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Don DeLillo’s satiric novel White Noise, prophetic in 1985 about American society’s rampant consumerism, information overload, overreliance on the media, and environmental problems, may seem to today’s students simply a description of their lived reality. The challenge for teachers, then, is to help them appreciate both the postmodern qualities of the novel and its social critique.
This volume, like others in the MLA’s Approaches to Teaching World Literature series, is divided into two parts. The first part, “Materials,” suggests readings and resources for both instructor and students of White Noise. The second part, “Approaches,” contains eighteen essays that establish cultural, technological, and theoretical contexts (e.g., whiteness studies); place the novel in different survey courses (e.g., one that explores the theme of American materialism); compare it with other novels by DeLillo (e.g., Mao II); and give examples of classroom techniques and strategies in teaching it (e.g., the use of disaster films).
The novels of Charles Dickens have attracted a wide and enthusiastic readership since they first appeared in the mid-nineteenth century, and in recent decades their social, biographical, and psychological elements have brought them increasing academic attention. “David Copperfield,” writes Richard J. Dunn, “serves not only to introduce Dickens or the novel but also to demonstrate the relations of fiction and autobiography and the roles of myth, archetype, and fantasy in fiction.”
This volume, like others in the MLA’s Approaches to Teaching World Literature series, is divided into two parts. The first part, “Materials,” surveys editions of David Copperfield, background studies on the Victorian milieu, introductions to Dickens, critical and textual commentaries, and other Dickens works. In the second part, “Approaches,” sixteen essays explore the many ways teachers present the novel in courses of varied subject emphasis and student experience. Contributors explain the critical assumptions that underlie their choice of David Copperfield and describe their teaching strategies. They show, for example, how they develop a sophisticated response to this universally popular novel; tailor the presentation for particular student levels; play the devil’s advocate by introducing common criticisms of the work; and teach the work as a classic of world literature, as a central document of Victorian fiction, or as a combination of fiction and autobiography.
A central text both in Dickens’s career and in the history of the novel itself, Bleak House provides students and teachers occasion to discuss Victorian social concerns involving law, crime, family, education, and money and to learn about every stratum of English society, from the aristocracy to the homeless. But the sheer size of the novel and its narrative intricacy pose pedagogical obstacles. The essays in this volume offer instructors an array of practical strategies for use in the classroom: some describe courses organized exclusively around Bleak House; others offer ideas for teaching a single scene or topic in the novel.
Part 1, “Materials,” assesses editions and provides a guide to the wealth of resources available to instructors, including reference works, critical studies, and background readings, in print and on the Web. The essays in part 2, “Approaches,” discuss nineteenth-century British culture and Victorian social texts; present ways to teach specific scenes, patterns, and problems in the novel; describe intertextual approaches; and detail specific courses taught in different settings and at a variety of educational levels.
The life and the range of topics and tones of Emily Dickinson suit her to be included in such courses as American literature, Romanticism, realism, nineteenth-century culture, and women’s literary traditions. Her poetry poses numerous challenges for readers because of its compressed style, indeterminacy, and constant surprises; her biography fascinates students and critics alike.
This volume emphasizes instruction of Dickinson’s poetry at the undergraduate level. Like other volumes in the MLA’s Approaches to Teaching World Literature series, it is divided into two parts. The first, “Materials,” discusses editions of Dickinson’s poetry, aids to teaching, reference works, biographies, critical studies, and background materials. In the second part, “Approaches,” twenty essays suggest ways to introduce Dickinson and her poetry, draw attention to different aspects of her art, and place the poems in larger contexts. Among the topics raised are love, epistemology, the treatment of death, and implications of gender. Among the courses described are a composition class and an advanced literature class. An appendix provides sample assignments.
A significant and prolific francophone writer and filmmaker, Assia Djebar is celebrated for her experimental, multilingual prose and her nuanced, imaginative representations of Algeria. From her first novel, La soif (The Mischief), to her final book, Nulle part dans la maison de mon père (“No Place in My Father’s House”), she offers a wealth of pedagogical and theoretical possibilities.
Part 1, “Materials,” presents valuable teaching resources, including biographical information, French- and English-language editions of Djebar’s writing, and secondary works. In part 2, “Approaches,” contributors address the issues of and controversy surrounding her oeuvre, drawing on a range of interdisciplinary approaches and classroom strategies. Topics in the volume include translation studies, Islamic feminism, colonial and postcolonial contexts, autobiographical writing, historiography, postmodern and avant-garde literary experimentation, and visual culture. Gayatri Chakravorty Spivak provides an afterword. This volume makes clear the political, intellectual, and artistic importance of Djebar.
Recounting the murder of an elderly woman by a student expelled from university, Crime and Punishment is a psychological and political novel that portrays the strains on Russian society in the middle of the nineteenth century. Its protagonist, Raskolnikov, moves in a world of dire poverty, disillusionment, radicalism, and nihilism interwoven with religious faith and utopianism. In Dostoevsky’s innovative style, which he called fantastic realism, the narrator frequently reports from within the protagonist’s mind. The depiction of the desperate lives of tradespeople, students, alcoholics, prostitutes, and criminals gives readers insight into the urban society of St. Petersburg at the time.
The first part of this book offers instructors guidance on editions and translations, a map of St. Petersburg showing locations mentioned in the novel, a list of characters and an explanation of the Russian naming system, and recommendations for further reading. In the second part, essays analyze key scenes, address many of Dostoevsky’s themes, and consider the roles of ethics, gender, money, Orthodox Christianity, and social justice in the narrative. The volume concludes with essays on digital media, film adaptations, and questions of translation.
Which John Dryden should be brought into the twenty-first-century college classroom? The rehabilitator of the ancients? The first of the moderns? The ambivalent laureate? The sidelined convert to Rome? The literary theorist? The translator? The playwright? The poet? This volume in the MLA series Approaches to Teaching World Literature addresses the tensions, contradictions, and versatility of a writer who, in the words of Samuel Johnson, “found [English poetry] brick, and left it marble,” who was, in the words of Walter Scott, “one of the greatest of our masters.”
Part 1, “Materials,” offers a guide to the teaching editions of Dryden’s work and a discussion of the background resources, from biographies and literary criticism to social, cultural, political, and art histories. In part 2, “Approaches,” essays describe different pedagogical entries into Dryden and his time. These approaches cover subjects as various as genre, adaptation, literary rivalry, musical setting, and political and religious poetry in classroom situations that range from the traditional survey to learning through performance.
When it was first published, in 1823, Claire de Duras’s novel Ourika became a best seller almost immediately, and in recent decades, instructors have found it an irresistible addition to their syllabi. But from a teacher’s perspective the novel presents something of a paradox. It is short, its narrative structure is uncomplicated, its vocabulary is limited, its plot is straightforward. It thus lends itself to “simple” readings that fail to reveal the novel’s rich fund of social and historical themes. Set against the backdrop of the French and Haitian revolutions, the Terror, and the restoration and featuring the first black woman narrator in French literature, Ourika raises issues of identity, inequality, exclusion, power, and race and gender relations. The goal of this Approaches volume is to help teachers bring out the novel’s profound and complex underpinnings and reveal Ourika, its Senegalese protagonist, as a victim of history and a timeless tragic heroine.
Part 1 provides an overview of editions of the novel and secondary resources, including critical, historical, and biographical studies. Also featured is a useful time line situating Duras’s life in its historical framework. Part 2 offers a wealth of pedagogical approaches, grouped in four sections, which focus on the historical context of the novel; on race, gender, and class issues; on teaching Ourika with other works of literature; and on interdisciplinary perspectives.
Throughout the volume, the editions of Ourika referred to are the MLA Texts and Translations paperback editions, in French and in English translation, published in 1994.
At the start of the twenty-first century, performances of early modern Spanish drama experienced resurgent popularity—not only in Spain but also on stages across Europe, Latin America, and the United States. In the academy the comedia, which includes comic, tragicomic, and tragic works, is widely taught in a range of contexts to a variety of students, in Spanish and in translation. Given the steady increase of Spanish as the language of choice in foreign language departments, these courses will continue to flourish. This volume offers guidance to teachers in helping students engage with and understand these late-sixteenth- and early-seventeenth-century works.
Part 1, “Materials,” evaluates editions and anthologies in English and Spanish; identifies important critical works and historical studies; and surveys illustrated books, films, and Internet resources. In part 2, “Approaches,” experienced teachers discuss the way the plays challenged the interests of the monarchial state; examine the obsession with honor shared by Spanish men and women alike; explain the key role costume played in providing both pleasure and meaning; and explore how late-twentieth-century films reflect elements of these early Spanish plays. Other approaches center on five women playwrights; delve into the complex theological and philosophical underpinnings of the plays; pair the plays with Shakespearean drama; show how Spanish plays influenced French dramatists; and trace the appeal of the Don Juan figure.
“Middlemarch,“ writes Kathleen Blake, “is the great Eliot novel, the one to teach, because it has the kind of appeal that can carry students forward toward becoming people who will return to it.” Taught to undergraduates in introductory surveys as well as in specialized upper-division courses, Middlemarch presents challenges to both teachers and students—in its length, its rich philosophical and psychological insights, its range of characters, its historical scope, its multiple plots and dense style. The sixteen essays in Approaches to Teaching Eliot’s Middlemarch describe imaginative ways experienced teachers have dealt with these challenges to share their love of the novel with their students.
Like other books in the MLA’s Approaches to Teaching World Literature series, this volume is divided into two parts. Part 1, “Materials,” surveys editions of Middlemarch, background readings on the Victorian period, textual and critical studies, and audiovisual aids. In part 2, “Approaches,” contributors describe specific strategies for teaching the novel. Among the topics discussed are critical trends in the classroom (e.g., narrative theory, deconstruction, feminist criticism, reader-response analysis), teachers’ responses to student difficulties with the novel, textual and contextual perspectives, and ways instructors overcome curricular and institutional constraints. The volume also offers a chronology of the writing and publication of Middlemarch, a genealogical chart for its large cast of characters, and an extensive bibliography.
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