleaming piles of stone;
On the city's paved street
Plant gardens lined with lilacs sweet;
Let spouting fountains cool the air,
Singing in the sun-baked square;
Let statue, picture, park and hall,
Ballad, flag and festival,
The past restore, the day adorn,
And make to-morrow a new morn.
So shall the drudge in dusty frock
Spy behind the city clock
Retinues of airy kings,
Skirts of angels, starry wings,
His fathers shining in bright fables,
His children fed at heavenly tables.
'T is the privilege of Art
Thus to play its cheerful part,
Man on earth to acclimate
And bend the exile to his fate,
And, moulded of one element
With the days and firmament,
Teach him on these as stairs to climb,
And live on even terms with Time;
Whilst upper life the slender rill
Of human sense doth overfill.
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Recommended Reading
I've placed articles about Transcendentalism and the Sublime
on Minerva's Electronic
Reserves and Blackboard >
Course Documents to supplement the Norton Anthology's discussion of the subject.
Please read them at your leisure, perhaps one per week or when I mention an
article in class. I also recommend that you read the critical
articles and student article summaries on Blackboard's course documents
and discussion board, respectively.
Transcendentalism
- Carpenter, Frederick Ives. "Transcendentalism." American
Transcendentalism: An Anthology of Criticism. Ed. Brian M. Barbour. Notre
Dame: U of Notre Dame P, 1973. 23-34.
- Hochfield, George. "An Introduction
to Transcendentalism." American
Transcendentalism: An Anthology of Criticism. Ed. Brian M. Barbour. Notre
Dame: U of Notre Dame P, 1973. 35-51.
The Sublime
- Weiskel, Thomas. "Approaching the Romantic Sublime." The
Romantic Sublime: Studies in the Structure and Psychology of Transcendence.
Baltimore: Johns Hopkins UP, 1976. 3-33.
- Weiskel, Thomas. "Absence and Identity in the Egotistical Sublime." The
Romantic Sublime: Studies in the Structure and Psychology of Transcendence.
Baltimore: Johns Hopkins UP, 1976. 136-64.
Study Questions
When reading Transcendentalist essays and literature, you should
pay particular attention to the following issues, conflicts, and themes:
- the individualistic self vs the conformist society
- cultural, economic, religious, and social critique and democratic reform
- idealism vs realism
- dreams and delusions vs reality
- positive vs negative transcendence
- the intuitive super-sensual and soulful mind
- imagination vs fancy reality, reason, and or fancy
- knowledge and genius
- the beautiful and the sublime
My approach to Transcendentalism is that all Transcendentalist authors believe
in the mind's ability to achieve higher states of spiritual reality. However,
such positive transcendence is not guaranteed; consequently, the mind that
faces its most sublime fears and strives to achieve its most imaginative possibilities
in a quest for ultimate knowledge may descend into melancholic and mournful
or obsessional and destructive thinking. There exist two kinds of
transcendence: "positive" transcendence, which encompasses the creative, idealistic,
and self-determining genius, and "negative" transcendence, which consists of
the destructive death drive toward absolute negation of self and the world.
Emerson and Thoreau are positive Transcendentalists for they believe in the
possibility of the mind to transcend society and achieve a more or less spiritual
or simplified grace; Fuller, Douglass have one foot in positive and one foot
in negative transcendence for they believe in the ability to transcend their
gender stereotypes and physical enslavement, respectively; however,
Fuller and Douglass both experience anguish because of their knowledge of transcendent
possibilities, a knowledge of self-negation that ironically pushes them toward
transcendence. Hawthorne and Melville are negative transcendentalists because
Young Goodman Brown, Bartleby, and Ahab each acquire a debilitating knowledge
in the face of more or less extreme existential quests.
- Ralph Waldo Emerson
- Nature: Describe the relation between Nature and Spirit.
- "The American Scholar": Define "Man Thinking." What
is creative reading?
- "The Poet": What is the function of the poet? What is to be
the function of the poet in American society?
- Henry David Thoreau
- "Resistance to Civil Government": Why does Thoreau argue for
civil disobedience? What is "the machine"? What is the difference
in Thoreau's mind between governmental law and justice?
- Walden, or Life in the Woods: Why did Thoreau go into the woods?
What does he wish to simplify? Why did he leave?
- "Life without Principle": Define Thoreau's critique of work
and business. Can his critique be applied to today's society? Can his method
of transcendence be achieved today?
- Margaret Fuller
- Unfinished Sketch of Youth ("Autobigraphical Romance"):
What is Fuller's relationship to education, to knowledge? How does her education
affect her psychologically and socially? Is this necessarily a positive
or ideal effect?
- "The Great Lawsuit: MAN versus MEN. WOMAN versus WOMEN": How
does Fuller's version of transcendence relate to Emerson? How do each of
them conceive of the soul, for instance? Contrast what aspects of society
Emerson critiques with what parts of society Fuller critiques.
- Frederick Douglass, Narrative of the Life of Frederick Douglass
- Although Douglass is writing autobiography (more specifically a slave
narrative), how might some of his messages correspond with some of the Transcendentalists
we've read? What is his belief regarding education, and how might it relate
to Emerson's "Man Thinking"? What is his attitude toward slaveholding
society, and how might it relate to Thoreau's resistance to government?
- Harriet Jacobs, from Incidents in the Life of a Slave Girl
- Contrast Jacobs experience of slavery with Douglass's, specifically the
differing effects on men and women. What is Jacobs trying to achieve with
the numerous asides to the Reader. Who is the Reader and what would she
think of Jacobs' actions? Do you think Jacobs achieves absolution or redemption
in their eyes? in her own eyes?
- Nathaniel Hawthorne
- In "Hawthorne and His Mosses," Melville notes a certain "blackness"
in Hawthorne's writing. What is this blackness, and how might it be a negative
version or result of the idealistic transcendentalism that we've been discussing
so far?
- "Young Goodman Brown": Why does Goodman Brown go into the woods
in the first place? Why does he lose his faith?
- The Scarlet Letter
- What does Hawthorne's Custom-House job do to his thinking and imagination?
Describe the relationship Hawthorne sets up between fiction and historical
reality. Why does he delve into the past?
- Define the Transcendentalist characters that each of the main characters
(Hester, Pearl, Dimmesdale, Chillingworth) represent. How and why are
the transcendentalist ideals (romantic imagination and creativity, natural
innocence, higher spirituality, and the quest for knowledge) diverted,
subverted, and perverted in the novel?
- Why are Hawthorne's stories set in Puritanical times? What does the
Puritan society do to his characters' minds? How might his characters
(or at least Hawthorne the author) revel in their descent?
- Herman Melville
- "Bartleby, the Scrivener": Bartleby prefers not to. What does
he prefer to do? Perhaps more importantly, what does the narrator prefer
Bartleby to do? What, if anything, does Bartleby force the narrator to confront
about himself and his preferences?
- Moby-Dick; or, The Whale
- The Big Questions
- How, why, and to what effect does the novel deconstruct the Christian/pagan
and civilization/savage dichotomy? How might this relate to the novel's
Transcendental ideals?
- What does Moby Dick symbolize about God, Nature, and ourselves?
- How does Ishmael feel about whales, whaling, Moby Dick, and Ahab's
obsession regarding Moby Dick? What is Melville's attitude toward Ishmael?
- The core conflict of this novel is man versus/and Nature/God, Ahab
versus Moby Dick and Ishmael worshiping the sea. Analyze Ahab's monomaniacal,
obsessional need for vengeance, particularly as it stands in contrast
to Starbuck's "natural reverence" and Ishmael's desire for
the sea. Might Ahab's conflict with the whale be a projection of his
own internal conflict? Analyze Ahab's inner struggle with identity.
How does this force us to refine our previous conceptualizations regarding
the Transcendentalists' relationship with Nature, and, more importantly,
with the self?
- Compare and contrast Ishmael's "positive" Transcendentalism
with Ahab's "negative" Transcendentalism. Define the trigger(s)
that reverse Transcendentalism's polarities.
- Chapter-by-Chapter Questions
- Extracts: Most books have one or two epigraphs. Why does this one
have ten pages of epigraphs. What is Melville suggesting about his subject?
- Chapter 1, Loomings: Why does Ishmael go to the sea? What does one
find in the sea? Why does he prefer being a sailor on the royal mast-head
over being a passenger? Why does he prefer whaling? What does the remote
horror offer his psyche?
- Chapter 2, The Carpet-Bag: Notice the blackness of New Bedford. What
does this atmosphere suggest about the world Ishmael (and we his readers)
are entering?
- Chapter 3, The Spouter-Inn: Notice the "indefinite, half-attained,
unimaginable sublimity about [the painting] the painting that fairly
froze you to it" (26). Again, what kind of world is Ishmael entering,
particularly when he walks through the jaws of the whale to the inn's
bar, and what is it doing to his psyche? How does the civilized Ishmael
think and feel about the savage and cannibal Queegueg?
- Chapter 4, The Counterpane: Define Ishmael and Queequeg's emerging
relationship, particularly with regard to such statements as "You
had almost thought I had been his wife" (36). How does Ishmael
now feel about Queequeg's savage state, as compared to Chapter 3? Finally,
what does Ishmael's memory-dream of "the nameless, unimaginable,
silent form or phantom" hand represent?
- Chapter 6, The Street: Why does Melville juxtapose the sailors with
the patricians? What socioeconomic statement about the state of whaling
for the country might be arising from such an opposition?
- Chapter 7, The Chapel: Explain the metaphysical statement (really
a reversal) of life and death, body and mind, that Ishmael contemplates
in the chapel services for the three men lost at sea.
- Chapter 9, The Sermon: How might Father Mapple's lessons to his congregants
regarding the Jonah story (don't disobey God and be True) relate to
this novel?
- Chapter 10, A Bosom Friend: Ishmael not only refers to his relationship
with Queequeg as bosom buddies but a married couple. Why? What is Melville
trying to do with this?
- Chapters 12 and 13, Biographical and Wheelbarrow: How does Queequeg's
biography in Chapter 12 and his good deed in Chapter 13 ironize our
typical conceptions of the Christian and savage hierarchy?
- Chapter 16, The Ship: How are we to feel about Queequeg's religion,
especially as introduced in Yojo? How are we to feel about Quakers?
What is Melville trying to thematize about religion in this book? How
is Ahab introduced, and how does Ishmael feel about him at the close
of the chapter? Do a character sketch of Captains Peleg and Bildad.
Why does Ishmael agree to join a crew on a three-year voyage without
meeting the Captain? Might Ishmael have a self-destructive desire?
- Chapter 17, The Ramadan: How does Ishmael regard all religions?
- Chapter 19, The Prophet: What is the prophet's name and why is this
significant? What is Ahab's nickname?
- Chapter 20, All Astir: What is Bildad's sister's name?
- Chapter 21, Going Abroad: Note the mysterious boarding of the sailors
and Ahab's continual invisibility to the crew. Narratively, this is
designed to create suspense, but what might it suggest thematically
about Ahab's character?
- Chapter 23, The Lee Shore: Ishmael speaks very poetically of landlessness
and shorelessness. Describe his soliloquy about the infinite and the
terrible.
- Chapter 24, The Advocate: What kind of knowledge and truth does whaling
afford?
- Chapters 26 and 27, Knights and Squires: Do character sketches of
the three mates (Starbuck, Stubb, and Flask) and the three harpooners
( Queequeg, Tashtego, Daggoo). How does Starbuck's "natural reverence"
conflict with what we've heard of Ahab so far?
- Chapter 28, Ahab: How did Ahab get his scar? How is his will described?
- Chapter 29, Enter Ahab; to him, Stubb: Stubb believes Ahab to be mad
and "full of riddles." Do we?
- Chapter 30, The Pipe: What is the significance of Ahab throwing his
pipe into the sea?
- Chapter 31, Queen Mab: Psychoanalyze Stubb's dream of kicking Ahab
and talking with the merman.
- Chapter 32, Cetology: In Chapter 24, Ishmael advocated the nobility
of whaling, and puts forth the study of whales here. From where does
this urge for "the classification of the constituents of chaos"
arise? How might this need to define be absurd or futile in the face
of the chaotic sea? What kind of thinking and study is proper to whales?
- Chapter 33, The Specksynder: How and why does discipline and civility
on a whaling ship differ from that on merchant or military vessels?
- Chapter 34, The Cabin-Tale: What does Ishmael's juxtaposition of the
officers' meals and the harpooner's meals suggest about (Ishmael's and/or
Melville's beliefs regarding) class and race? Given the first-person
narrative, how Ishmael privy to these meals?
- Chapter 35, The Mast-Head: What does one actually do and figuratively
face on the mast-head? What does the "dreamy meditative man"
contemplate there? What happens to his identity?
- Chapter 36, The Quarter-Deck: Describe Starbuck's conflict with Ahab.
Alternatively, why is he also enchanted with Ahab?
- Chapter 37, Sunset: Ishmael again utilizes poetic license for the
narration of these next few chapters. How well do we trust his imagination?
Now that we're in Ahab's mind, how does he himself (or at least Ishmael
as he imagines Ahab's self-consciousness)?
- Chapter 38, Dusk: What is this "ineffable thing" that ties
Starbuck to Ahab?
- Chapter 39, First Night-Watch: Characterize the nature of Stubb's
laughter at the mystery of Ahab.
- Chapter 40, Midnight, Forecastle: According to Pip, why does the squall
come? And why does the normally obsessively detailed Ishmael/Melville
choose to narrate the squall through crew member's reactionary shouts?
What is he trying to accomplish?
- Chapter 41, Moby Dick: List the most significant words that Ishmael
uses to describe Moby Dick. What does Moby Dick represent? Describe
Ahab's "monomania."
- Chapter 42, The Whiteness of the Whale: What does Ishmael tell us
that white symbolizes? What does he mean by "transcendent horrors"
(160), "the terrible" (161), and "the heartless voids
and immensities of the universe" (165)?
- Chapter 44, The Chart: There's a line that separates Ishmael's obsessive
charting of the details of whaling from Ahab's obsessive charting of
the whale's migratory habit. Where is that line?
- Chapter 45, The Affidavit: As in Chapter 24, The Advocate, Ishmael/Melville
uses another legal term to describe his narrative endeavor. What effect
do the legal and scientific devices have upon this big fish tale? Do
we readers believe in the sublime power of the whale and its malignant
intentions to pursue ships?
- Chapter 46, Surmises: What is the difference between the spiritual
and the intellectual, as shown in Ishmael surmises of Ahab's reign over
Starbuck? Ishmael imagines Ahab contemplating Crusaders turning from
their romantic object in disgust. What does this tell us about Ishmael's,
Ahab's, and Melville's respective romantic visions?
- Chapter 48, The First Lowering: Why does Ahab have a private crew?
What is the significance of referring to them as "phantoms"?
- Chapter 49, The Hyena: Why does Ishmael call the universe "a
vast practical joke"? What does he resolve himself to when he writes,
"Now then, thought I, unconsciously rolling up the sleeves of my
frock, here goes for a cool, collected dive at death and destruction,
and the devil fetch the hindmost" (189)?
- Chapter 51, The Spirit-Spout: Juxtapose Ishmael's description of the
spirit-spout with Cape Horn, or rather Cape Tormentoso.
- Chapter 52, The Albatross: Given the ship's name, are we to make any
connections with Coleridge's "The Rime of the Ancient Mariner"?
- Chapter 53, The Gam: How does Ahab treat the gam?
- Chapter 54, The Town-Ho's Story: We now have a story-within-a-story.
Given the conflict between Steelkilt and Radney as well as Radney's
end, what might this story foreshadow about the Pequod?
- Chapter 55, Of the Monstrous Pictures of Whales: Why are all the pictures
of whales incorrect? Why "had you best not be too fastidious in
your curiosity touching this Leviathan" (218)?
- Chapter 58, Brit: According to Ishmael, which side wins the science
vs nature conflict?
- Chapter 60, The Line: What does Ishmael mean by the statement, "All
men live enveloped in whale-lines" (229)?
- Chapter 61, Stubb kills a Whale: How is the killing of the whale portrayed?
- Chapter 62, The Dart: Why is the harpooner's job deemed "superhuman"?
- Chapter 64, Stubb's Supper: How does Ahab react to the whale's death?
Are we to read Stubb's supper as juxtaposition to the sharks ' supper,
or as a complement?
- Chapter 65, The Whale as a Dish: What are we to make of the morbid
ironies of eating whale by whale light?
- Chapter 67, Cutting In: How does the sailors' butchery Sabbath in Moby-Dick compare to the black congregation in Hawthorne's "Young
Goodman Brown"?
- Chapter 69, The Funeral: Ishmael calls the whale's funeral "mocking,"
and yet he fully participates in the butchery. What attitude does he
take toward whales and whaling?
- Chapter 70, The Sphynx: What knowledge does the whale possess? To
what does the Sphynx allude?
- Chapter 71, The Jeroboam's Story: Compare and contrast Gabriel and
Ahab's psychological states, then compare Gabriel's enchantment of his
crew to Ahab's enchantment of his.
- Chapter 72, The Monkey-rope: Contrast how Queequeg and Ishmael are
"wedded" on the ship with how they were wedded on land. What
happens to Ishmael's free will? What significance might reside in the
fact that the only time we see these "bosom friends" together
on the ship is in a dangerous butchery.
- Chapter 73, Stubb and Flask kill a Right Whale; and Then Have a Talk
over Him: Why does Ahab order the crew to kill a right whale when sperm
whales are their only purview? How is Fedallah's relationship to Ahab
described?
- Chapter 78, Cistern and Buckets: What is the significance of the imagery
of Queequeg diving into the Tun, saving Tashtego, and then emerging
from it?
- Chapter 79, The Prairie: Why does Ishmael describe the whale as a
"Genius" with "god-like dignity" (274)?
- Chapter 80, The Nut: Ishmael personifies the whale: "This man
had no self-esteem, and no veneration. And by those negations, considered
along with the affirmative fact of his prodigious bulk and power, you
can best form to yourself the truest, though not the most exhilarating
conception of what the most exalted potency is" (275). What kind
of self does the whale pose?
- Chapter 81, The Pequod meets the Virgin: What is the irony of the
Jungfrau's need? Judging from his descriptions of the whale chase, particularly
on pages 281-2, how does Ishmael feel about the whale?
- Chapter 85, The Fountain: What kind of thought does Ishmael attribute
to the whale?
- Chapter 86, The Tail: With what kind of connotative diction does Ishmael
describe the whale's tail (294)? What does Ishmael admit about his knowledge
of whales (296)?
- Chapter 87, The Grand Armada: Explain the irony of the Pequod pursuing
the whale and "the bloodthirsty pirates" pursuing the Pequod.
What is Ishmael/Melville's point? The death of the whale in this chapter
is described in gruesome detail. How does Ishmael feeling about his
occupation?
- Chapter 89, Fast-Fish and Loose-Fish: Ishmael delves into jurisprudence
yet again. Why is he so interested in the law? What does Ishmael mean
when he asks, "What is the great globe itself but a Loose-Fish?
And what are you, reader, but a Loose-Fish and a Fast-Fish, too"
(310)?
- Chapter 91, The Pequod meets the Rose-bud: Given the laws explained
in Chapter 89, how does Ishmael regard Stubb's "unrighteous cunning"
to "diddle" the dead whale from the Rose-bud?
- Chapter 92, Ambergris: What is the irony of the substance know as
ambergris?
- Chapter 93, The Castaway: Contrast what happens to Pip's mind in the
ocean alone with how Ishmael has romanticized the infinity of the sea
in previous chapters.
- Chapter 94, A Squeeze of the Hand: "Come, let us squeeze hands
all round; nay, let us all squeeze ourselves into each other; let us
squeeze ourselves universally into the very milk and sperm of kindness"
(323). Is Ishmael serious? sane? high? Compare Ishmael (and Melville's)
version of transcendentalism in this chapter with Emerson's.
- Chapter 95, The Cassock: Is Ishmael/Melville being satirical toward
religion or simply scatological? If the former, define the satire.
- Chapter 96, The Try-Works: Given Chapter 95's archbishoprickand this
chapter's try-works "blackness of darkness" and fire worship,
what picture of religion is Melville creating? Can we Compare Melville's
view of religion to Hawthorne's view in a work such as "Young Goodman
Brown."
- Chapter 98, Stowing Down and Clearing Up: What is Melville's view
of labor, work, and toil in such lines as "Oh! my friends, but
this is man killing! Yet this is life" (331)?
- Chapter 99, The Doubloon: What is pictured on the doubloon, and what
does it symbolize?
- Chapter 100, Leg and Arm * The Pequod, of Nantucket, meets the Samuel
Enderby, of London: What happened to the Samuel Enderby's captain when
he crossed paths with Moby Dick? Compare Captain Boomer's "diabolical
passions" to Ahab's, but contrast his rationality regarding the
White Whale with Ahab's irrationality.
- Chapter 102, A Bower in the Arsacides and Chapter 103, Measurement
of the Whale's Skeleton: Describe Ishmael's thirst for (scientific)
knowledge about whales. Compare and contrast Ahab and Ishmael's obsessions
with whales.
- Chapter 104, The Fossil Whale: What were Ishmael's other jobs before
whaling?
- Chapter 105, Does the Whale's Magnitude Diminish?—Will He Perish?:
Explain Ishmael's rationalization that whaling does not drive the species
to extinction. Given our 20/20 hindsight, we don't buy it, but do we
think Ishmael does?
- Chapter 106, Ahab's Leg: Here is the trouble with Ahab's transcendentalism,
"[...] every revelation partook more of significant darkness than
of explanatory light" (355).
- Chapter 107, The Carpenter:
- Chapter 108, Ahab and the Carpenter: Describe the Carpenter's job.
Does it have any correspondence to the "unaccountable, cunning
life-principle in him" (358).
- Chapter 109, Ahab and Starbuck in the Cabin: How does Ahab respond
when Starbuck wants to find the oil leak?
- Chapter 110, Queequeg in his Coffin: Why does Queequeg prefer a canoe
rather than a burial at sea? Why does Queequeg live, at least according
to him?
- Chapter 111, The Pacific: Contrast Ishmael's peaceful thoughts
of the Pacific with Ahab's violent ones.
- Chapter 112, The Blacksmith: Why does Perth choose a life at sea?
How is a life at sea a fitting sequel for a life destroyed by alcoholism?
- Chapter 113, The Forge: What is the significance of Ahab branding
his harpooners with his newly forged harpoon? To whom does Ahab baptize
them?
- Chapter 115, The Pequod meets the Bachelor: Contrast "this ship
of good luck" with "the moody Pequod" (374).
- Chapter 116, The Dying Whale: Explain Ahab's soliloquy: "Yet
dost thou, darker half, rock me with a prouder, if a darker faith. All
thy unnamable imminglings float beneath me here; I am buoyed by breaths
of once living things, exhaled as air, but water now" (376).
- Chapter 117, The Whale Watch: Explain the Parsee's, Fedallah's, relationship
to Ahab.
- Chapter 118, The Quadrant: What is a quadrant, and why does Ahab destroy
it?
- Chapter 119, The Candles: Of what does Starbuck use the Typhoon as
an opportunity to persuade Ahab? Describe the symbolic images that the
lightning creates of the three harpooners, the harpoon, and the ship's
masts.
- Chapter 123: The Musket: Define Starbuck's moral quandary, "Starbuck
seemed wrestling with an angel; but turning from the door, he placed
the death-tube in its rack, and left the place" (388).
- Chapter 124 and 125, The Needle and The Log and Line: How does Ahab
respond to the broken compass and rotted log and line? Given the description,
"In his fiery eyes of scorn and triumph, you then saw Ahab in all
his fatal pride" (390), are we to read Ahab's flaw as tragic or
not?
- Chapter 126, The Life-Buoy: What is the significance of the life-buoy
sinking?
- Chapter 127, The Deck: If Ahab knows he has gone off the deep end
(396), why does he not return from the brink?
- Chapter 128, The Pequod meets the Rachel: What has the Rachel lost;
what is her captain looking for?
- Chapter 130, The Hat: How is Ahab and Fedallah's relationship in this
chapter described? Does Melville go too far with his onslaught of omens,
in this chapter's case, the sea-hawk?
- Chapter 131, The Pequod meets the Delight: Again, does Melville go
too far with his onslaught of omens, in this chapter's case, the burial
of the Delight's dead who faced Moby Dick?
- Chapter 132, The Symphony: Do we gain sympathy for Ahab given his
single tear and life story? Contrast Ahab's self-described cannibalism
with Queequeg's. "Is Ahab, Ahab? Is it I, God, or who, that lifts
this arm?" (406): What does Ahab's speech suggest about his identity
and responsibility in the situation?
- Chapter 133, The Chase—First Day: Juxtapose the terms in which
the unseen but everpresent Moby Dick has been described in the first
400 pages of the novel with how he is described by firsthand on page
409. What does the discrepancy suggest about the human mind's capacity
for fear and knowledge?
- Chapter 134, The Chase—Second Day: The crew is described as
frenzied, in awe, and "welded into oneness." Define the ambiguity
of this moment. How does it enact not only the kind of "positive
transcendence" we discussed in the first half of the course and
the kind of "negative transcendence" we've been discussing
in the second half? On another subject, do we believe Ahab's statement,
"I am the Fates' lieutenant; I act under orders" (418)?
- Chapter 134, The Chase—Third Day: Ishmael meditates upon the
relationship of thinking and feeling (419). What theme does the novel
suggest about the possibilities and problems of man thinking? "[...]
far other hammers seemed driving a nail into his heart (423): what theme
does the novel suggest about the possibilities and problems of man feeling?
Although Moby Dick hits the Pequod with "Retirbution, swift vengeance,
eternal malice" (424), whose retribution is really being sought?
If, as Ishmael suggests the whale's gentleness (409) and as Starbuck
asserts the whale does not seek Ahab (423), who or what is the source
of the "eternal malice"? Is Tashtego's frozen hammering of
the flag, as well as the subsequent bird entanglement, during the sinking
of the ship meant to invoke tragedy, irony, or both?
- Epilogue: How does Ishmael fatefully and ironically escape the vortex?
- Edgar Allan Poe, poetry and short stories
- Poetry: The issue that seems to run through all of these poems is melancholic
beauty. What does Poe and his speakers find beautiful? How do Poe's speakers
relate to death?
- "The Imp of the Perverse": Poe suggests that excessive Thought
breaks from reason and logic and becomes Perverse. How does Perversity
run through all of Poe's works, poems as well as stories? How do Poe's
other works enact the dichotomy between rationality and irrationality?
- Walt Whitman, poetry
- According to the Preface to Leaves of Grass (1855), what is
the role of the poet in American society? Do you think he achieves that
function in "Song of Myself"?
- Emily Dickinson, poetry
- Judging from her poetry, how do you think Dickinson lives her life?
What is Dickinson's relationship with life? According to her mindset,
how are life and death related? How does her world view contrast with
Whitman's?
Selected Reading
The Norton Anthology and Critical Editions offer much more
writing by most of the authors that we're going to read than we can possibly
examine in this course. I encourage you to read all of these texts, but
we'll only have time to examine a limited number of them in class. Please be
prepared to discuss the following selections.
Ralph Waldo Emerson
Nature (Emerson 27-55)
"The American Scholar" (Emerson 56-69)
"The Divinity School Address" (Emerson
69-81)
"The Transcendentalist" (Emerson 93-104)
Emerson, "The Over-Soul" (Emerson 163-74)
"The Poet" (Emerson 183-98)
"Experience" (Emerson 198-213)
from "Poetry and Imagination" (Emerson
297-319)
read all selected poetry (Emerson 429-83), but these
are the ones we'll most likely discuss:
"The Sphinx"
"The Problem"
"Uriel"
"The Humble-Bee"
"The Snow-Storm"
"The Apology"
"Merlin I"
"Merlin II"
"Blight"
"Threnody"
"Days"
"The Chartist's Complaint"
"The Titmouse"
"Sea-Shore"
"Waldeinsamkeit"
"Art"
Henry David Thoreau
"Resistance to Civil Government" (Baym
1788-1806)
Walden, or Life in the Wood, Chapters 1-3,
5, and 18 only (Baym 1807-66, 1875-81, 1974-82)
"Life without Principle" (Baym 1788-2028)
Walt Whitman
read all poems (Baym 2127-274), but these are
the ones we'll most likely discuss:
Preface to Leaves of Grass (1855)
"Crossing Brooklyn Ferry"
Letter to Ralph Waldo Emerson [Whitman's 1856 Manifesto]
"From Pent-up Aching Rivers"
"Out of the Cradle Endlessly Rocking"
"When Lilacs Last in the Dooryard Bloom'd"
"Song of Myself" (1855) [note: not the 1881 version]
"I Sing the Body Electric" [online]
Emily Dickinson
read all poems (Baym 2499-544), but these are
the ones we'll most likely discuss:
67 [Success is counted sweetest]
185 ["Faith" is a fine invention]
258 [There's a certain Slant of light]
280 [I felt a Funeral, in my Brain]
324 [Some keep the Sabbath going to Church—]
341 [After great pain, a formal feeling comes—]
448 [This was a Poet—It is that]
465 [I heard a Fly buzz—when I died—]
536 [The Heart asks Pleasure—first—]
547 [I've seen a Dying Eye]
712 [Because I could not stop for Death—]
1126 [Shall I take thee, the Poet said]
In Class Group Activities
1. Emerson: Defining Key Terms
Last week, we grounded our general understanding of Emerson's project by looking
at "The Transcendentalist" and Nature. Today, we'll discuss
specific concepts by looking at four other essays. Divide into four groups
of three or four members.
Group 1: "The Over-Soul"
Group 2: "The Poet"
Group 3: "Experience"
Group 4: from "Poetry and the
Imagination"
Each group should analyze one essay by answering the following questions.
Select a secretary to report your findings to the rest of the class.
- Provide the essay's thesis and define its titular
and key terms, for example the over-soul, poetry, experience, and the imagination.
- Select
a passage or two that brings the essay into clear focus and explain the
passage.
- Describe
Emerson's argument about the place of poetry and object of writing (and
reading) literature.
2. Hawthorne's "Blackness" and "Young Goodman Brown"
In "Hawthorne and His Mosses," Herman Melville argues that Hawthorne's stories
have a certain blackness. Today, we'll debate that issue after completing the
following groupwork.
- Define the "blackness" that Melville sees in Hawthorne's work.
- Do a character sketch of Young Goodman Brown by paying particular heed to
his arc. In what world and view of the world does he start and end? What happens
to him and his view of the world?
- Is Melville's reading of blackness in Hawthorne's work apt? Why or why not?
- I'll assign half of the groups the pro position and the other half of
the groups the con position.
- If your group has the time, consider what makes Hawthorne a Transcendentalist.
Do Goodman Brown, Hester, Pearl, or Dimmesdale "transcend"?
3. Hawthorne's Troubling Transcendence in The Scarlet Letter
Last week, we discussed the blackness at the heart of Young Goodman Brown,
both the character and the story. Today, we'll look at the ambivalent characters
and ambiguous symbolism in The Scarlet Letter. Each group is responsible
for examining the transcendentalist aspect of their assigned character, and
how that transcendentalist ideal is troubled by the events and relationships
in the novel.
Here are the questions:
- What are the transcendentalist traits of the character?
- In what ways are these aspects diverted, subverted, or even perverted? Why?
- How does the character to relate to the predominant symbol, the scarlet
letter? Or, what does the scarlet letter do to the psyche of the character?
Here are the groups:
- Hester Prynn
- Pearl Prynn
- Arthur Dimmesdale
- Roger Chillingworth
4. Melville's Relationship to Nature in Moby-Dick
Melville's understanding of and relationship to Nature is a bit more complicated
than Emerson and Thoreau's. We'll begin our analysis of Moby-Dick with
groupwork that looks at the main characters and the authors' attitudes toward
the sea and the whale.
- Ishmael
- Why does Ishmael go whaling?
- How does he speak of the sea, whales in general, Moby-Dick specifically,
and whaling?
- Starbuck
- How does Starbuck feel about Nature and about his occupation?
- What kind of mate is Starbuck (how does he perform his whaling
duties in general) and how does he regard Ahab's relation
to Moby-Dick and the Pequod's mission?
- Ahab
- Describe Ahab's monomania.
- What does Ahab's quest for vengeance against the whale suggest about
his regard for life and Nature in general?
- Melville
- Given that the tale is written in first person, is it fair to equate
Ishmael's attitude toward the sea with Melville's?
- How might Melville's
attitude be distinguished from Ishmael, Starbuck, and Ahab's? In other
words, how does the conflict between the three views engender Melville's
theory and theme of Nature.
5. Poe's "The Fall of the House of Usher"
We'll conclude our discussion of Poe's paradoxical complication of life and
death, the beautiful and the grotesque, the rational and the irrational by
examining "The Fall of the House of Usher." Divide into four groups.
- the house
- Roderick
- Madeline
- the narrator
Each group is responsible for the following tasks:
- Do a character (or, in the case of the house, setting) sketch.
- Interpret the character's core conflicts and discuss the key issues surrounding
the character.
- Determine the most important passage that reveals the character's central
issues.
6. Whitman's Poetry
During the last class period, we discussed Walt Whitman's Preface to Leaves
of Grass,
his letter to Emerson, and his poem "Song of Myself." Today, we'll look deeper
into the poetry.
Here are the groups:
- "Crossing Brooklyn Ferry"
- "Out of the Cradle Endlessly Rocking"
- "Pent Up Aching Rivers"
- "I Sing the Body Electric"
Here are the issues the group should discuss:
- What is the poem about? What is the narrative of the poem?
- What are the issues and themes of the poem?
- Does the poem fulfill the task of the poet as set forth by Whitman himself
in his Preface to Leaves of Grass and letter to Emerson?
Article Summaries
In order to open up the critical perspective of the class, we'll be using
scholarly articles that comment on the works of literature that we're reading
in the class.
Twice in the quarter, you will write a two page (500 word)
article summary of an essay that analyzes and interprets an work of literature
that we're reading in class. Scholarly articles are found in the Norton Critical
Editions or Blackboard >
Course Documents.
Your first summary should primarily
appreciate the essay under review: What interpretive issues does the essay
broach and/or answer? What is the article's thesis and controlling idea? (How)
does the essay illuminate the work of literature in question?
Your second summary should primarily interrogate
the essay under review: What interpretive issues does the essay fail to
broach and/or answer? What is "wrong" with the article's thesis and controlling
idea? What does does the essay fail to illuminate about the work of literature
in question?
Article summaries are due in Blackboard > Article
Summaries discussion board by the start of class on the date listed. Format
your summary to Word so all students can read it; you may use my
MLA styled template. Sign up for two slots at least two weeks apart so I can
grade and return your first summary before you write your second summary. Your
first summary should summarize the article while the second should interrogate
it. You will also be asked to briefly outline the article and your response
to it during class. You can collect your graded article summary, approximately
one week after you post it, in Blackboard > Tools
> View Grades. Click
the "0" link to open up your grade. Your graded paper is the attached
file in section 3 Feedback to Student.
Week |
Due |
Article |
Student |
Week 1 |
|
|
|
Week 2 |
M, 8-30 |
Emerson criticism (in Emerson)
Firkins (Emerson 657-63) |
Suzanne Moffitt |
West (Emerson 742-58) |
Jacob Lee |
Miller (Emerson 668-79) |
Justin Linde |
Porte (Emerson 679-697) |
|
Morris (Emerson 777-90) |
|
Waggoner (Emerson 697-704) |
Kevin Mullins |
W, 9-1 |
Thoreau criticism (in Blackboard)
Cameron |
|
Gleason |
Matt Mattingly |
Kleine |
Suzanne Moffitt |
Moore |
Jacob Lee |
Week 3 |
W, 9-8 |
Fuller criticism (in Blackboard)
Davis |
Stacey Wimsatt |
Reynolds and Berthold |
|
Week 4 |
W, 9-15 |
Douglass criticism (in Blackboard)
Gibson |
Kevin Webb |
Wardrop |
Matt Mattingly |
Jacobs (in Blackboard)
Cutter |
Hasan Khan |
Nudelman |
|
Week 5 |
W, 9-22 |
Hawthorne criticism (in Blackboard)
Hurley |
Brittany Robertson |
Paulits |
Kevin Corbin |
Week 6 |
W, 9-29 |
Hawthorne criticism (in Hawthorne)
Fogle (Hawthorne 308-14) or
Waggoner (Hawthorne 315-24) |
Hasan Khan
Andrea Ulrich |
Male (Hawthorne 324-33) or
Gross (Hawthorne 336-42) |
Melanie Zettwoch |
Crews (Hawthorne 361-70) or
Porte (Hawthorne 375-83) |
Stephanie Stout |
Stubbs (Hawthorne 384-91) or
Leverenz (Hawthorne 416-22) |
Emely Clevinger |
Week 7 |
|
|
|
Week 8 |
W, 10-13 |
Melville criticism (in Blackboard)
Abrams |
Brittany Robertson |
Stempel and Stillians |
Andrew Walker |
Week 9 |
W, 10-20 |
Melville criticism (in Melville)
Benzanson (Melville 641-56) |
Tammy Wintermute |
Hayford (Melville 657-69) |
Andrew Ulrich |
Brodtkorb (Melville 669-74) |
Kevin Corbin |
Hayford (Melville 674-96) |
Melanie Zettwoch |
Week 10 |
W, 10-27 |
Paglia (697-702) |
Emely Clevinger |
Wenke (702-12) |
Josh Ganz |
Melville criticism (in Blackboard)
Glenn |
|
Van Cromphout |
Stacey Wimsatt |
Poe, criticism (in Blackboard)
Brown |
Justin Linde |
Kelly |
Joel McQueary
Andrew Walker |
Week 11 |
W, 11-3 |
Bieganowski |
Josh Ganz |
Butler |
Stephanie Stout |
Week 12 |
W, 11-10 |
Whitman criticism (in Blackboard)
Aspiz |
Tammy Wintermute |
DeLancey |
Kevin Webb |
Week 13 |
W, 11-17 |
Dickinson criticism (in Blackboard)
Alfrey |
Joel McQueary |
Diehl |
|
Week 14 |
|
|
|
Week 15 |
|
|
|
Week 16 |
|
|
|
Finals |
|
|
|
Take-Home Exam
Transcendentalism is a particularly American version of idealism. What does
Transcendentalist philosophy mean to particular authors we’ve read? How
do these specific authors evoke their own version of the Transcendentalist ethic?
Do all Transcendentalists believe in the same set of ideals? Compare and
contrast how two of the four authors we've read so far (Emerson, Thoreau,
Fuller, and even Douglass, who was not a Transcendentalist per se but certainly
one in spirit) would, firstly, define Transcendentalism and, secondly, achieve
transcendence. Think of this take-home exam as half-exam and half-paper. In
terms of being an exam, show what you know about the movement and its ideas;
in terms of being a paper, analyze and interpret specific works of literature.
You must quote from assigned primary texts to prove your argument, and you may
also use recommended and critical reading to help support your analysis if you
wish.
- Length: 4-5 pages
- Style: Conform your paper to MLA
style.
- Due: Wednesday, September 22 by 4:00PM for paper copies; Thursday,
September 23 by 4:00PM for electronic copies.
- Format: I'll accept papers in hard copy or electronic format.
- Paper
- Turn in to me in my mailbox (Bingham Humanities 315) or my office (Bingham
Humanities 335A) by 4:00PM on Wednesday, September 22. If you need another
day to work on it, you can turn it in electronically on Thursday.
- Electronic
- Use Microsoft Word or Corel WordPerfect format for Windows only. I will
not read papers submitted in Notepad, Writepad, Works, Publisher, html,
or other formats; consequently, your paper will be considered late until
you turn it in in the appropriate format.
- Turn in via Blackboard > Assignments > Take-Home
Exam View/Complete. Browse to where your file is located on your local
disk, and then upload your file to Blackboard. If you have problems with
Blackboard, you can also email your exam to me, as an attachment in the
appropriate format, at alex.blazer@louisville.edu.
- Late Papers
- If I receive your paper between 11:59PM on Thursday,
September 23 and 11:59PM on Friday, September 24, your exam will
be penalized one letter grade, if on Saturday, September 25,
then two letter grades, and so forth.
- Grades: Your graded exam will be returned to
you approximately one week after you turn it in.
- If you turned it in on paper, it will be returned to you in class
on paper.
- If you turned it in electronically, you can retrieve it at Blackboard > English
319 > Tools > View Grades > Take-Home
Exam. Click
the "0" link to open up your grade. Your graded paper is the attached
file in section 3 Feedback to Student.
Short Paper
In the first third of the semester (and, consequently, the take-home exam),
we painted a fairly optimistic and, dare I write it, idealistic, view of the
Transcendentalists. The first paper will allow you to investigate the complexities
of a particular Transcendentalist stance by providing a more nuanced reading
of only one author. Using
one of the authors that we've read so far (Emerson, Thoreau, Fuller, Douglass,
Jacobs, Hawthorne, or Melville), but one which you did not write
your first exam on, write a paper that focuses on the trials and tribulations
of Transcendentalism, the emotional suffering and mental anguish that go part
and parcel with achieving transcendence. (Although Frederick Douglass and Harriet
Jacobs do suffer physically in their quest for freedom, you should also look
at the complex emotional and mental effects rather than merely the corporeal.)
For the essayists and autobiographers, you could delve into the obstacles that
hinder one's movement toward transcendence and/or the costly emotional consequences
of a particular journey . For the poets and fiction writers, you could analyze
the costly intellectual, emotional, and/or spiritual consequences of a particular
transcendental quest. Or you could look at the negative, melancholic, or obsessional
side of transcendentalism from your own analytical viewpoint.
- Length: 5-6 pages
- Style: Conform your paper to MLA
style.
- Due: Monday, November 1 by 4:00PM.
- Format: I'll accept papers in hard copy or electronic format.
- Paper
- Turn in to me in class.
- Note: I will not accept late hard copies of papers. If you turn
in your paper late, you must do so via Blackboard and you will receive
a one-letter per day late penalty. Thus, if I
receive it between 11:59PM on Monday, November 1 and 11:59PM on
Tuesday, November 2, your paper will be penalized one letter grade,
if on Wednesday, then
two letter grades, and so forth.
- Electronic
- Use Microsoft Word or Corel WordPerfect format for Windows only.
I will not read papers submitted in Notepad, Writepad, Works, Publisher,
html, or other formats; consequently, your paper will be considered
late until you turn it in in the appropriate format.
- Turn in via Blackboard >
Assignments > Short Paper View/Complete.
Browse to where your file is located on your local disk, and then
upload your file to Blackboard. (Note: If you have problems with
Blackboard, you can also email your paper to me, as an attachment
in the appropriate format, at alex.blazer@louisville.edu.)
- Grades: Your graded paper will be returned to you on approximately
one week after you turn it in.
- If you turned it in on paper, it will be returned to you in class on
paper.
- If you turned it in electronically, you can retrieve it at Blackboard > Tools > View Grades > Short Paper. Click
the "0" link to open up your grade. Your graded paper is the attached
file in section 3 Feedback to Student.
Annotated Bibliography
The take-home exam allowed you to work through a general conception of the
Transcendentalist movement while the short paper allowed you to more fully
investigate a work of literature. The article summaries showed you some scholarly
approaches to literature. The research paper is your space of writing to merge
your ideas about a work of literature with what critics in the field are thinking.
Before you write the paper, you must do the research in an annotated bibliography.
An annotated bibliography is a list of
secondary sources that includes summaries of those materials. While the article
summaries required you to summarize one critical article in 500 words, an annotated
bibliography requires you to summarize ten articles in 75-100 each. A full
two weeks before your research paper is due, you will compose an annotated
bibliography of the research materials that you might use in the research
paper. Here's the format you should follow for the annotated bibliography.
- Thesis in Progress: In a couple of sentences, state your tentative
interpretive thesis in progress and the question that is guiding your research.
(You will be asked to share this with the class.)
- Summary of Findings: In at least 250 words, summarize the various
ways critics are interpreting the work of literature. For instance, point
out interpretative debates.
- 10 Secondary Sources
- type of sources: Spread your search evenly between scholarly
journal articles and scholarly books or book chapters; do
not use encyclopedias, magazines, newspapers, websites, or primary
texts. Here is a handout on literary
research methods at UofL.
- arrangement and citation format of sources: arrange sources alphabetically
and format them according to MLA
citation standards
- annotations: summarize and evaluate each of the 10 sources
in 75-100 words by
- identifying the issue or question that the source is investigating,
- defining the source's thesis or main idea relevant to the work
of literature you're researching, and
- explaining how the source helps your understanding of the work
of literature
- Length: research summary and 10 annotated sources
- Style: Conform your annotated bibliography citations to MLA style.
- Due: Monday, November 29 by 4:00PM.
- Format: I'll accept papers in hard copy or electronic format, though
I would greatly appreciate electronic files.
- Paper
- Turn in to me in class.
- Note: I will not accept late hard copies of annotated bibliographies.
If you turn in your paper late, you must do so via Blackboard and
you will receive a one-letter per day late penalty. Thus,
if I receive it between 11:59PM on Monday, November 29 and
11:59PM on Tuesday, November 30, your paper will be penalized
one letter grade, if on December 1, then two letter grades, and so
forth.
- Electronic
- Use Microsoft Word or Corel WordPerfect format for Windows only. I
will not read papers submitted in Notepad, Writepad, Works, Publisher,
html, or other formats; consequently, your paper will be considered
late until you turn it in in the appropriate format.
- Turn in via Blackboard >
Assignments > Annotated Bibliography View/Complete.
Browse to where your file is located on your local disk, and then upload
your file to Blackboard. (Note: If you have problems with Blackboard,
you can also email your paper to me, as an attachment in the appropriate
format, at alex.blazer@louisville.edu.)
Grades: Your graded annotated bibliography will be returned to you between
Wednesday, December 1 and Saturday, December 4.
- If you turned it in on paper, it will be returned to you in class on
paper.
- If you turned it in electronically, you can retrieve it at Blackboard > Tools > View Grades > Annotated Bibliography. Click
the "0" link to open up your grade. Your graded paper is the attached
file in section 3 Feedback to Student.
Research Paper / Final Portfolio
Research Paper : In your take-home exam and short paper,
you analyzed works of literature while honing your understanding of the Transcendental
aesthetic and worldview. In your article summaries, you outlined and interrogated
scholars' readings of two work of literature. In the final paper, you will
continue that process of interpretive analysis while using scholars in the
field to augment your interpretation. The final paper will be a 9-10 page
research paper on a Transcendentalist work of literature of your choosing,
although you should share your topic with me before you begin. Here are the
three choices for research topics:
- a text we've read in class, but on which you have not yet written a formal
paper or exam,
- a text we've not read in class, though by an author we've read in class,
or
- a work by an author we have not read in class. Possible authors include
William Cullen Bryant, Henry Wadsworth Longfellow, John Greenleaf Whittier,
Harriet Beecher Stowe, Emma Lazarus.
(Click here
to see the list of Transcendentalist texts students chose to pursue.)
Rigorously interpret and analyze the work of literature, and use four scholarly
journal articles, books, or book chapters to support your interpretation (Click
here to learn how to conduct literary research at UofL). Although this
is a research paper, the emphasis should be on your ideas, your way of reading
the text; the research should help you develop and support your interpretation,
but it should not take the place of your interpretation.
Final Portfolio: The final paper must be turned in with a final
portfolio. This portfolio will consist of
- a cover letter explaining what you've learned about Transcendentalist
literature and the progress of your writing in the course (include rationale
for your revision of Paper 1 and/or 2 if you choose to revise them)
- all previously graded assignments, with professor's remarks:
- Article Summary 1: Appreciation
- Article Summary 2: Interrogation
- Take-Home Exam
- Short Paper
- Annotated Bibliography
- optional revisions of the Take-Home Exam and Short Paper (note:
these revisions are optional, not mandatory)
- research paper
If you turn in your final portfolio as a hard copy, place all materials in
a folder. If you turn in your final portfolio electronically, enclose the
separate documents into a single zip file (Windows XP has built in zip functionality;
you can download WinZip at www.winzip.com).
So I can quickly and easily find documents within your electronic portfolio,
name each individual document according to the following
system: Cover Letter, Article Summary 1: Appreciation, Article Summary 2:
Interrogation, Take-Home Exam, Short Paper Annotated Bibliography, Exam Revision,
Paper Revision, Research Paper.
- Paper Length: 8-10 pages
- Paper Style: Conform your paper to MLA
style.
- Portfolio Due: Monday, December 13 by 8:00PM.
- Portfolio Format: I'll accept papers in hard copy or electronic format.
- Paper
- Turn in to me in my office, HUM335A between 4:00 and 8:00PM, or
my mailbox, HUM315, by 5:00PM.
- Electronic
- Enclose your Microsoft Word or Corel WordPerfect format files in a single
zip file (see above). I cannot open archived files in extensions other
than ".zip" and I will not read papers submitted in Notepad,
Writepad, Works, Publisher, html, or other formats.
- Turn in via Blackboard >
Assignments > Research Paper / Final Portfolio View/Complete.
Browse to where your archive file is located on your local disk, and
then upload your file to Blackboard. (Note: If you have problems with
Blackboard, you can also email your paper to me, as an attachment in
the appropriate format, at alex.blazer@louisville.edu.)
- Grades, Comments, and Paper Return:
- You can access your final grade in the course via Ulink after Sunday, December 19.
- If you want comments, please ask for them.
- If you want your final portfolio returned to you, please ask for it.
- If you want your hard copy materials returned to you, please see
me at the start of spring semester.
- If you want your electronic materials returned to you, go to Blackboard > Tools > View Grades > Research Paper /
Final Portfolio. Click
the "0" link to open up your grade. Your graded paper is the attached
file in section 3 Feedback to Student.
Research Paper Topics
Emely Clevinger |
Harriet Jacobs, Incidents in the Life of a Slave Girl |
Kevin Corbin |
Herman Melville, "Bartleby, the Scrivener" |
Josh Ganz |
Edgar Allan Poe, "The Fall of the House of Usher" |
Hasan Khan |
Herman Melville, Moby-Dick |
Jacob Lee |
Walt Whitman, poetry |
Justin Linde |
|
Matt Mattingly |
Edgar Allan Poe |
Joel McQueary |
Edgar Allan Poe |
Suzanne Moffitt |
Walt Whitman and Allen Ginsberg, poetry |
Brittany Robertson |
Harriet Beecher Stowe, Uncle Tom's Cabin |
Stephanie Stout |
Edgar Allan Poe, detective fiction |
Andrea Ulrich |
Walt Whitman, poetry |
Andrew Walker |
Nathaniel Hawthorne, "Young Goodman Brown" |
Kevin Webb |
Walt Whitman, poetry |
Stacey Wimsatt |
Harriet Beecher Stowe, Uncle Tom's Cabin |
Tammy Wintermute |
Edgar Allan Poem |
Melanie Zettwoch |
Emily Dickinson, poetry |