English 5106: Studies in Genre, Drama

Dr. Maria Doyle

Spring 2008: MW 12:30-1:45, Humanities 205 

Office and Phone: TLC 2-248, 678-839-4853 

Email: mdoyle@westga.edu 

Office Hours: MW 10:00-12:00, 2:00-3:30 and by appt. 

Website: http://www.westga.edu/~mdoyle   

Course Description: 

Literally, a play is a piece of literature written in dialogue and meant for performance, but the larger question that this course will explore is the more important issue of why a writer might choose this particular form of expression: what’s the value of putting real actors in a room with a real audience, and how does this shape the way a writer presents his or her ideas? Rather than attempting a complete survey of a genre that has been around for well over two millennia, this course will organize its exploration around a set of archetypal Greek models – the human fall of Oedipus, the rebellion of Antigone and the frenzied destruction of Euripides’s Bacchae – using analysis of these plays to inform a reading of major developments in modern theater, from  Tennessee Williams’s modern gothic to Tom Stoppard’s parodic absurdism and August  Wilson’s stage chronicle of African-American experience. Discussions will provide students with a vocabulary for reading British, American and world drama as literature – its connection to larger literary, political and social movements – and as theater – its relation to performance conventions and stage spaces.    

Students should familiarize themselves with the use of the MyUWG web interface, as materials for this course, including paper assignments and handouts, will be posted there. Students should also use their university email accounts to correspond with the professor.   

For information on learning outcomes and the course’s relationship to departmental program goals, see http://www.westga.edu/~engdept/fr/CourseGuid/5106.html   

Required Texts:

Sophocles, Three Theban Plays (Fagles, trans.)*

Euripides, The Bacchae (Woodruff, trans.)*

August Wilson, Fences

Brian Friel, Selected Plays

Caryl Churchill, Top Girls

Bertolt Brecht, Mother Courage and Her Children (Bentley, trans.)*

J.M. Synge, The Playboy of the Western World

Tennessee Williams, A Streetcar Named Desire

Tom Stoppard, The Real Inspector Hound and Other Plays

*For the three editions in translation (Sophocles, Euripides and Brecht), students are required to purchase the specific translation assigned. For texts originally written in English, the assigned editions are highly recommended, although you may use another edition if you already have the text.

Requirements:

(1) Exams:  Students will complete both a midterm (10%) and final exam (22.5%). The midterm will cover terms and plays from Section I of the course and will consist of identifications and definitions. The final exam will cover material from the entire course and will assess each student's ability to identify and discuss particular passages and/or images from the plays, apply terms and ideas discussed throughout the course, and synthesize, through a clearly argued essay, themes and concepts covered in our discussions. No makeup exams will be scheduled, and students who arrive late to exams will not be given extra time.

(2) Short Writing:

Analytical Responses (10%): Students will complete two short analytical responses designed to develop your ability to engage with and respond to critical theory and dramatic texts. Students will have a selection of topics for each response, and further guidelines for these responses will be discussed and distributed in class. Responses will generally be 500-600 words. I have scheduled a writing workshop early in the term to help clarify my expectations for these responses and for the longer end of term writing project.

Theory Responses (10%): Students will be required to complete three written responses to material on a secondary reading list for the course syllabus. Students will select readings in consultation with the instructor and use this theoretical background to help develop their final projects. Responses should demonstrate the student’s ability to engage in conversation with the secondary material: students should not summarize the reading but should identify a central question or significant passage that appears in the reading and explore how that idea contributes to an understanding of the primary material. Responses should be 300-400 words each and should be submitted via email. Due dates for these responses are in the schedule of readings; students may submit them earlier than these deadlines.

(3) Course Project (40%): This project will consist of an essay, performance study and introductory statement including research bibliography to be turned in Monday, April 21. This assignment will allow students to apply what they have discussed in class to the critical study of drama as both written and performance text. Further guidelines outlining length, appropriate sources and the different components of this assignment will be distributed separately. Students are encouraged to begin work on this project early (I will distribute a suggested timeline to help you plan your approach to the assignment) and to consult with me about drafts.

(4) Class Participation (7.5%): Class participation – your preparation for class meetings and your willingness to contribute to our discussions – is an important component of your grade, and graduate students are expected to assume a leadership role in discussions.  Consistent, punctual attendance is the minimum expected of all students, and after four absences, you will lose half a letter grade in this category for each additional class missed. You do not need to explain your absences to me – I understand that sometimes illness, childcare issues, uncooperative automobiles or unforeseen emergencies prevent you from coming to class – but use those allowed days for real emergencies, as I will not differentiate between “excused” and  “unexcused” absences. Doing well in class participation means more than just coming to class.  Students are further expected to have read the material carefully before class meetings, to listen attentively both to the instructor and to the comments other students make during discussions, to ask questions and offer ideas about the material and to respond thoughtfully to ideas presented both by the instructor and the other students.

I do not give ‘makeup’ assignments, and unless an exceptional opportunity arises that is directly related to the course material, I do not offer ‘extra credit’ opportunities: you will all be assessed by the same methods on the same assignments. If you find that you are having trouble with the course material, adjust your study schedule, come to my office hours (that’s what they’re for!) or make an appointment at the Writing Center to get help with your writing. 

Special Needs: If you have a registered disability that will require accommodation, please see me at the beginning of the semester; I will be happy to discuss your situation. If you have a disability that you have not yet registered through the Disabled Student Services Office, please contact Dr. Ann Phillips in Student Development (678-839-6428).

All students should print out and sign the course policy sheet (click here). This sheet contains information about deadlines, the course late policy, paper format and a statement regarding academic honesty. Signed sheets are due by Jan. 16.

Schedule of Readings:

Students should have completed the portion of the play assigned by the dates below.

Unit 1: The Oedipus Model: The Suffering Hero

W        1/9       Introduction: Theater and Drama

                        The Greek Stage and Oedipus

M         1/14     Finish discussion of Sophocles, Oedipus

W        1/16     William Shakespeare, King Lear (Acts 1-2)

                        Course policy sheet due

M         1/21     MLK Day: No classes

W        1/23     King Lear (Acts 3-4)

M         1/28     King Lear (Act 5)

W        1/30     Workshop

M         2/4       August Wilson, Fences (Act 1)

W        2/6       Fences (Act 2)

                        Short Response #1 due

M         2/11     Brian Friel, Faith Healer (Parts 1-2)

W        2/13     Faith Healer (Parts 3-4)

                        First theory response due no later than today via email.

M         2/18     Midterm

Unit 2: The Antigone Model: 'The State' and the Individual Will

W        2/20     Sophocles, Antigone

M         2/25     Antigone

W        2/27     Bertolt Brecht, Mother Courage and Her Children (Scenes 1-7)
M         3/3       Mother Courage and Her Children (Scenes 8-12)

Last day to withdraw with a 'W'

W        3/5       Caryl Churchill, Top Girls (Act 1)

Short Response #2 due

M         3/10     Top Girls (Act 2)

W        3/12     Athol Fugard, John Kani and Winston Ntshona, The Island

                        Second theory response due no later than today via email.

M         3/17     Spring Recess: No classes      

W        3/19     Spring Recess: No classes

Unit 3: The Bacchae Model: The Potentials in Chaos

M         3/24     Euripides, The Bacchae

W        3/26     The Bacchae

M         3/31     J. M. Synge, The Playboy of the Western World (Acts 1-2)

W        4/2       Honors Day: No classes

M         4/7       The Playboy of the Western World (Act 3)

                        Third theory response due no later than today via email.

W        4/9       Project workshop

M         4/14     Tennessee Williams, A Streetcar Named Desire (Scenes 1-6)

W        4/16     No class meeting: work on course project

M         4/21     A Streetcar Named Desire (Scenes 7-11)

Course project due

W        4/23     Tom Stoppard, The Real Inspector Hound (Act 1)

M         4/28     The Real Inspector Hound (Act 2)

W        4/30     Review session

Final Exam: Monday, May 5 (11-1)