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Word Rogues |
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On English and Writing: Leon Lanzbom |
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  C LT 270B 20513 World Literature 1900-2140 W SH 260 fall 2009 instructor: Leon Lanzbom email: lanzbom@yahoo.com Course Description: Comparative study of selected major works from various continents and cultures, with emphasis on way literature deals with enduring human problems and values, since 1500. Comparative Literature 270A is not a prerequisite to 270B, and either may be taken separately.  "The world today doesn't make sense, so why should I paint pictures that do?" -- Pablo Picasso        There are lines which are just intended as a sort of graphic image of something, and which are not obscure by nature or because I couldn't find a better solution, but because I wanted to make them less comprehensible in order to describe a certain difficulty. --Miroslav Holub     
MATERIALS/TEXTS: Persepolis 1&2, Marjane Satrapi Ghost World Clowes (Fantagraphics) Night Wiesel (Hill and Wang) Short Shorts Howe (Bantam) Bluest Eye Morrison (Vintage) Frankenstein Shelley (Dover) Things Fall Apart Achebe Book of Luminous Things Milosz You are responsible for bringing the appropriate textbooks to every class meeting; bring paper and pens to every class meeting. Coming to class without the appropriate materials or without having completed assigned readings is equivalent to being absent for that day. You must have our main text books. No excuses will be accepted. I reserve the right to ask you to leave class if you do not have your book. Journal Aids: use both of these to help you keep critical journal notes of our readings.  Click the pic to download your Puppet Strings  Click pic for your Rhetorical Precis doc  Click the pic for your Rhetorical Precis pdf Grade Breakdown: (Newly Updated) Two in-class written exams: 200 points Journals/ Vocabulary Log: 100 points  Final Research Essay 100 points in class quizzes 50 points Participation * 50 __________________ 100% 500 points Final Grades: English 270B students will receive a letter grade (A, B, C, D, F), based on the following grading scale. A = 500 - 450 B = 449 - 400 C = 399 - 350 D = 349 - 300 F = 300 and below * Participation: Do you get involved (poetry memorization etc)? Do you ask questions? Are you ready for class? Do you usually do the readings? Are you self motivated (do you do what has to be done)? On Adding and Dropping It is ultimately the student's responsibility to drop all classes in which he/she is no longer attending. Check your schedule in the WebPortal
to make sure you are enrolled in the right classes before the adjustment deadlines. You have two separate deadlines for
adding and dropping classes. The last day to drop classes is now the
10th day of the semester at 6 p.m., and the last day to add is the 12th
day of the semester at 6 p.m.
The schedule adjustment deadlines for fall 2009: Drop classes by September 14 at 6 p.m. Add classes by September 16 at 6 p.m. Change grading basis by September 16 at 6 p.m. Withdraw from the university by September 16 at 6 p.m. I have the option to drop you from my course for non-attendance or lack of required prerequisites. The fall 2009 faculty drop deadline is September 9 at 6 p.m. Dropping and adding of classes must be done through your WebPortal account.Attendance:
The whole point of this class is to work together, creating an intellectual sum greater than its parts. If you miss class, you are taking away a vital part of the class mechanis, you. As such, miss no more than two classes (2) during the semester; note that you are responsible for any work which you miss or assignments you elect to "bail on." One last unpleasant matter: if you miss more than two sessions, you will be dropped one letter grade. For example: If you have an A- and three (3) absences you will receive a B+. This is not negotiable. If you believe you have an extreme circumstance, please see me.
Attitude: When you walk into class each day on time, you will have read all that has been assigned to you for that day. There are no excuses for missed preparation as reading assignments for a given day are clearly stated in this syllabus. This may strike you as a bit harsh but the rule is quite simple: If you do not prepare the readings, you are not welcome in class. Why? Because this seminar depends upon the contributions of its participants--without your input, the class is likely to evolve into a boring, one hour waste of life.
Late Work: I do not accept late assignments. Assignments are due at the beginning of class, in the class session, not in my office. If you believe you have a legitimate reason for submitting an assignment beyond the due date, see me or write me, before the work is due. No quizzes or in-class writing assignments may be made up without prior arrangements made with me. You must submit all assigned work in order to pass this course, regardless of your total points earned for the course.
For the next sixteen weeks or so, we're going to take a peek at a gathering of marvelous books: Wiesel, Shelley, Satrapi, Spiegelman, Achebe, and more. We will read their works as if we were part research scientist and part street poet, examining the subjective and the objective, piecing together what makes their lines tick yet timeless, discovering what spark yields life, life. BUT to
break up the word monotony,
we're
going to view several perfect perceptual vehicles for our journey into the
world
of semiotic decoding .
Intro to class, begin Night, read about 1/2 the book by next class. ________________________ Week 02 Sept 9 film: Un Chien Andelou Night: Discuss. Finish book by next week Journals: You should download your Puppet Strings and Rhetorical Precis (see above), and start on your journals now. Don't wait until the end of the semester, or it will be impossible to catch-up. After every chapter you read, so either one as a reader's response. Do try to use both though. They will give you great practice in analyzing and in passing the upper division writing exam. Don't forget about next week. (Shush!) And remember to order, A Book of Luminous Things: An International Anthology of Poetry by Czelaw Milosz Harvest Books.
Note: Next week we meet in SH 260 Night should be finished Maus 1: Spiegelman Be prepared to discuss the above. Shhhh! AMC Mission Valley 7:30 1640 Camino Del Rio, North Week 04 Sept 23: Meeting in SH 260
Click above to read "Inside Auschwitz." Or better yet click below (Oprah actually did an amazing job of gathering info): Your Guide to NightBe prepared to discuss/write about Weisel, Spiegelman, Tarantino Walk in having finished Maus 1 and 2  Scholarly Articles about MAUS:
      ______________________________________________ Un Chien Andalou  Un Chien Andalou This classic film by Luis Bunuel and Salvador Dali, circa 1928, was made to attract the attention of the Avant Garde movement. These two mad artists wanted to create a film whose "only rule was very simple: no idea or image that might lend itself to rational explanation of any kind would be accepted." Bunuel took stones to the premiere to toss at the critics. But something more bizarre than the film itself happened. The critics and bourgeoisie loved it! Bunuel and Dali were puzzled. Bunuel wrote: "What can I do about the people who adore all that is new, even when it goes against their deepest convictions, or about the insincere, corrupt press, and the inane herd that saw beauty or poetry in something which was basically no more than a desperate impassioned call for murder?" "A movie like this is a tonic. It assaults old and unconscious habits of movie going. It is disturbing, frustrating, maddening. It seems without purpose (and yet how much purpose, really, is there in seeing most of the movies we attend?). There is wry humor in it, and a cheerful willingness to offend." - Roger Ebert _______________________________________________ First essay assignment: Due Sept 30, now Extended to Oct. 7 Draw what you view to be the most memorable or confusing image from Dali and Bunuel's UN CHIEN ANDALOU. On another piece of paper taped to that drawing, write a one-page essay that describes your rationale and/or speculates upon the complexities of the particular image you selected, offering three points of observation and a thesis.
Finish Maus II, if need be Persepolis 1 (We'll get into II if we have time) Book of Luminous Things: choose your favorite poem from the first two chapters. _______________________________________________ Inglourious Basterds,Be able to write about it in class, if asked.
Click the critics and read reviews on Inglourious Basterds--compare this film to our readings. Week 06 Wednesday October 7 Be prepared to write about and discuss Maus I and Maus II, also you must read all of Persepolis 1 Next week we will discuss Persepolis 1 and 2
____________________________________ Defiance
Click poster for full synopsis of Defiance
last chance to hand in un chien papers After tonight Un Chien papers will not be accepted Persepolis I &II
Film: Persepolis:Discussion after film Wed. October 21 Discuss and finish Persepolis I &II. Be prepared for a quiz. Frankenstein: first 30 pages  Come up to the podium: Professor for 5 minutes! Memorize and recite a poem from The Book of Luminous Things
Week 9: October 28
Conferences: My office: AL 260
Hand in paper comparing the women of Persepolis Remember: proper MLA format! Click HERE to download your Hacker MLA guide. __________________________ Frankenstein: Read up until chapter 20.
be prepared to discuss or write about your favorite part or a part that disturbs you deeply.
Week 11: No class
Week 12: Nov. 18: The Midterm "Cataclysmic Shakedown" Grilling!
Night Defiance* Un Chien Andelou Maus Persepolis Inglorious Basterds* Frankenstein *Click on the Defiance poster: read the synopsis. **To refresh yourself on Inglorious Basterds, click on one or two reviews (see week 5 above). November 25th No Class: Thanksgiving
All readings completed, be prepared to discuss in groups: The Bluest Eye, Things Fall Apart, Short Shorts, Ghost World Paper due: In 2 or 3 pages, using at least 2, 3, or more of our books, how does either lover or hate form an essential construct for the basic plot of each book.
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Week 01 Sept 2 
You will be responsible for the following readings and films: 
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