ࡱ> %` pObjbj"x"x 5@@pGH H H H H H H \ `"`"`"`"#\\ |#|#|#|#|#|#|#|#4M6M6M6M7mM88$hdH F|#|#FFH H |#|#νKKKFH |#H |#4MKF4MKKH H K|#p# 0`"GvK(M 0KKKH KL|#b /K8?|#|#|#K|#|#|#FFFF\ \ \ `"\ \ \ `"\ \ \ H H H H H H  English 167, Steinbeck Susan Shillinglaw Fall 2008, M/W 1:30-2:45. Sweeney 444. Office, FO 118: Hours: Mon: 9-10; 3-4; Wed: 3-4 Email: sshillingl@aol.com Description John Steinbeck, Californian, was intimately connected with the region of his birth. Born in Salinas in 1902, he grew up loving the broad Salinas Valley, Salad Bowl of the Nation. On the shores of the nearby Pacific his family had a summer retreat, and throughout his life he yearned to be near the sea. The writer who began his career at age 14 spent a life time writing about humans living in place. He wrote in the early 1930s: Each figure is a population and the stonesthe trees the muscled mountains are the worldbut not the world apart from manthe world and manthe one inseparable unit man and his environment. Why they should ever have been understood as being separate I do not know. Man is said to come out of his environment. He doesnt know when. Steinbecks vision of place is holistic: human communities and natural communities intersect. In this course we will consider fully the biographical, textual, and social implications of Steinbecks ecological holism. In addition, students will consider how that holistic sensibility, delicately rendered in prose, is translated into other mediums, particularly film. We will view several films made from Steinbecks works to consider how effectively the writers sensibilities are rendered visually. After mid-semester, students will present their own focused adaptations of a single scene in Steinbecks work: those adaptations may be dramatic, musical, visual, or kinesthetic. Requirements: Students are expected to attend each class, to read assigned texts carefully, to watch films with analytical sensibilities. Active class participation is encouraged, and quizzes on the readings will be given (15%), in addition to a midterm essay exam (15%) and a final essay exam (15%). Written work also includes a reading notebook (40%). Finally, students will work in groups to present creative project, which includes a paper from each student in the group. In groups of 3-4, students will interpret one scene from Steinbecks work in a 10 minute presentationsee schedule for dates. These should be incisive, thoughtful, polished and creative (dramatic, visual, musical, or kinesthetic). On the day of the presentation, each member of the group will turn in a written commentary in the interpreted scene, which will include scholarly commentary on that scene (at least two sources NOT on the interneteach students written report will, obviously, differ in content) (15%: 7.5% presentation, 7.5% 3 page paper with bibliography). The Steinbeck Reading Notebook SECTION Iresponses to reading (5 polished entries). In this part of the notebook students will comment on ideas and questions generated by primary material. Please comment on five different texts (other than the novel you work on for your presentation) in entries of at least 400 words each. Please write on specific and focused observations about that text. Write about your greatest ideasbut dont try to cover issues broadly. Narrow, narrow, narrow. Select scenes from books. Minor characters. Image patterns. Pointed comparisons, perhaps between a scene in a film, two scenes in a text. Please do not read secondary sources on Steinbeck for these entries. SECTION II--Enrichment (6 polished entries) Certainly the value of a single author course is the time to focus on one writer's career. Please examine materials in the Center for Steinbeck Studies, which is open daily. Include the following in this section of your notebook: 2 commentaries on secondary works on Steinbeck (see bibliography attached to syllabus); 2 entries on at least 20 pp of Working Days, the Grapes journal and at least 20 pages of Journal of a Novel; 1 entry on 20 pp of Steinbeck: A Life in Letters and 1 entry on 30 pp of Bensons or Parini's biography. For these entries, please briefly summarize the part of the text you read (4-6 sentences) and then give your insights on how this material affected your reading of Steinbecks work. SECTION IIIHooptedoodle (optional extras) In this section add material that has increased your appreciation of Steinbeck. Comment on Steinbeck films other than those shown in class. Write a journal of the Steinbeck tour. Photograph Steinbeck Country. Other suggestions: --responses to Steinbeck's manuscripts held in CSS or Stanford--compare to published work --comparison of various editions of Steinbeck's works (at least 6. Note covers, illustrations of foreign editions and comment) --film scripts/treatments in the CSS--Lifeboat or Viva Zapata --notebooks of book reviews in CSS--read at least 10 reviews of one text --Tom Collins reports--several days' reports. Students will turn in notebooks twice before submitting the final version with a minimum of 11 entries. After notebooks are returned to you in September and November, you may revise entries. But please consider a revision a rewriting/rethinking of original commentary. And please turn in both the original and revision, each clearly marked. All final notebooks will be in binders and will include a Table of Contents. Remember: These entries are not to be summaries of books or articles; rather they should be thoughtful responses to the reading, to the critics, to the films.You will be graded on the specificity and thoughtfulness of your responses. In-class Presentations Working in groups of 4, you will select a specific portion of the novel to presenttied to the part of the novel read that day for the class. The group will research background information about the text and incorporate that into a creative presentation. Student presentations are meant to delight and inform the audience. Think of the best plays youve seen, the most thoughtful films, dance performances, art, lectures and presentations. Please consider that you are teaching your classmates about the book by bringing in additional materials--letters, social history, photographs, film clips, etcand incorporating that information into your creative presentation. Each group will meet on the second day of class and set up a schedule for meeting; the group will decide on a date that they will meet to discuss each participants role: that role will be clearly indicated at the top of the paper handed in with this presentation. One week before the presentation, members of the group will speak to professor after class in a brief conferencethis is a requirement. Each presentation is limited to 12 minutes: FIRM. Each presentation will be thoughtfully evaluated by peers, and you should consider the points on the evaluation sheets carefully when preparing your presentation. Texts To a God Unknown The Pastures of Heaven Tortilla Flat OPTIONAL: Of Mice and Men Journal of a Novel The Grapes of Wrath A Journey into Steinbecks California The Log from the Sea of Cortez America and Americans and Selected Nonfiction Cannery Row East of Eden The Winter of Our Discontent Schedule August 25: Introduction; powerpoint presentation. 27: Steinbecks Valleys and Mountains: To a God Unknown. September 1: NO CLASS 3: To a God Unknown 8: Tour of the 91 Steinbeck Center (go directly to 5th floor of MLK Library). 10: To a God Unknown 15: The Pastures of Heaven through Helen Van Deventer (72). 17: Film: Junius Maltby The Pastures of Heaven through Molly Morgan (130). 22: Film: Molly Morgan. The Pastures of Heaven (complete). 24: Of Mice and Men. Scenes from 1939/1992 films. 29: Of Mice and Men: America and Americans: The Play-Novelette. Dubious Battle in California, Squatters Camps, Starvation Under the Orange Trees. Notebooks due, A-M (at least 4 entries) October 1: The Grapes of Wrath: Chapters 1-8; opening scenes from John Fords The Grapes of Wrath. 6: The Grapes of Wrath: Chapters 8-15. Notebooks due, N-Z (at least 4 entries) 8: The Grapes of Wrath: Chapters 16-23. Presentation I. America and Americans: Tom Collins 13: The Grapes of Wrath: complete. Presentation II. Opening chapter of East of Eden. 15: East of Eden: Part I. America and Americans, The Joan in All of Us 20: Midterm exam 22: East of Eden: Part II. Presentation III. 27: East of Eden: Part III. Go directly to the Center for Steinbeck Studies: Portions of televised production of EE 29: East of Eden: Part IV. Elia Kazans East of Eden. November 3: East of Eden 5: The Sea/ The Monterey triology. Tortilla Flat Presentation IV 10: Tortilla Flat Notebooks due A-M (at least 8 entries). 12: Cannery Row. America and Americans, A Primer on the 30s About Ed Ricketts 17: Cannery Row; Presentation V America and Americans, My War with the Ospreys 19: Sea of Cortez. Notebooks due, N-Z (at least 8 entries) 22: Saturday. Steinbeck Country Tour. 24: Sea of Cortez Presentation VI 26: Thanksgiving December 1: Sea of Cortez 3: The Winter of Our Discontent Chapters 1-3 (51) All Notebooks due (Final: 11 entries) 8: The Winter of Our Discontent, Chapters 4-10 (157) Presentation VII America and Americans, The Trial of Arthur Miller. 10: The Winter of Our Discontent, Part II. America and Americans, The Making of a New Yorker Conversation at Sag Harbor. Other considerations Students with Disabilities: If you need course adaptations or accommodations because of a disability, or if you need special arrangements in case the building must be evacuated, or if you need to share any emergency medical information, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities requesting accommodations must register with the Disability Resource Center to establish a record of their disability. To reach the Disability Resource Center, call: 408-924-6000 408-808-2123 (ATC) 408-924-6542 (Deaf and HoHvoice) 408-924-5990 (Deaf and HoHTTY) Academic Integrity Statement (from Office of Judicial Affairs): Your own commitment to learning, as evidence by your enrollment at San Jose State University, and the Universitys Academic Integrity Policy requires you to be honest in all your academic course work. Faculty are required to report to the Office of Judicial Affairs. The policy on academic integrity can be found at (http://www2.sjsu.edu/senate/S04-12.pdf). Academic integrity is essential to the mission of San Jos State University. As such, students are expected to perform their own work (except when collaboration is expressly permitted by the course instructor) without plagiarizing or paraphrasing from any outside resources, except as quoted and documented in their research. Students are not permitted to use old tests, quizzes when preparing for exams, nor may they consult with students who have already taken the exam. When practiced, academic integrity ensures that all students are fairly graded. Violations to the Academic Integrity Policy undermine the educational process and will not be tolerated. It also demonstrates a lack of respect for oneself, fellow students and the course instructor and can ruin the universitys reputation and the value of the degrees it offers. We all share the obligation to maintain an environment, which practices academic integrity. Violators of the Academic Integrity Policy will be subject to failing this course and being reported to the Office of Judicial Affairs for disciplinary action, which could result in suspension or expulsion from San Jos State University. Cheating: At 91, cheating is the act of obtaining or attempting to obtain credit for academic work through the use of any dishonest, deceptive, or fraudulent means. Cheating at 91 includes but is not limited to: Copying in part or in whole, from anothers test or other evaluation instrument; submitting work previously graded in another course unless this has been approved by the course instructor or by departmental policy; submitting work simultaneously presented in two courses, unless this has been approved by both course instructors or by departmental policy; altering or interfering with grading or grading instructions; sitting for an examination by a surrogate, or as a surrogate; any other act committed by a student in the course of his or her academic work which defrauds or misrepresents, including aiding or abetting in any of the actions defined above. Plagiarism:At 91 plagiarism is the act of representing the work of another as ones own (without giving appropriate credit) regardless of how that work was obtained, and submitting it to fulfill academic requirements. Plagiarism at 91 includes but is not limited to: The act of incorporating the ideas, words, sentences, paragraphs, or parts thereof, or the specific substances of anothers work, without giving appropriate credit, and representing the product as ones own work; and representing anothers artistic/scholarly works such as musical compositions, computer programs, photographs, painting, drawing, sculptures, or similar works as ones own. Recommended Secondary Reading Principal Collections Bancroft Library, University of California, Berkeley, California. Bracken Library, Ball State University, Muncie, Indiana. Center for Steinbeck Studies, San Jose State University, California. Columbia University, New York, New York. Humanities Research Center, University of Texas, Austin, Texas. National Steinbeck Center, Salinas, California. Pierpont Morgan Library, New York, New York. Stanford University Library, Stanford, California. University of Virginia Library, Charlottesville, Virginia Selected Secondary Reading. Please select from the following or any essays published in scholarly journals in the past 10 years. See MLA bibliography. Astro, Richard. John Steinbeck and Edward F. Ricketts: The Shaping of a Novelist. Minneapolis: U of Minnesota P, 1973. Beegel, Susan F., Susan Shillinglaw, and Wesley N. Tiffney, Jr, eds. Steinbeck and the Environment: Interdisciplinary Approaches. Tuscaloosa: U of Alabama P, 1997. Benson, Jackson. ed. The Short Novels of John Steinbeck. Durham, NC: Duke UP, 1990. _____. The True Adventures of John Steinbeck, Writer. New York: Viking P, 1984. Bloom, Harold, ed. Introduction. Modern Critical Views: John Steinbeck. New York: Chelsea House, 1987. Coers, Donald V. John Steinbeck as Propagandist: The Moon is Down Goes to War. Tuscaloosa: U of Alabama P, 1991. DeMott, Robert. Steinbecks Reading: A Catalogue of Books Owned and Borrowed. New York: Garland Reference, 1984. ______.Steinbecks Typewriter: Essays on His Art. Troy, NY: Whitston , 1996. Ditsky, John. Critical Essays on Steinbecks The Grapes of Wrath. Boston: Hall, 1989. ______. John Steinbeck and the Critics. Rochester, NY: Camden House, 2000. Everest, Beth and Judy Wedels. The Neglected Rib: Women in East of Eden. Steinbeck Quarterly 21.1-2 (1988): 13-23. Fensch, Thomas, ed. Steinbeck and Covici: The Story of a Friendship. Middlebury, Vermont: Paul S. Eriksson, 1979. Fiedler, Leslie. Looking Back After 50 Years, San Jose Studies 16.1 (1990): 54-64. Fontenrose, Joseph. John Steinbeck: An Introduction and Interpretation. New York: Barnes and Noble, 1963. French, Warren. A Companion to The Grapes of Wrath. NY: Viking, 1963. Rpt. NY: Penguin, 1989. ______. John Steinbeck. New York: Twayne, 1961. _____. John Steinbecks Fiction Revisited. New York: Twayne, 1994. _____. John Steinbecks Nonfiction New York: Twayne, 199 . Gladstein, Mimi. The Indestructible Woman in Faulkner, Hemingway, and Steinbeck. Ann Arbor, Michigan: UMI Research P, 1986. _____. "The Strong Female Principle of Goodor Evil: The Women of East of Eden." Steinbeck Quarterly 24 (1991): 30-40. Hadella, Charlotte. Of Mice and Men: A Kinship of Powerlessness. Hayashi, Tetsumaro, ed. After the Grapes of Wrath, John Steinbeck, 1936-1939. Tuscaloosa: U of Alabama P, 1993. _____. Steinbecks Women: Essays in Criticism. Steinbeck Monograph Series (9) 1979. 36-48. Heavilin, Barbara, ed. The Critical Response to John Steinbecks The Grapes of Wrath. Westport: Greenwood P, 2000. Jones, Lawrence William. John Steinbeck as Fabulist. Ed. Marston LaFrance. Steinbeck Monograph Series, No. 3. Muncie, IN: Ball State University/John Steinbeck Society of America,1973. Lewis, Cliff and Carroll Britch. Rediscovering Steinbeck: Revisionist Views of His Art, Politics and Intellect. Lewiston, NY: Mellen, 1989. Lieber, Todd M. Talismanic Patterns in the Novels of John Steinbeck. American Literature 44 (1972): 262-75. Lisca, Peter. Nature and Myth. New York: Crowell, 1978. _____. The Wide World of John Steinbeck. New Brunswick: Rutgers UP, 1958. McElrath, Joseph, Jr., Jesse S. Chrisler, Susan Shillinglaw, eds. John Steinbeck: The Contemporary Reviews. Cambridge: Cambridge UP: 1996. Millichap, Joseph R. Steinbeck and Film. New York: Frederick Unger, 1983. Noble, Donald, ed. The Steinbeck Question: New Essays in Criticism. Troy, NY: Whitston,1993. Owens, Louis. John Steinbecks Re-Vision of America. Athens: U of Georgia P, 1985. _____. The Mirror and the Vamp: Invention, Reflection and Bad, Bad Cathy Trask in East of Eden. Writing the American Classics. Ed. James Barbour and Tom Quirk. Chapel Hill: U of North Carolina P, 1990. 235-57. _____. The Grapes of Wrath: Trouble in the Promised Land. Boston: Twayne, 1989. Parini, Jay. John Steinbeck: A Biography. New York: Henry Holt, 1995. Railsback, Brian. Parallel Expeditions: Charles Darwin and the Art of John Steinbeck. Moscow: U of Idaho P, 1995. Rucklin, Christine. Steinbeck and the Philosophical Joads, Steinbeck Newsletter 10.1 (1997): 11-13. Simmonds, Roy S. John Steinbeck: The War Years, 1939-1945. Lewisburg: Bucknell UP, 1996. Timmerman, John H. John Steinbeck's Fiction: The Aesthetics of the Road Taken. Norman and London: U of Oklahoma P, 1986. _______. The Dramatic Landscape of Steinbeck's Short Stories. Norman: University of Oklahoma P, 1990. Wyatt, David, ed. New Essays on The Grapes of Wrath. Cambridge: Cambridge UP, 1990. ()*35PQahikvxy{˺yly\ylyK;h@h[5OJQJ\aJ!h@h5OJQJ\]aJh@hpe5OJQJ\aJh@5OJQJ\aJh@hLn5OJQJ\aJh@hD3H5OJQJ\aJh@hQf5OJQJ\aJ!h@hQf5OJQJ\]aJ!h@hLn5OJQJ\]aJhQf5OJQJ\]aJhCJ\]aJhQfhQfCJ\]aJhQfhCJ\]aJ)*Q PQ_jk h]^hgd]gd $]a$gdgdQf-$$d%d&d'dNOPQ]a$gdQfpO& \ ] ^ _     % = Y Z [ ? 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