English 2111.14 critical response topics, fall 2011

On deck: None!

Previous critical response topics—no longer valid for submission.

1.1 Due Thursday, August 18: Choose one—do not address both:  
a) One general feature of the epic is that it conveys a variety of core ideals from the nation, culture, or people depicted in the work. Quoting from Gilgamesh at least twice to illustrate your claims, explain what traits, qualities, or ideals this epic reveals as important to the ancient Babylonian society depicted in Gilgamesh.

b) If you had to pin down one theme as the central overriding "message" of Gilgamesh, what would this message be?  Identify the most important plot elements or events that help the author deliver this message, and back up your assertions with at least two quotations from the poem itself.

1.2 Due Tuesday, August 23: Choose one—do not address both:  
a) Compare the relationship between gods and humans, or the involvement of the gods in the lives of mortals, in Gilgamesh and the first few books of the Odyssey. Include at least three quotations from two or more "books" to illustrate your claims. For the mechanics of citing verse in a multi-part (or multi-"book") poem, see QD4, especially QD4mp. 

b) Discuss the cultural or personal qualities or ideals The Odyssey suggests were important to the Greeks in the time of Homer, including at least three quotations from different "books" to illustrate your claims. For the mechanics of citing verse in a multi-part (or multi-"book") poem, see QD4, especially QD4mp. 

1.3 Due Thursday, August 25: Explore the continuing development of Odysseus's character or personality in Books VIII-XII, including at least one quotation from two separate "books" to support your observations.  Basically, discuss leading traits or qualities in Odysseus demonstrated through his adventures in Books 8-12.  For the mechanics of citing verse in a multi-part (or multi-"book") poem, see QD4, especially QD4mp. 

1.4 Due Tuesday, August 30: Choose one—do not address both:
a) Being careful to avoid plot summary (nugget 1), discuss the use of deception in Books XIII-XVIII by Odysseus, certainly, and others as well.  Identify different types of deception and analyze the different motives behind each instance of deception you discuss. Include quotations from at least three different "books" to illustrate your claims. For the mechanics of citing verse in a multi-part (or multi-"book") poem, see QD4, especially QD4mp. 

b) Open assignment: respond analytically to anything that strikes you as interesting or significant in any two or more different "books" in Tuesday's reading (XIII-XVIII), including at least three quotations, at least two coming from different books.  Be careful to avoid plot summary (see nugget 1). For the mechanics of citing verse in a multi-part (or multi-"book") poem, see QD4, especially QD4mp. 

1.5 Due Thursday, September 1: Choose one—do not address both:
a) What are we to make of the ancient Greeks' attitudes about women, at least as far as they are conveyed in the Odyssey? You may discuss events from anywhere in the entire epic, but do quote from Books XIX-XXIV at least twice in your response (see QD4, especially QD4mp).

b) The traditional epic, by definition, focuses on a central character of great significance to his people or nation—a king, or a mighty warrior, or a champion of his people in different important respects. And most of the central characters in epics tend to be of high social standing (royalty, nobility, "upper class" in whatever social system the epic portrays). Discuss the thematic importance of common characters in the conclusion of the Odyssey ("common" meaning essentially "working class"). Note that you must speak on matters of theme here: it would be a matter of plot to say that certain common characters "help Odysseus," e.g. Concentrate on how the common characters help convey one or more of the work's overriding "messages." Quote from Books XIX-XXIV at least three times to illustrate your claims (see QD4, especially QD4mp).

1.6 Due Tuesday, September 6: Choose one—do not address both:
a) Frequently one of the most difficult and widely debated elements in the Aristotelian conception of tragedy is the catharsis. According to his Poetics, Aristotle believed that a tragedy should arouse pity and fear in the audience for the purpose of purging these emotions in the members of the audience themselves. How do you think readers of Oedipus are supposed to feel "better" after reading this play? Focusing specifically on pity and fear, explain how viewing or reading a tragedy a positive experience for the audience.

b) Discuss the play's opposing philosophical or religious views involving fate or destiny vs. humanity's responsibility for our own lives. While the play expresses views on both sides of the debate, which side does Sophocles seem ultimately to endorse? Discuss, offering at least two quotations supporting each viewpoint on the issue.

1.7 Due Thursday, September 8: Choose one—do not address both:
a) Defend Creon: citing the text at least three times to support your points, explain how or why he is in the right in his edict against burying Polynices and in his harsh punishment of Antigone.

b) Explain how Sophocles seems critical of both Antigone and Creon, and then explain which side Sophocles seems to endorse in the philosophical debate their opposition conveys. Quote from the play at least three times in your analysis.

1.8 Due Tuesday, September 13: What gender stereotypes does Lysistrata suggest were current in 5th-century-B.C. Athens (regarding both men and women)? Do any of these same stereotypes about men and women still apply today? Or do they no longer apply at all? Be specific in your references to the behavior of men and women today especially for stereotypes you think do still exist, and include at least three quotations from the play to illustrate your claims.

1.9 Due Thursday, September 15: Open assignment: respond analytically to anything in the second half of Lysistrata that strikes you as interesting or significant. Be careful to avoid plot summary, and include at least three quotations to support your claims.

1.10 Due Tuesday, September 20: Discuss Catullus's portrayal of powerful emotions in any three or four of the lyric poems we're reading (pp. 1047-51): what makes his portrayal of particular emotions so powerful?  Explain, quoting each poem you discuss at least once. 

1.11 Due Thursday, September 22: Choose one—do not address both:  
a) Compare Aeneas with Odysseus as an epic hero: what qualities in Books I-IV does Aeneas share with Odysseus, and even more, how does Virgil's portrayal of Aeneas in these books make him a radically different character from Odysseus?  Include at least three quotations, and don't forget the mechanics of citing verse in a multi-part (or multi-"book") poem: see QD4, and especially QD4mp.

b) Discuss Virgil's portrayal of the relationship between Aeneas and Dido in Book IV, citing the text at least three times to illustrate your claims; here, too, don't forget the mechanics of citing verse in a multi-part (or multi-"book") poem: see QD4, and especially QD4mp. 

1.12 Due Tuesday, September 27: Discuss the Roman cultural values and ideals suggested in our readings from Books, IV, VI, VIII, and XII of The Aeneid. Include at least three quotations to illustrate your claims, following the guidelines for citing verse in a multi-part (or multi-"book") poem outlined in QD4 and QD4mp.

1.13 Due Thursday, September 29: Point out and discuss two or three different aspects of Roman life Petronius pokes fun at—mocks or satirizes—in The Satyricon, including at least three quotations to illustrate your claims.

2.1 Due Tuesday, October 11: Discuss contemporary relevance in any of the excerpts we're reading from The Thousand and One Nights (pp. 1569-85), including at least three quotations to illustrate your claims.

2.2 Due Thursday, October 13: Discuss the code of chivalric (knightly) honor presented in our first installment of The Song of Roland (pp. 1702-26), being careful to avoid plot summary and here, too, including three or more quotations to support your observations (following the MLA guidelines for quotations of verse as outlined in QD4).

2.3 Due Tuesday, October 18: Choose one—do not address both:  
a) Discuss Roland's refusal to blow the horn for help when the French rearguard are first attacked and then his decision to blow the horn after all at the end of the battle: explore different possible motivations in both cases, including at least two quotations from each episode to illustrate your claims (see QD4).

b) Point out and discuss the French values and cultural ideals revealed in the latter half of The Song of Roland, including at least three quotations to support your observations (see QD4).

2.4 Due Thursday, October 20: Consider how any of the punishments of specific sins are especially appropriate in our first reading from Dante's Inferno, including at least three quotations to illustrate your observations (follow QD4 and QD4mp).

2.5 Due Tuesday, October 25: Choose one—do not address both:  
a) Continue discussing how specific punishments are appropriate for particular sins in Cantos X-XXI, including at least four quotations to illustrate your claims (following QD4 and QD4mp).

b) Evaluate Dante's ranking of particular sins as we descend further into hell in Cantos X-XXI: more specifically, explain why you agree with his ranking of sins in increasing order of seriousness in some cases but disagree in others.  Include at least three quotations in your discussion, following QD4 and QD4mp.

2.6 Due Thursday, October 27: Choose one—do not address both:  
a) Quoting from Cantos 22-34 at least three times to illustrate your claims, argue both for and against Dante's ranking of treachery as the gravest of all sins. That is, in separate paragraphs, explain how Dante's ranking of treachery as the worst of all sins may be seen as accurate and also how some might see any other particular sin(s) as worse than treachery. Indicate which side of the argument you believe yourself, and explain why. (Do see QD4 and QD4mp.)

b) Open assignment: respond analytically to anything that strikes you as significant or noteworthy in Cantos 22-34 of the Inferno. Avoid plot summary (nugget 1) and quote the text at least twice in support of your analysis (following QD4 and QD4mp.)

2.7 Due Tuesday, November 1: Erasmus's The Praise of Folly is a satire, a literary work that uses humor and/or irony, sarcasm even, to point out flaws in humanity or in society so that readers will recognize significant problems and then work to improve themselves or their societies.  Discuss several different types of "folly," or foolishness, that Erasmus identifies in our reading.  Also note whether the particular types of foolishness are still prevalent today.  Include at least four quotations to illustrate your observations.

2.8 Due Thursday, November 3: Choose one—do not address both:  
a) Discuss Don Quixote's notions of what it means to be chivalrous or "knightly." From Cervantes's mockery of it in the novel, identify key elements of the "chivalric code" presented in the types of romances that have driven Don Quixote "mad," including at least three quotations to support your claims.

b) Discuss the importance of Sancho Panza in Don Quixote. How is he essential to the book's comedy? How is he essential to Cervantes's criticism or mockery of chivalric romance?

2.9 Due Tuesday, November 8: Choose one—do not address both:  
a) Open assignment: respond analytically to anything that strikes you as significant or interesting in our second reading from Don Quixote (pp. 2718-58). Avoid plot summary (nugget 1) and quote the novel at least three times in support of your analysis.

b) Write a brief parody of some common genre of book or film in today's world following Don Quixote as a pattern—that is, in 400 words or less, tell a brief story of someone whose "madness" consists of believing life to be like it is portrayed in some specific genre from our own time.

2.10 Due Thursday, November 10: Evaluate Hamlet's character as it's established in Act 1. What kind of person is he? What are his personal strengths and weaknesses? In addition to what we learn of him through his own speeches and actions, what do we learn about him from other characters? Explain, including at least three quotations to illustrate your observations. Follow instructions for citing poetry and drama in verse in QD4 and QD4vd carefully.

2.11 Due Tuesday, November 15: Address one option, not all three:
a) Quoting from the text six separate times or more, give a close analytical interpretation of Hamlet's famous "To be or not to be" soliloquy (3.1.57-89). Going line-by-line, or nearly so, translate what Hamlet is saying here into modern English.

b) Quoting from Acts 2-3 at least three times to illustrate your claims, explain the significance of irony in Shakespeare's development of any particular theme. Note that "theme" means, loosely, "general statement or message about humanity or about life," and avoid explaining the importance of irony to the play's plot. That is, discuss the analytical significance of irony, not how irony is important to "what happens" in the play. Follow instructions for citing poetry and drama in verse in QD4 and QD4vd carefully.

c) Open assignment: respond analytically to anything that strikes you as significant or interesting in Acts 2-3. Avoid plot summary (nugget 1) and quote the play at least three times in support of your analysis. Follow instructions for citing poetry and drama in verse in QD4 and QD4vd carefully.

2.12 Due Thursday, November 17: Address one option only, not both:
a) Quoting from the text three times or more to illustrate your claims, explain how Hamlet can be seen as a traditional tragic hero, complete with his ultimate fate being determined by hamartia (the "tragic flaw" or failing of character that leads to his undoing) and possibly by hubris as well—hubris meaning the arrogant overstepping of the bounds of one's destiny in defiance of typical moral principles. Follow instructions for citing poetry and drama in verse in QD4 and QD4vd carefully.

b) Open assignment: respond analytically to anything that strikes you as significant or interesting in Acts 4-5 of the play. Avoid plot summary and quote the play at least three times in support of your analysis. Follow instructions for citing poetry and drama in verse in QD4 and QD4vd carefully.

2.13 Due Tuesday, November 29: Discuss the misogynistic (or perhaps antagonistic) portrayal of women in Paradise Lost. While Milton expands greatly on the biblical account of the fall from Paradise, much of his expansion on the nature of women or on relations between women and men does clearly have its roots in the bible. Quoting the text at least four times to illustrate your claims (see QD4, and especially QD4mp), consider the problem of how Christians today are to reconcile these (often) now offensive traditional conceptions of women as inferior to men, and indeed as posing "snares" or dangers to men.

2.14 Due Thursday, December 1: Choose one—do not address both:  
a) Discuss Adam's responsibility for his own fall from Paradise. The bible and two thousand years of tradition blame woman for the fall, but in what different ways is Adam just as much to blame as Eve? Quote Book 9 at least three times in your discussion (see QD4, and especially QD4mp).

b) Open assignment on Book 9: respond analytically to anything that strikes you as interesting or noteworthy in Book 9 of Paradise Lost. Avoid plot summary, and quote from Book 9 at least three times in your discussion (see QD4, and especially QD4mp).

3.1 Due Tuesday, December 6, at the final exam: Review the list of readings we've done this semester, and in two or more paragraphs offer your opinion on why any four of these works are still valuable reading for contemporary Americans lo these hundreds of years later. That is, say how or why you think these four particular works contain relevance for modern readers beyond the simple fact of their presentation of different times and cultures in world history.