Department of English

Faculty of Arts, Chulalongkorn University

2202234  Introduction to the Study of English Literature


Puckpan Tipayamontri

Office: BRK 1106

Office Hours: M 13 and by appointment

Phone: 0-2218-4703


Section 3 (BRK 309)

M 9:3011:00, W 8:009:30


Tentative Schedule

Week 1

Aug. 13

No class (Mother's Day observed)
Aug. 15
Ways of Reading

1: Introduction: Texts, Tools, Tastes and Conventions
  • O. Henry, "Girl," Whirligigs (1910)
Discussion: different ways of reading and how it affects the meaning of the text; reflecting on one's ways of reading and their effectiveness for a text; close reading; plot techniques, building suspense, setting up for climax; function of setting; choice of diction: denotation, connotation; irony; rhythm; pace; imagery; simile, metaphor

Week 2

Aug. 20

2: Why Plot?


Discussion: plot structures of a story; exposition, rising action, climax, falling action, resolution; mapping plot; Freytag's pyramid; conflict; beginnings and endings; plot twist

Creative Writing: (10 minutes) "How short can a story be and still be considered a good story?" asks Steve Moss in his introduction to The World's Shortest Stories. Show what can be done by writing a short short story that features a window or windows. Post your answer to Moss's challenge at Roundtable Conversation.

Writing: (30 minutes) Review your notes recording what you believe throughout O'Henry's "Girl." What changes do you notice? How is your response different at various points in the story? What aspects of the text triggered your altered views? How might you characterize the trajectory of these shifts from the beginning of the story to the end? Write a short response discussing movement in O'Henry's "Girl." E-mail me your work or hand it in Wednesday.

Aug. 22

3: Driving a Narrative: Techniques and Choices 


  • Alice Munro, "Train," Harper's Magazine (2012)

Week 3

Aug. 27

4: Expectations: Form  


  • Alice Munro, "Train," Harper's Magazine (2012)
Aug. 29 5: Expectations: Character 


Week 4

Sep. 3

6: Making Connections: Dialogue


Sep. 5 7: Making Connections: The Mental and the Physical


  • Shirley Jackson, "Charles" (1948)
Quiz 1 (20 minutes; in class; on Shirley Jackson's short story "Charles")

Week 5

Sep. 10

8: Symbolic Things

Sep. 12

9: Symbolic Acts 


Practice close reading and writing (40 minutes) Evasion in Here We Are

Week 6

Sep. 17

10: The Language of Live Theater: Production, Direction, Performance, and Meaning 


Sep. 19

11: Reading Small and Reading Big: Scenes and Structure  


Practice close reading and writing (40 minutes) Irony in Sorry, Wrong Number

Week 7

Sep. 24

12: Themes and Interactive Meanings


Journal entry: a time capsule: You are going to keep a log to record your journey in this course. Our reading for today, Phillis Wheatley's poem, speaks to readers who are prejudiced against the Negro race. For this first entry, consider misguided statements about you. (In class we looked at Simon de la Loubère's 1693 published description of "their Countenance naturally squeez'd and bent like that of Apes, and a great many other things which they have in common with these Animals, as well as a marvellous passion for Children. For nothing is equal to the Tenderness which the great Apes expressed to their Cubs, except the Love which the Siameses have for all Children, whether for their own, or those of another.") Respond to wrongheaded comments about you (defined as specifically or as generally as you choose, ex. as an individual, a person of a particular age, gender, culture, nationality, type, as a human being, as an entity in this time-space) by showing qualities that define you rather than saying what they are. Experiment with forms of writing that suit what you are trying to illustrate or prove.
Reading response 1 due (prompt: Compare connections between disparate things in Sorry, Wrong Number and “On Being Brought from Africa to America.” What links two dissimilar entities? Consider the basis and language of difference and the grounds and language of association found to bridge that difference. Why is this bringing together of two elements that usually do not go together significant?)

Sep. 26

13: Themes and Contextual Meanings


Discussion: enjambment; rhyme scheme; prose paraphrase; diction

Week 8

Oct. 1

14: The Drama of Sonnets

Discussion: the sonnet form, types of sonnets, structure of the sonnet, rhyme scheme, scansion (foot, meter, line), quatrain, couplet, types of rhyme, irony, word play, puns, double entendre, persona; the sonnet and Shakespeare

Oct. 3

15: Living Art and Life


Week 9

Oct. 8

Test 1 (Midterm week: October 8–12, 2018)

(30 points; 90 minutes, in class) In test 1 you will be responding to an essay-type prompt that asks you to discuss short stories and plays.

It is helpful to take a few minutes to plan an outline before writing your essays. Formulate a thoughtful thesis/point in responding to the question that allows you to address effectively the requirements of the prompt. The most coherent and logical organization of your response may not be to answer every single question in the prompt cluster in order and separately; structure your essay to most suitably set up, develop and support your argument/idea/points in response to the prompt. Bullet points are not proper paragraph or essay form. Cite specific acts, scenes, lines, or words to illustrate and support your points and claims. You will want to show us your critical and analytical skills: demonstrate that you have read closely and understood the material, that you can critically engage with that material, with discussion in class and outside of class, and with the test question, that you can synthesize material and knowledge gained, and that you can write clear and effective prose. Give your essay a title if you like.

Oct. 10

Test 2 (Midterm week: October 8–12, 2018)

(20 points; 90 minutes, in class) In test 2 you will be responding to an essay-type prompt that asks you to discuss poems.

Week 10

Oct. 15

No class (Bhumibol Memorial Day observed)

Oct. 17

16: Patterns and Progression


Discussion: symbolism; speaker, persona; apostrophe; personification; imagery; diction; theme: carpe diem, love

Week 11

Oct. 22

17: Folk Form


Discussion: the ballad form; symbolism; tone; suspense; irony; personae; metaphor; refrain; rhyme scheme

Reading response 2 due (prompt: While the focus of the folk ballad may be on the dead knight and that of Waller’s composition on the maiden, the presence of another set of “characters” is undeniable. What are the ravens and the rose doing in the ballad and in Waller’s song? What purpose do they serve in the poems? Explain their function and significance.) If another issue interests you in either or both of the poems we have read thus far in the second half of the semester, you are welcome to pursue that instead of the above prompt in your second reading response.

Oct. 24

18: Lyric Form


Discussion: diction; repetition; meter; rhyme; rhythm; effects of understatement; interplay between form and content

Week 12

Oct. 29

19: Form and Content 1: Organic Form


Discussion: hyperbole; pathetic fallacy; imagery; diction

Oct. 31

20: Form and Content 2: Commentary

Discussion: imagery; metaphor; repetition; alliteration; anaphora

Week 13

Nov. 5

21: Form and Content 3: Visual and Textual


Discussion: allusion; symbols, symbolism

Nov. 7

22: Form and Content 4: Framing and Focus


  • William Carlos Williams, "Landscape with the Fall of Icarus" (1960)
  • W. H. Auden, "Musée des Beaux Arts" (1938; study guide)
Discussion: intertextual relationship; framing ideas vs. images; imagery; diction; enjambment; allegorical influences

Week 14

Nov. 12

23: Novel: The Literary Long Form


  • Octavia E. Butler, Kindred (1979)
Discussion: plot structure and chapter divisions; character dynamics and development; kindred themes

Nov. 14

24: Genre Conventions and Author Originality


*Reading response 3 draft due (optional)

Week 15

Nov. 19

25: Time

  • Octavia E. Butler, Kindred (1979)

Nov. 21

26: Travel Implications


  • Course packet
  • Octavia E. Butler, Kindred (1979)

Week 16

Nov. 26

Exploring Literature

  • If you are planning to use PowerPoint, make sure it is compatible with Microsoft PowerPoint 2013 version. Also embed or include files of any nonstandard fonts that are in your presentation.
  • Let me know of any other audiovisual needs by 4 p.m. Friday, November 23, 2018.
  • About 5 minutes per speaker (15 minutes per panel) followed by a 10-minute question and answer session

Schedule Forum program

1.  Rufus’s Weird Love for His Mother, Lover and Savior
9:30–9:55 a.m.
Presiding: Chollada Kessuwan
1.  “Rufus and His Mother,” Sukrita Wongnongtaey
“Forcing Love,” Nattaya Boonyaphaisalkul
3.  “Rufus’s Love for Dana,” Pemika Pupakorn


1.  Chanakarn Wanichodom

2.  Chayuda Lattayaporn

3.  Sasikan Siangjun



2.  Becoming a Slave
10:00–10:25 a.m.
Presiding: Thai Phutthitada
Piengfa Chumwangwapee
Pimchutha Prasoetsang
Pichaya Chirawatana
4.  Chayuda Lattayaporn


1.  Nopparuj Sriratsirikul

2.  Panida Maneetavat

3.  Nattaya Boonyaphaisalkul
4.  Rinrada Suebsoh


3.  Identity Change
10:30–10:55 a.m.
Presiding: Nattaya Boonyaphaisalkul
“Rufus’s Growing Views of Dana,” Kanyarat Tanyadul
“Is Change a Change?: Margaret’s Identity,” Chollada Kessuwan
“Violence and Dana,” Kulatida Sukthana


1.  Thai Phutthitada

2.  Peeraya Boontawee

3.  Phannika Tharninthra

Nov. 28

Exploring Literature


4.  Theme Potluck Breakfast
7:30–9:25 a.m.
Theme potluck breakfast hosted by section 1.
You are welcome to bring themed breakfast foods inspired by our course reading list to eat and share with friends Wednesday morning. Currently on the menu: jelly donuts, plantation corn, Vivienne's gourmet sandwich squares, spattered gules, lovely rose tea. Come early and have breakfast together!

5.  Variations on Repetition
8:00–8:30 a.m.
Presiding: Sukrita Wongnongtaey

Chanakarn Wanichodom
Rinrada Suebsoh

3.  Phannika Tharninthra
4.  Panida Maneetavat


1.  Piengfa Chumwangwapee

2.  Chollada Kessuwan

3.  Pichaya Chirawatana
4.  Kulatida Sukthana

The Power of Image(ry)
8:30–9:00 a.m.
Presiding: Panida Maneetavat

1.  “Go, Lovely Rose,” Peeraya Boontawee

“Operating Room,” Nopparuj Sriratsirikul

3.  “The Three Ravens,” Thai Phutthitada
4.  “Landscape with the Fall of Icarus,” Sasikan Siangjun


1.  Pemika Pupakorn

2.  Sukrita Wongnongtaey

3.  Pimchutha Prasoetsang
4.  Kanyarat Tanyadul


Reading response 3 due (2 pp., MLA format)

Week 17

Dec. 3

Final Exam (1:00–4:00 p.m.; BRK 301 sections 1, 3 and 5; BRK 304 sections 2, 4 and 6)

The final exam consists of three parts: the first on an unseen poem, the second on poems in the second half of the semester, and the third on the novel Kindred. Part 1, among other things, will require you to scan, paraphrase and indicate rhyme scheme of a poem text. Parts 2 and 3 each will require you to write an essay in response to a prompt on the works we have read.



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Last updated December 3, 2018