Lit Bits

I’ve been thinking a great deal about how to approach the concept of character in my introduction to literature courses. I’ve traditionally begun each semester by talking about characters and introducing my students to some of the basic terms that are important in reading characters (i.e. protagonist, antagonist, flat, round, static, dynamic).  This semester, I’m not entirely satisfied with the approach, particularly because my intro to lit class is comprised entirely of non-majors. This has gotten me thinking about why and how we talk about characters. In my experience, students enjoy discussing characters —especially the ones they strongly identify with. But while my students may identify with a character, they don’t always know why they do. Even more importantly, they often don’t know what to do with characters they do not identify with:  Characters with backgrounds that are unfamiliar.  Characters who are different.  Characters who are, in all honesty, weird. I’ve also been thinking about how I introduce students to the careful analysis of literature.  So often, when talking about characters or plots, students want to speak in very broad and uncritical terms. To handle both of these tasks— dealing with strange characters and working on critical analysis—I decided that we would look at how characters in a text describe one another.

I recently tried this with my class in our discussion of “Bartleby, the Scrivener,” because who is more remote from students’ experience than the morose 19^th-century copyist? First, we needed to establish what we knew about everyone else who appears in the story.  We began class as I always do with “Bartleby”: We made lists of the details that we knew about the narrator, Turkey, Nippers, and Ginger Nut.  I made sure that the description the narrator gives of himself, that he was “an eminently safe man,” was part of our discussion.  From there, we moved to Bartleby.  After talking about Bartleby’s initial appearance at the lawyer’s door, “pallidly neat, pitiably respectable, incurably forlorn,” we spoke specifically about what each word means. Continue reading “Melville’s Bartleby: Reading the Character through other Characters”

Dramatic writers aim to capture the way that people speak:  Therefore, grammatical correctness is not necessarily important in the text of a play or script.  What is unacceptable in academic prose is often quite desirable in drama. Unfortunately, students sometimes take drama’s emphasis on performance and the spoken word as a license for sloppy writing.  Dramatic writing, though often non-grammatical, must never be haphazard.

Frequently, I encounter in beginning playwrights a lack of attention to punctuation.  Perhaps they believe that, because punctuation is for the eye, it is unnecessary to writing that addresses itself to the ear.  However, such a belief ignores punctuation’s significance as a means of suggesting vocal techniques of expression—specifically, the pause—which are readily understood to the listener but hard to convey to the reader.  Because punctuation captures the rhythms of spoken speech, it’s essential that playwrights employ punctuation to its fullest potential.

While everyone is familiar with basic punctuation marks—such as the period, comma, exclamation point, etc.—there are others that beginning playwrights tend to neglect.  Here are some of my favorites.  (Similar lists can be found in textbooks such as Buzz McLaughlin’s The Playwright’s Process.) Continue reading “Dramatic Punctuation: Some Ideas for Beginning Playwrights”

I’ve written before about linking the material world with literature, because it’s something I’m interested in as a scholar.  But it’s also something that, I think, often helps students delineate time periods of literature.

I’ve used this idea when introducing students to different eras of British literature, especially when one of my course goals is to help students identify differences between those eras.  When I taught a survey of British literature after 1800, I spent time on the first day of each era showing students images of popular women’s fashions.  I simply pull up pictures (thank goodness for Google’s image search!), and together we examine the lines of the dresses and the accessories.

This becomes most effective when we’re  moving from one time period to the next.  For example, when we began the Victorian era, I pulled up a couple of pictures we’d look at for the earlier part of the 19^th century (here are some Regency fashions) and then a large number of Victorian-style dresses and men’s fashions.  We were able to make some broad generalizations about some of the changes on mores, as suggested by the changes in styles of dress.  In addition to offering some general fun, the activity engaged the students visually and reminded them that as literature scholars, we can read all sorts of things—hats, vests, corsets, and bustles—as texts.

I’ve previously discussed on this blog ideas about the ambiguity and open-endedness of interpretation. Today I’m thinking specifically about how making connections across texts is central to the work of the literature classroom.

This is something, I think, that students often need to be given permission to do.  I’m not sure if it’s a matter of fear that they’ll have the “wrong” answer, or if it’s simply a matter of not remembering things, but I’ve found that my students  need some prodding to answer the question: “Does this text remind you of anything else we’ve read this semester?”  While I certainly include that question among their reading journal assignments, I’ve also found that a bit more direct intervention is important.

Certainly, we can do our own modeling of making connections, announcing when we see a connection with something else in the text.  (In fact, one of the things I love about teaching an intro to lit course is that I read things that are normally outside of my immediate area of expertise, and thus I begin to see connections I might otherwise have missed.)

But we can also create a situation where students are required to make those connections on their own.  Continue reading “Literary Themes and Connections”