Early+World+Lit

= **__WORLD LITERATURE I __** =

=

=__**SYLLABUS:**__= Fall 2012 Course Syllabus:

= __**NOTES AND HANDOUTS**__ = 9 Themes and Timeline Pre-Christian Era: Sample Response Paper (On //Aeneid// and //Inferno//): Sample Response Paper (//Don Quixote//): Sample Research Paper (//Apocalypse Now// and the //Odyssey//):

__//The Epic of Gilgamesh//__

 * [|Flood Tablet and Explanation, along with some links and explanations of key aspects of the epic]
 * [|Site concerning the end of the world, and specifically deluge narratives, that features some Gilgamesh imagery]
 * [|Section from the Front of a Temple in Uruk]
 * [|Map of Mesopotamia around 2,000 BCE]
 * [|Sculpture of Bull from Uruk, approximately 3,000 BCE]
 * [|Online Text, from Assyrian International News Agency]
 * [|Gilgamesh and Enkidu Slay the Bull of Heaven]
 * [|Article on George Smith's Discovery of the Epic, from Smithsonian]
 * [|Hofstra University's Gilgamesh Resource Page]
 * [|Gilgamesh Study Guide, from the University of Cincinnati]

__//**The Iliad**//__

 * [|A Couple of Images of the Excavation of Troy, Followed by Hellenic Pottery with Scenes from The Iliad]
 * [|Greek/English Online Text of The Iliad]

//__**The Odyssey**__//

 * [|Temple University's Odyssey page, which features a breakdown of each book, a list of themes, and a 40-day chronology]
 * [|Map of modern-day Europe, with a theoretical tracking of Odysseus' journey]
 * [|Ancient vase featuring a depiction of the blinding of Polyphemus by Odysseus, from the Louvre]
 * [|List of people that Odysseus encounters in the Underworld in Book 11 (Nekuia)]
 * [|Professor David Fredrick's Odyssey Page at the University of Arkansas, featuring contemporary artistic depictions of various scenes as well as useful maps]
 * [|Who's Who in the Odyssey]
 * [|Sisyphos Rolling His Rock in the Underworld (Book 11)]
 * [|Classical Images of the Sirens]

__//**The Aeneid**//__

 * [|Book 6: Description of Cumaean Sybil, including summary of her journey with Aeneas]
 * [|Image of the entrance to the Sybil's cave at Cumae]
 * [|Article on the History of Cumae, Featuring Images of the Cave, Grotto, and Temple]

__//**The Inferno**//__

 * [|The University of Virginia's World of Dante]
 * [|The University of Texas's Danteworlds site]
 * [|Index of Gustave Dore's Illustrations for the Inferno]
 * [|Tony Jones's Explanation of the Circles of Dante's Inferno]

__//**The Praise of Folly**//__

 * [|An Overview of PRAISE, from the University of Toronto]
 * [|Nic Lezard's Review of Praise for The Guardian]

__//**Henry V**//__

 * [|Text of Henry V, from Bartleby]
 * [|A Brief Biography of Henry V]

__//**Don Quixote**//__

 * [|The Don Quixote Exhibit at Johns Hopkins University's Eisenhower Library]
 * [|Edith Grossman's Short Essay on Why Don Quixote is the Greatest Work of Fiction Ever Written]
 * [|Index of Gustave Dore's Depictions of Don Quixote's Adventures]
 * [|C.J. Moore's short article "Don Quixote and the Facts of Life," from the IHT]
 * [|German Artist Stefan Mart's Illustrations and Adaptation of Quixote for Children]
 * "Foot in the Stirrup": Cervantes' Farewell to Life: [[file:Foot in the Stirrup.rtf]]

**__ SIGNIFICANT TERMINOLOGY __** //**--alliterative verse**//: a form of verse (poetry) that incorporates alliteration (the repetition of particular letter or sound in the first syllables of words in a line, phrase or sequence) as a structural and mnemonic device. The repetition often appears in the initial consonant of the words. Alliterative verse is a common feature of Germanic languages and writing, such as Old English.


 * --//analepsis (flashback)//**: in classical terminology //analepsis// referred to a type of vision or trance in which something from the past or the unconscious mind is restored to vivid life in the present or conscious mind. In contemporary terms, a //flashback// is an interjected scene that takes the narrative back in time from the current point in the story. Flashbacks are often used to relate events that happened before the story’s primary action or to give relevant [|backstory].

//**--axis mundi**//: in many mythologies and religions, the //axis mundi// is viewed as the center of the world and the connection between the heavens and the Earth. It is seen as the point of birth of the world and a place where the four compass directions meet, as well as a point of connection between higher and lower realms. The point/area functions as a kind of navel/umbilicus for the world, and is often associated with geographic features (mountain, tree, vine/stalk, column of smoke) or man-made objects (cross, ladder, tower, totem pole).

--**//burlesque//**: term applied to comic art, such as literature or drama, in which an attitude, style, or subject is made to seem ridiculous through wild exaggeration or grotesque parody. The burlesque may be a distorted imitation or the original, or it may treat trivial, foolish material seriously, or treat dignified, serious subjects vulgarly and humorously.

--//**comedy**//: traditionally, and particularly during medieval times, a term applied to a literary work marked by a happy ending and a less lofty style than that of tragedy. For example, Dante designated his //Divine Comedy// as such because of its "prosperous, pleasant, and desirable" ending and the fact that it was written in the vernacular (Italian) instead of Latin.

//**--deluge myth**//: also referred to as "flood myth," is a narrative that concerns a great flood brought on by some deity or deities in order to destroy in an act of divine retribution. The event can be seen on multiple levels--literal, metaphorical, symbolic--and is usually depicted as a kind of cleansing of the world in preparation for regeneration/revival. The narratives also traditionally feature a surviving hero who ensures this regeneration. The deluge myth is a part of many traditions, including the Mesopotamians, Greek mythology, and the Judeo-Christian Genesis flood narrative.

//**--elegy**//: a sustained and formal poem the main point of which is a meditation on death or another serious theme. This meditation is often inspired by the death of a particular person, but it may be a more general observation or expression of a solemn mood.

--//**history**//: a literary work whose setting is in some time other than that in which it is written, and which deals or is based on historical figures, places, and events

--**//hubris//**: a word borrowed from Greek that translates as "excessive pride" or "insolence." For the Ancient Greeks it signified the idea that "pride goeth before a fall" and suggested that arrogance would inevitably be followed by retribution.

--**//in medias res//**: a Latin phrase that literally means "into the middle of things." The expression refers to a technique in epic poetry and fiction which begins a story "in the middle" and then gives the earlier action through flashbacks, as opposed to a straight, chronological narrative.

--//**kennings**//: figurative phrases associated used in the Old Germanic languages as synonyms for a simple noun. They are often picturesque metaphorical compounds. Examples include "the ringed prow" and "the sea-wood" as a substitute for "ship," the "swan-road" and the "whale-road" for the "sea," and the storm of swords" for "battle."

--//**kleos**//: an Ancient Greek concept that refers to "glory," and, more specifically, glory earned in battle.

--//**malebolge**//: Italian term which roughly translates as "evil ditches." This is a term for Dante's eighth circle of the //Inferno//, which is made up of ten concentric ditchs. Sinners in this circle are being punished for "simple," lesser fraud, as opposed to those in the ninth circle, who are being punished for "compound," malicious fraud.

--**//metis//**: an Ancient Greek concept that refers to "cunning intelligence" or skill.

//**--monologue**//: the discourse of one speaker. Traditionally the monologue represents what someone would speak aloud in a situation with listeners, although those listeners do not speak.

--**//monotheism//**: belief in the existence of a single deity or divine power

--**//nekuia//**: a visit with, or summoning of, the dead, often for the purpose of gathering information. Nekuia often it involves a 'katabasis,' which in Greek literally means "descent." "Nekuia" is originally a Greek word coined to describe Odysseus' descent to the Underworld--it was coined as a kind of subtitle for the Underworld section of the Odyssey.

--//**nostos**//: an Ancient Greek term that translates as "homecoming." An important aspect of this homecoming is the journey home. In regards to Homeric writing, it is also traditionally connected to a longing to return home.

--//**novel**//: a prose narrative (story) on a large scale

//**--peripateia**//: the reversal of fortune for a protagonist--often either a fall (tragedy) or a success (comedy)

--//**picaresque**//: story of a good-natured rogue character of the lower classes who is involved in a series of amusing incidents or adventures and who survives or succeeds through wit and tricks, instead of hard or respectable work.

--**//pietas//**: a Latin term that translates as "devotion" or "duty"

//--**polytheism**//: belief in, or worship of, multiple deities or divine powers

--//**prelapsarian**//: grounded in the Judeo-Christian idea of the Fall of Man, this term refers to the perceived innocent and sinless state of man in Eden prior to his disobedience and expulsion from Paradise. It suggest both a state of innocence in humanity and in the world, i.e. Man in the Garden.

--the //**Renaissance**//: a period of European history, often thought to begin around 1450 and to extend into the early 1600s. The term literally means "rebirth," and this period was marked by a renewed interest in learning in general, and particularly in the writings of classical antiquity. Inventions such as the printing press (which revolutionized literacy and education), the gun (which revolutionized combat, warfare, and colonial expansion), and the compass (which revolutionized travel and geography) are seen as signaling a new "union of the entire world," but also as adding complexity and uncertainty to everyday life. Two central ideas of the Renaissance are individualism and worldliness: the Renaissance idea of invididualism relates to rejection of traditional authorities and a determination to make own's decisions, right or wrong (exemplified in Erasmus's ideas about free will); ideas about worldliness are centered around the concept of being well-rounded, in that a human being is an end ("a world") unto himself and should develop all of his unique qualities and potential.

//**--soliloquy**//: a speech delivered while the speaker is alone. The soliloquy is used to inform the audience of the contents of a character's mind. Hamlet's "To be, or not to be" is the most famous English-language example of the soliloquy.

--//**terza rima**//: rhyme scheme invented by Dante for the //Divine Comed//y, made up of three interlocked lines. The scheme is represented as a-b-a; b-c-b; c-d-c.

--//**tragedy**//: a literary work that recounts a causally related series of events in the life of a character (usually significant or notable person) that culminates in a fall or catastrophe (often death) for that character (and often times others close to that character)

__** RESPONSE ESSAY TOPICS **__ 1: In //Gilgamesh//, Enkidu is the first of a number of heroic “sidekicks” that we will encounter this semester. What are his defining characteristics? What makes him a good sidekick? How is he different from Gilgamesh, and how does he compliment him? Why do you think that Gilgamesh is so sorry when Enkidu dies? **[Text form 8.23; Response Due 8.28; 500 words]**

2: The “Story of the Flood” in //Gilgamesh// has a number of major parallels with the story of Noah and the Flood in the book of Genesis in the Old Testament. Compare and contrast these stories, considering issues such as how Utnapishtim compares to Noah, why and how the floods are brought about, how they end, and what happens when the waters recede. **[Text from 8.23-8.28; Response Due 8.30; 500 words]**

3: A major aspect of identity and identification in Germanic culture was family and community, and this feature is illustrated repeatedly in //Beowulf//. Discuss the importance of family and community in the story, considering issues such as what it means to be a leader, the duties and expectations of warriors, the duties and expectations of women, and what it means to be an outsider/outlaw in relation to the community. **[Text from 8.30-9.4; Response Due 9.6; 500 words]**

4: One of the central structural features of //Beowulf// is the episodic violence that occurs through the story, including the attacks by Grendel, Ecgtheow's killing of Heatholaf and subsequent blood-debt, and Beowulf's battles with Grendel and his mother. Analyze two or three of these battles in the context of the story, as well as the context of Germanic tribal culture, considering issues such as causes, consequences, descriptions, and meanings of the episodes. **[Text from 9.4-6; Response Due 9.11; 500 words]**

5: Before Dante actually passes into the underworld near the beginning of Canto III, we are presented with several ideas, images, and allusions that are essential to understanding the //Inferno//: his age, the year of the trip (1300), and the day that his trip begins on (Good Friday); the “dark wood” that he is lost in; the three animals that block his way; Virgil; Paul and Aeneas; and the message above the gateway to hell. Explain the symbolic meanings of these images and characters and how and why they are important as Dante begins his journey through the inferno. **[Text from 9.13-18; Response Due 9.20; 500 words]**

6: Several times in the selections that we read from the //Inferno//, characters are allowed to tell their stories and explain how they ended up in particular areas of the inferno: Francesca in Canto V, Odysseus/Ulysses in Canto XXVI, and Ugolino in Canto XXXIII. Select one or two of these incidents and discuss how each specifically illustrates and exemplifies one of the three major forms of sin that Dante identifies (incontinence, violence, fraud)? **[Text from 9.25-10.2; Response Due 10.4; 500 words]**

7: //Gilgamesh// is a Sumerian/Akkadian epic poem from the ancient world. //Beowulf// is an Old English heroic epic of the Middle Ages. From these periods we shift into the High Middle Ages and the early stirrings of the Renaissance, and the ideas and meanings associated with heroes shift as well, from god-like, larger-than-life figures such as Gilgamesh and Beowulf to relatively human characters such as Dante. Select Dante and either Gilgamesh or Beowulf and compare and contrast them as heroes—how are they alike? How are they different? **[Text from 10.2-4; Response Due 10.9; 500 words]**

8: In many ways, //Henry V// represents the traditional standard of English honor, chivalry and heroism for Shakespeare, and Shakespeare’s depiction of Henry involves four key points: his uncovering of, and dealing with, the plot to kill him; his relationship to, and treatment of, the old, lower-class friends of his youth; his brutal but merciful victory at Harfleur; and his inspiring and courageous victory at Agincourt. Describe Henry as a leader and a king, and then explain how each of these four issues demonstrates a particular aspect of Henry’s qualities as a leader. **[Text from 10.9-16; Response Due 10.18; 500 words]**

9: Don Quixote's first quest (Chapters 1-8) reveals a great deal about his perception of the world and his approach to it, as well as how the world receives and perceives him. The tensions between these two systems (Quixote's and the "sane" world's) animate much of the action of the novel; how are these tensions established and framed in the first chapters/first quest? **[Text from 10.23-25; Response Due 10.30; 500 words]**

10: In //Don Quixote//, Quixote’s heroic ideas and goals are often balanced by his misperceptions and mistakes, yet he continues to seek adventures and try to live up to the code of knighthood and chivalry. Is Quixote a hero because of his intentions, or a fool because of his failures? Cite specific incidents and examples from the story to support your argument. **[Text from 11.1-6; Response Due 11.8; 500 words]**

11: Virgil’s casting of the Romans, and the Roman Empire, as descendants of the Trojans and Troy, clearly influences his perspective on the Trojan War and Aeneas’s description of the fall of Troy in Book II of The //Aeneid//. How does his telling of the fall of Troy in Book II attempt to make the Trojans look honorable despite their defeat? In what ways does he make the fall of Troy look like fate, and not a fault or flaw of the Trojans? How does Virgil make Aeneas appear to remain honorable and heroic, despite the fact that he flees from the battle? **[N/A for Fall 2012]**

12: In The //Aeneid// Aeneas has two important dreams, the first in Book II and the second in Book IV. In both of these dreams a person appears to him and tells him to wake up and leave where he is immediately. Explain why these dreams are individually important in the moments when Aeneas has them, and consider how and why they are similar to one another work together toward Aeneas's final goal. **[N/A for Fall 2012]**

13: Time and time again in //Hamlet//, Hamlet seems on the verge of taking some decisive action, yet he repeatedly either fails to act or acts mistakenly, such as when he doubts the ghost, murders Polonius, and fails to kill the praying Claudius. Select one or two of these incidents in the play and explain the causes for Hamlet's failed or mistaken actions, as well as their results. **[Text from 11.15-11.29; Response Due 12.4; 500 words]**

14: One of the central themes of //Hamlet// is revenge. Why does Hamlet begin to seek revenge? How does he go about seeking it? Does he achieve it? How does his quest for it affect his relationships with the other characters? What does the play suggest about the cost of revenge? **[Text from 11.15-12.6; Response Due 12.7; 500 words]**

__RESEARCH ESSAY TOPICS__ 1: Gustave Dore was a nineteenth-century French artist who created more than 50 drawings and engravings that depict scenes from Dante’s //Inferno// (many of them are featured on the Eastern Kentucky Inferno site that emailed to you a few weeks ago, and they are also in a sequenced gallery at www.doreillustrations.com). For this assignment, begin by briefly describing Dore’s artistic life and work, including some of the literary and cultural pieces that he worked on. Then discuss when and why he decided to illustrate the //Inferno//, and how he created his images. Finally, select 3-5 of Dore’s Inferno pieces and discuss who is in the image, what is going on in the image, why you think he chose this moment to illustrate, and why it is significant in the larger story of the //Inferno//.

2: //Don Quixote// is unquestionably the most well-known piece of Spanish literature, and over the past few centuries artists and sculptors have created a number of famous depictions of Quixote and Sancho Panza; these artists include Picasso, Daumier, and Dore. Begin your paper by explaining why you think Quixote is such an appealing figure to visual artists and why you think so many have depicted him. Then, select three or four depictions of Quixote (either paintings or sculptures) and discuss the artist, what is being depicted in the piece, and why it is significant to the character of Quixote and to the novel.

3: We watched //O Brother, Where Art Thou?// in class and discussed the many aspects of it that parallel the //Odyssey//. //O Brother// is only one of a number of films in the past few decades that has taken themes, structures, images, ideas, and events from the //Odyssey//. Another is the 2003 film //Cold Mountain//, which is set during the Civil War. View //Cold Mountain//, find a useful and credible review of or article about it (or maybe more than one), and then explain and explore the similarities and differences between the two texts. Consider issues such as overall plot and structure, theme, major characters and events, and significant objects and images.