Heroes and Vil ains in the Early Plays of Shakespeare Course description to be used for promotion

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1 Proposal for Themester 2012: Good Behavior, Bad Behavior Instructor: Penelope Anderson, Assistant Professor of English Course: English L313, Early Plays of Shakespeare Special topic: Heroes and Villains in the Early Plays of Shakespeare Heroes and Villains in the Early Plays of Shakespeare foregrounds the relevance of perspective and interpretation to the Themester focus on good and bad behavior. The interplay of multiple meanings lies at the heart of literary study, and learning to discern which readings make sense in terms of the text which go too far, and which don t go far enough is one of the crucial tasks of all literature courses. Themester 2012 dovetails perfectly with this crucial skill, as it stresses the consequence of interpretive choices. This course uses the richness of Shakespeare s early plays to show that the seemingly opposed categories of hero and villain can often apply to the same character, seen from a different perspective. The course will stress both individual and historical perspectives by including plays like The Merchant of Venice and The Taming of the Shrew that throw into relief the differences between ideas of morality in Shakespeare s time and our own. I am currently teaching this course (see syllabus below), and am particularly eager to teach it again within the context of the Themester (indeed, I designed it this semester to coincide with the Themester topic). Over the course of the semester thus far, students have responded very enthusiastically to the focus on the dynamics of power, legitimacy, and changeable authority in Shakespeare s history plays; I would love for my students this fall to be able to connect these discussions to contemporary issues more fully, by attending Themester co-curricular events. Course description to be used for promotion: English L313, Heroes and Villains in the Early Plays of Shakespeare We think of the battle between good and evil as the very essence of drama, the conflict that makes it exciting and draws us into its view of the world. As soon as we read Shakespeare's plays, however, we realize the many nuanced possibilities between the hero, at one end, and the villain, at the other. In this course, we will investigate the ways in which those seemingly opposed figures turn into versions of each other. We will focus on three categories of people at various points on the social hierarchy: rulers (Richard II, Henry IV); foreigners (Titus Andronicus, The Merchant of Venice); and women (The Taming of the Shrew, Much Ado about Nothing). Each of these figures can appear to be either a hero or a villain, depending on the perspective from which we view them; each will tell us something different about the meanings of morality, power, and manipulation in Shakespeare's time and our own. As part of Themester 2012: Good Behavior, Bad Behavior, this course will combine our in-class focus on the importance of perspective to definitions of good and evil with out-of-class reflections prompted by Themester events. 1

2 English L T/Th AM Wendell W. Wright (ED) 2101 Spring 2012 Professor Penelope Anderson Office: 469 Ballantine Hall Office Hours: T PM and by appointment HEROES AND VILLAINS IN THE EARLY PLAYS OF SHAKESPEARE We think of the battle between good and evil as the very essence of drama, the conflict that makes it exciting and draws us into its view of the world. As soon as we read Shakespeare's plays, however, we realize the many nuanced possibilities between the hero, at one end, and the villain, at the other. In this course, we will focus on the ways in which those seemingly opposed figures turn into versions of each other. In order to orient our explorations, we will focus on three categories of people at various points on the social hierarchy: rulers, foreigners, and women. Each of these figures can appear to be either a hero or a villain, depending on the perspective from which we view them; each will tell us something different about the meanings of morality, power, and manipulation in Shakespeare's time and our own. To that end, we will also think about the shifting social meanings of these plays over time: can we really still read The Merchant of Venice or The Taming of the Shrew as comedies? How relevant are the monarchic mind games of Richard II and Henry IV to contemporary media? We will read two plays each on rulers (Richard II, Henry IV); foreigners (Titus Andronicus, The Merchant of Venice); and women (The Taming of the Shrew, Much Ado about Nothing), along with relevant criticism. Requirements for the course will include regular attendance and active participation; two formal papers; an oral presentation or performance; several short, informal writing assignments; and a final exam. We will also have several viewings of films or plays scheduled outside of regular class hours. GOALS OF THE COURSE: To extend your skills in reading, interpreting, and writing about literature To give you a sense of the historical moment in which Shakespeare wrote, and to consider the uses made of Shakespeare s plays by other historical moments To add to your skills in understanding and utilizing literary criticism ASSIGNMENTS & GRADING Reading. I expect you to come to class ready to discuss the reading for that day in the context of the play and our other readings. This means that you should look up words or references you do not understand in the Oxford English Dictionary and in the footnotes to the play, and you should do your best to understand the text. You will be responsible for this material, on the in-class close reading quizzes, in class discussion, and on the cumulative final exam. This does not mean, of course, that you cannot come to class with questions, or that you should worry if you think you have not fully understood something. It does mean that these plays require and repay sustained attention and effort. 2

3 Group presentation or performance. In the second week of class, you will sign up, in a group, either to present on a critical article or to perform a missing scene from one of the plays for the class. For the critical presentation, your group will be responsible both for outlining the argument of the critical article and for relating it to the play as a whole. You will submit an outline and an annotated bibliography entry for your article to the OnCourse repository. For the performance, your group will write a short scene that you think is missing from one of the class plays, memorize it, and perform it for the class. Brief, unannounced in-class close readings. Periodically, I will give you a passage from the reading assigned for that day s class; you will identify the speaker and context, and write a brief (ca. 1 p.) analysis of it. These in-class writings will do several things: 1. ensure that you have read and understood the play; 2. prepare you for the final exam (and other literature finals) through practice of short essay writing; 3. help ground our discussion for those days. In addition, the final exam will draw upon these close readings. Short paper: literary analysis. This short (3-5 pp.) paper asks you to write an argumentative literary paper based in close reading. If you like, you can incorporate a consideration of performance into this paper. Research paper: Shakespeare and his critics. For this paper (7-8 pp.), you will write an argumentative literary analysis in which you make use of critical writings. You will submit a proposal and an annotated bibliography for this paper in advance; we will also spend class time researching and working with criticism. Final exam. During finals week, you will take a cumulative exam, consisting of short identifications and essays. You must complete all the assignments in order to pass the course. Class participation 15% In-class close readings 15% Presentation/performance 10% Short paper 15% Research paper 25% Final exam 20% You will also have the option to submit an extra-credit assignment. Late papers will cause significant disruption. If I know in advance (by which I mean earlier than the morning the paper is due) that a paper will be late, I may be able to make one-time accommodations. If you are having problems keeping up with the writing or reading schedule, please come talk to me in office hours. ATTENDANCE Your presence and participation are crucial to your success and your grade in this course. You can miss three classes without penalty (this includes absences for reasons of illness, family emergency, oversleeping, etc.). If you know you will be absent on a certain day, factor that day into your absence total from the start. If you miss more than four classes you will not receive credit for participation. Missing class is not an excuse for not submitting assignments on that day. Three late arrivals and/or early departures count as an absence. 3

4 PLAGIARISM POLICY I cannot state the case against plagiarism too strongly: it is the worst of academic offenses, and is disrespectful to you, your colleagues, your university, and me. It also has more tangible consequences: any plagiarized assignment will receive a failing grade, and any student plagiarizing may incur other penalties according to IUB codes. The Code of Student Rights, Responsibilities, and Conduct defines plagiarism as follows: Plagiarism is defined as presenting someone else s work, including the work of other students, as one s own. Any ideas or materials taken from another source for either written or oral use must be fully acknowledged, unless the information is common knowledge. What is considered common knowledge may differ from course to course. a. A student must not adopt or reproduce ideas, opinions, theories, formulas, graphics, or pictures of another person without acknowledgment. b. A student must give credit to the originality of others and acknowledge indebtedness whenever: 1. Directly quoting another person s actual words, whether oral or written; 2. Using another person s ideas, opinions, or theories; Paraphrasing the words, ideas, opinions, or theories of others, whether oral or written; 3. Borrowing facts, statistics, or illustrative material; or 4. Offering materials assembled or collected by others in the form of projects or collections without acknowledgment. Instances of plagiarism not specified in this policy may still fall under its rubric; if you have any doubt at all about what constitutes appropriate citation and attribution of sources, please see me sooner rather than later. Additionally, the MLA Handbook for Writers of Research Papers has a clear, brief description of plagiarism (and ways to avoid it through citation). In addition, please keep in mind that the IUB Code of Student Rights, Responsibilities, and Conduct prohibits you from submitting the same paper in more than one course; if you wish to use material from another course in your work for this one, you must discuss it with me in advance of the paper due date. Plagiarism Tutorial Assignment The IUB School of Education offers an on-line tutorial on plagiarism and correct acknowledgement of sources: You are required to complete this tutorial, to print out and sign a copy of the confirmation that you have passed the test, and to submit this certificate in class on 19 January. You may not receive credit for any written work until we have received your signed certificate. The grade for any paper submitted before a certificate has been submitted will be penalized as if the paper had been submitted on the date that you submit your certificate. Confirmation that you have passed the self-check quiz linked to on the site is not acceptable; you must pass the test that ends the tutorial. ONCOURSE (OC) I will be using OnCourse to post assignments and announcements. In addition, I will post some short readings on OnCourse under Resources. To gain access to OnCourse, go to and click on the link on the upper right to log in with your IU username and passphrase. Please check our OnCourse page at least once a day. 4

5 BOOK LIST All of these texts are available at the IU bookstore; please purchase the specified editions. Shakespeare, William. 1 Henry IV. Ed. Gordon McMullan. 3e. New York: W. W. Norton, The Merchant of Venice. Ed. Leah S. Marcus. New York: W. W. Norton, Much Ado about Nothing. Ed. Barbara Mowat and Paul Werstine. Folger Shakespeare Library ed. New York: Simon & Schuster, Richard II. Ed. Barbara Mowat and Paul Werstine. Folger Shakespeare Library ed. New York: Simon & Schuster, The Taming of the Shrew. Ed. Dympna Callaghan. New York: W. W. Norton, Titus Andronicus. Ed. Barbara Mowat and Paul Werstine. Folger Shakespeare Library ed. New York: Washington Square Press,

6 SCHEDULE OF READINGS AND ASSIGNMENTS RULERS T 10 January Introduction to the course Th 12 January Richard II Act I T 17 January Richard II Act II Th 19 January Richard II Acts III-IV Plagiarism tutorial certificate due T 24 January Richard II Act V Th 26 January Richard II criticism: Ernst Kantorowicz, Chapter 2 from The King s Two Bodies (1957) [OC] T 31 January 1 Henry IV Act I Th 2 February 1 Henry IV Act II T 7 February 1 Henry IV Act III Th 9 February 1 Henry IV Acts IV-V T 14 February 1 Henry IV criticism: David Scott Kastan, The King Hath Many Marching in his Coats ; or, What Did you Do in the War, Daddy? [OC] Th 16 February NO CLASS: Paper 1 due at 5.00pm FOREIGNERS T 21 February Titus Andronicus Acts I-II Th 23 February Titus Andronicus Acts III-IV T 28 February Titus Andronicus Act V Th 1 March The Merchant of Venice Acts I-II T 6 March The Merchant of Venice Acts III-IV Th 8 March The Merchant of Venice Act V SPRING BREAK MARCH T 20 March Shakespeare in performance: Titus Andronicus and The Merchant of Venice onscreen Watch in advance: Julie Taymor, Titus (1999) and Michael Radford, The Merchant of Venice (2004) Th 22 March Library research session WOMEN T 27 March Performances Th 29 March The Taming of the Shrew Act I Research paper proposal due 6

7 T 3 April The Taming of the Shrew Acts II-III Th 5 April The Taming of the Shrew Acts IV-V T 10 April The Taming of the Shrew criticism: Amy L. Smith, Performing Marriage with a Difference: Wooing, Wedding, and Bedding in The Taming of the Shrew [OC] Th 12 April Much Ado about Nothing Acts I-II Research paper bibliography due T 17 April Much Ado about Nothing Acts III-IV Th 19 April Much Ado about Nothing Act V T 24 April Last class: exam review Th 26 April Final paper (7-8 pp.) due FINAL EXAM TUESDAY 1 MAY AM PM 7