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North American Fiction and Film
Welcome to North American Fiction and Film on the Web. We hope that this
unit will give students and other browsers an opportunity to explore one
of the units offered in the Literary Studies major here at Central Queensland
University, a unit we hope you will find both interesting and challenging.
We will commence with an introductory chapter which discusses some issues
relating to the study of North American fiction and film, and then we will
consider a selection of appropriate novels in subsequent chapter. Each chapter
raises a number of general issues related to North American fiction as well
as several specific issues associated with the reading of the particular
text under discussion. Obviously, the web also allows you to browse within
this framework according to your interest.Happy reading!
If you have any difficulties at all please do not hesitate to contact us.
Yours sincerely
Dr John Fitzsimmons
Coordinator and unit lecturer
Dr Wally Woods
Senior lecturer, Literary Studies
Table of Contents
General Details
Chapters and Texts
Topic
Introduction
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Unit Details
Unit aims
The aims of this unit are:
- to provide students with the skills to describe and analyse selected
American writings of the nineteenth and twentieth centuries within a framework
of issues such as ideology, gender, race and the politics of literature;
- to examine the way various discourses and narratives are used in the
construction of America as a community and the attempts that have been made
to negotiate these constructions;
- to promote an understanding of the complicity between literature and
ideology, and of the ways that texts operate as sites of ideological struggle,
particularly as exemplified in the set texts; and,
- to develop further the student's communication skills.
Unit rationale
We take as axiomatic the idea that literature is not about absolute "truths"
of the "human condition." Rather, the ways that literature has
been written and read make it a "site of struggle" over the values
and meanings in and through which various conceptions of the world are known
and challenged. We are concerned, therefore, to explore the set texts in
conjunction with the orthodoxies in which, and with which, they were written
and are read.
In each chapter of this unit you will find the following:
- a topic and/or a set text
- a brief discussion of this topic/set text
- some related further reading.
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Assessment
Essay preparation: General procedures
Following are guidelines for the preparation of essays:
- Type or write your essays clearly.
- Use A4 paper and leave at least a 3cm margin. (This is the best format
both for marking and photocopying.)
- Make a duplicate copy of each essay. This overcomes any problems should
your essays ever be lost in transit, though this rarely happens.
- Number each page of the essay.
Assessment criteria for assignments
In marking your assignments, tutors will be asking themselves the following
questions:
- Does this essay have a clearly articulated thesis which can be considered
as an answer to the question?
- Is this thesis supported with clear arguments and relevant evidence
from the text(s)?
- Has secondary criticism been used to support the arguments and does
the student clearly understand the relevant critical theory?
- Has care been taken with presentation, expression and spelling (i.e.
has the essay been carefully edited)?
- Have all sources been properly acknowledged (i.e. ideas, paraphrases
as well as quotations)?
For a full description and discussion of these assessment criteria, see
Appendix 1 of the Study Guide.
Assignment grading
A mark will be recorded on the front of the Assignment Folder of all assignments
which have been assessed. All assignments and essays must be submitted before
a final grade can be issued.
Assessment for this unit will be made using the following grades:
Grade Score Range HD 85% +
D 75-84%
C 65-74%
P 50-64%
Extensions to assignment deadlines
Please read this section carefully. Failure to submit essays by the
due date may result in a loss of marks unless an extension of time has been
approved. All assignments must be posted by the due date as specified for
each assignment.
Students requiring extensions should adhere to the following procedures:
- less that one week's extension: Contact the Faculty Secretary by phone
before the due date and briefly state reason for extension;
- up to two weeks' extension: Contact your lecturer by phone before the
due date and briefly state reason for extension.
Note: Assignments and essays submitted without extension may suffer a penalty
equivalent to the loss of one third of marks for each week the assignment
or essay is late. For the last essay, extensions beyond the study break
will only be granted in extenuating circumstances.
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Essay topics
Essay details
The formal assessment for this unit will be on the basis of two essays worth
40% and 60% respectively.
Essay 1
Due date: Friday of Week 7
Length: 2000 words
Marks: 40%
Topic:
Please answer one (1) of the following:
1) Of Edgar Allen Poe's stories, Wally Woods writes that "Through
contemporary theory we are able to relocate these stories as explanations
of different ways of knowing and an explanation of the repressed (primarily
sexual) forces in the unconscious" (Study Guide 1-1). Discuss this
comment with reference to at least two of the set stories: "The Murders
in the Rue Morgue," "The Purloined Letter," and "The
Fall of the House of Usher."
2) It has been said of Herman Melville's "Bartleby" and "Benito
Cereno" that they portray "facets of the radical American innocent
in his/her struggle against the constraining effects of their communities."
Discuss this comment with reference to both "Bartleby" and "Benito
Cereno."
3) "In 'speaking on behalf' of Black Americans and their sexuality
(both male and female), Gertrude Stein's 'Melanctha' runs the risk, given
that it is largely a story about a Black American woman's experience written
by a White woman, of reinforcing certain White stereotypes about Black Americans."
Discuss.
4) William Faulkner's novel As I Lay Dying is said to be a novel which uses
a fugue narrative: "In the fugue, a definite number of voices combine
in stating and developing a theme contrapuntally, the interest being cumulative.
The theme or subject is the main voice which conditions the whole work and
attracts other voices which complement and conflict with it." Discuss
the novel in the context of this comment.
5) Lynda K. Bundtzen argues that Sylvia Plath's novel The Bell Jar is an
"adolescent crisis novel" where Esther Greenwood's account of
her behaviour is symptomatic rather than explanatory of her "emotional"
or "schizoid" detachment. Bundtzen believes that it is left for
the reader to provide such explanations (Plath's Incarnations 111-112).
Discuss.
6) Wally Woods argues that in Ken Kesey's novel One Flew Over The Cuckoo's
Nest , "Randle P. McMurphy is a 'text-book' case of a Black Humour
hero, fighting vigorously against the 'system.' Unfortunately, though, his
fight is one that is ultimately both highly sexist and racist. [Moreover,
the novel] accedes to what has become known in American culture as the conspiracy
theory; that is, the theory that 'they' (the forces of hostile society)
are out to crush the individual" (Study Guide 6-1). Discuss (you may,
if you wish, use the film version of the novel as a "reading"
in this discussion).
Essay 2
Due date: Friday of Week 13
Marks: 60%
Length: 3000 words
Topic:
Please answer one (1) of the following:
1) Wally Woods argues that John Irving's novel The World According
to Garp, is a piece of overt metafiction. Rather than working by bringing
the author himself into the text, this novel operates as self-conscious
fiction by thematising the art of creating the 'real' through 'stories'"
(Study Guide 7-1). Discuss (you may, if you wish, use the film version of
the novel as a "reading" in this discussion).
2) Hermione Lee says of Flannery O'Connor's collection of stories, Everything
That Rises Must Converge, that "Ultimately her plot is always the same:
characters who are 'freaks' because 'they have no sacraments'-but whose
cast of mind makes them particularly susceptible to ideas of salvation and
damnation-are violently introduced to the possibility of grace" ("Introduction"
Everything that Rises Must Converge ix). Discuss this comment with reference
to at least four of O'Connor's stories.
3) "Claudia, the part-time narrator of Toni Morrison's The Bluest Eye,
notes that one of the biggest fears for members of the Black community is
the threat of being 'put outdoors' (11). This represents both a physical
and a metaphysical condition: for example, in the case of Cholly, it means
poverty beyond poverty; in the case of Pecola, it means being disinherited
from the disinherited." Discuss.
4) Tony Schirato argues that the "apparently omniscient narrator"
of Walter Abish's How German Is It appears determined to prove "that
Nazism and its related tendencies constitute, not a kind of historical aberration
but, instead, the essence of Germanness"; and yet, Schirato suggests,
the novel itself undermines this view because it is a "comic deconstruction
of the fiction of contemporary German innocence" ("The Politics
of Writing and Being Written: A Study of Walter Abish's How German Is It"
Novel 24.1 (1990): 69.) Discuss.
5) Madonne Miner writes: "Most readings of The Handmaid's Tale [Margaret
Atwood] approach the text, quite rightly, as a dystopic novel, a cautionary
vision of what might happen if certain attitudes are carried to extremes"
("'Trust Me': Reading the Romance Plot in Margaret Atwood's The Handmaid's
Tale." Twentieth Century Literature 37.2 (1991): 149.) Discuss (you
may, if you wish, use the film version of the novel as a "reading"
in this discussion).
6) Rose Lucas believes that the focus on food and cooking in Like Water
for Chocolate suggest the possibilities of paradox: "that is, it indicates
the conventional passage of a subjectivity through a social and epistemological
system and it also suggests the potential for that same process to signify
transgression, permeability, a breaking of the rules" ("Enchiladas
or Tacos?: Families, Frontiers and Food in Like Water for Chocolate."
Island 60.6 (1994): 65). Discuss (you may, if you wish, use the film version
of the novel as a "reading" in this discussion).
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Dr Wally WOODS
Dr Wally Woods (BA(Hons), MA James Cook, PhD Qld, Senior Lecturer)
is both Dean of Faculty of Arts, and Head of Humanities Department.
His current research interests include postmodernist fiction, metafiction,
post-structuralist literary theory, the construction of masculinity within
literature and the mass media, the art and culture of the Singhalese of
Thursday Island, and the literature of the Torres Straits. He is presently
involved in mapping the literature of the Central Queensland region. Phone:
(079) 309714; Email: w.woods@cqu.edu.au
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Last updated July 1996
Comments to Dr John Fitzsimmons:
Phone: (079) 309240; Email: j.fitzsimmons@cqu.edu.au
Humanities Department
Faculty of Arts
Central Queensland University
Rockhampton MC Queensland 4702
Australia