Literature and the Environment
Course Syllabus: English 365A/Comparative Literature 396B
Valuing Nature: Literature and the Environment
Spring 2015 Professor Gary Handwerk
Tues/Thur 10:30-12:20; Denny 306 Office: A-402 Padelford; Phone 543-2183
E-mail: firstname.lastname@example.org Office Hours: Tues. 1-3 and by appt.
Canvas Site: https://canvas.uw.edu/courses/963536
About the course:
What is nature worth? Why do we attribute to nature the value(s) that we do? In different contexts, we may grant greater or lesser worth to quite different aspects of nature: its beauty, its resource possibilities, its spiritual impact, its recreational uses, or any number of other standards. These acts of valuing are themselves rooted in specific cultural, historical and religious traditions, as well as in the economic and scientific frameworks that often play a bigger role in political and personal decision-making. This course will take up our valuing (and de-valuing) of nature through one distinct variety of cultural text—literary works—examining how such works represent nature, how they present environmental issues, how their values arise, and how their forms of representation affect their success in projecting specific values on to nature. This will not be a course on nature writing or on social science/public policy issues, although our concerns will intersect in numerous ways with both of those perspectives. Instead, we will be studying how aesthetic and rhetorical elements are used by different authors to shape our attitudes toward nature and the environment—with “environment” broadly construed as a category that encompasses the whole set of interactions that we as individuals and members of groups have with the physical and social landscapes around us.
Our main goal, then, is to work toward reading the texts in this course—a set that includes fictional narratives, non-fictional essays and theoretical works—more closely and more carefully. Each text depicts one or more attitudes toward the environment—varying senses of what the world around us is, how it works, why it is the way it is, and what that means for us as human beings. Moreover, each of the texts also deals with the environment as it bears upon social relations; collectively, they let us explore how our attitudes toward nature and toward other people intersect. As we read them, it is important to remember that they (like literary texts and works of art generally) are not simply descriptive accounts of what particular authors see or feel. They are acts of persuasion, implicit arguments about how we should think and feel and behave that are often all the more effective for the implicitness of their positions. Such texts play a key role in determining how societies think about environmental issues; they help shape the deep base of beliefs and values that frames political debates about public policies.
Learning to read these kinds of texts well is, in addition, a skill that we can also bring to bear on non-literary texts. Most kinds of discourse make extensive use of “literary” sorts of strategies, deploying narrative, imagery, allegory, and other elements typical of literary texts to help them achieve their own rhetorical purposes. It is rare that scientific expertise proves to be the sole determining factor even for what one might construe as scientific issues—the reality of global warming, for instance, or the decision to protect or not protect a specific endangered species. It is even rarer for politicians or bureaucrats to refrain from the slanting of perspective that rhetoric can provide (thus the still-recent renaming of global warming as “climate change”). So the analysis we will practice in this class is in an important way transferable to the reading and the writing you might do in very different contexts.
Your writing provides the best measure of how well you can perform the kinds of analytical reading I will expect from you. Effective writing is in equal measure a matter of conception and execution, of planning and practice. We will talk about the former most specifically in relation to the longer assignments in the course, where I will try to clarify for you what you are being asked to do and why. We will address the latter by having you write regularly, supplementing the formal, graded essays with a series of short, ungraded response papers (12 over the course of the quarter) that you will collect in a portfolio, along with your other writing, at the end of the quarter.
Response Papers/Portfolio 1/7 of final grade
Analytical essays (5) 5/7 of final grade
Attendance and participation 1/7 of final grade
Analytical essays will be graded on a 10 point scale, with 9 = 4.0, 8 = 3.5, 7 = 3.0, etc. Late papers will have 1 point deducted per day. You will be writing five of these (each a one-page, single-spaced, no-margin paper, with topics circulated a week before they are due). Font size should be either 11-point or 12-point; papers using smaller font sizes will be returned unmarked. Electronic submission of papers. Please use your last name as the first part of the file name for essays you submit for this class. I.e., smith.essay1, rajan.response3, allen.mcphee, etc.
Other Essential Information:
1. Both the amount and the different kinds of materials we will be reading make this a challenging course. In addition, the active close reading that I expect you to do regularly may be something that you have not had much occasion to practice. So I encourage you to ask questions in class and to see me in office hours for further help if needed. It is your responsibility to come to me with issues you feel are getting in the way of your effective learning.
2. This is an intensive course, requiring you to read 100-200 pages per week and to write regularly about that reading. I expect that for most of you the required work will fill the 12-15 hours a week that the university prescribes as the norm for a 5-credit class. Some of you may find yourselves putting in more time than that during certain weeks.
3. The median grade for the course will very likely be close to the norm for classes in the humanities here, somewhere between 3.1 and 3.3. That isn’t the bottom grade; it’s the median. That means that it is indeed possible to get a grade below 3.0, even though you have been doing the assigned work and submitting everything on time.
4. Attendance and participation are required. Moreover, they presuppose engaged and timely completion of writing assignments. Late papers will have one point deducted for each calendar day that they are late. I will take roll on occasion and will use your response papers and your portfolio to help me evaluate your class participation.
5. Finally, please DO NOT PLAGIARIZE. If you have any questions about the proper use of outside sources that you have consulted, see me BEFORE you submit the paper.
Course Calendar (subject to change)
March 31 -- Introduction: Wilderness and Development, Humans and Their Others, Toxic Discourse; Cheryll Glotfelty, “Introduction” to Ecocriticism Reader
April 2 -- John McPhee, Encounters with the Archdruid (Part 1); Berry, “Faustian
WEEK 2 -- Optional class session on writing analytical papers (day, time and place TBA)
April 7 -- McPhee, Encounters (Parts 2 & 3)
April 9 -- Edward Abbey, Desert Solitaire (ix-xii; 1-73; “Author’s Introduction
through the end of “National Parks”)
APRIL11 -- PAPER #1 DUE (McPhee)
April 14 -- Defoe, Robinson Crusoe; Buell, “Introduction” to Writing for an Endangered
April 16 -- Defoe, Robinson Crusoe
April 21 -- Daniel Defoe, Robinson Crusoe
April 23 -- William Faulkner, Go Down, Moses, “The Bear”; Max Oelschlager, “The Idea of Wilderness” (PC)
APRIL 25 -- PAPER #2 DUE (Defoe)
April 28 -- Faulkner, “The Bear”; Paul Shepard, “Ontogeny Revisited” (PC)
April 30 -- Faulkner, “The Bear” [Roosevelt HS Visit]
May 5 -- Faulkner, “Delta Autumn”
May 7 -- Charles Darwin, Origin of Species (selections to be announced)
MAY 9 -- PAPER #3 DUE (Faulkner)
May 12 -- Octavia Butler, Wild Seed; Phelan, “How We Evolve” (PC) [ToA HS Visit]
May 14 -- Butler, Wild Seed
May 19 -- Butler, Wild Seed; Leopold, “The Land Ethic” (PC) [Lk. Wash. HS Visit]
May 21 -- Lopez, Arctic Dreams
MAY 23 -- PAPER #4 DUE (Darwin, Butler, Leopold)
May 26 -- Lopez, Arctic Dreams
May 28 -- Lopez, Arctic Dreams; Lopez, “Landscape & Narrative” (PC)
June 3 -- Lopez, Arctic Dreams
June 5 -- Wrapping Things Up and Looking Ahead: Weart, “Discovering a Possibility” (PC); Chakrabarty, “The Climate of History” (PC); Abbey (246-58), “Havasu”
JUNE 10 -- PAPER #5 DUE (Abbey, Silko)
JUNE 13 -- PORTFOLIO DUE
Comparative Literature 396A (Special Topics); English 365A (Literature and Discourses on the Environment); Environmental Studies 496B (Special Studies): Valuing Nature: Literature and the Environment (Professor Gary Handwerk; Spring 2015)
Our focus for this course will be upon how literature deals with the environment, i.e., how literary texts represent environmental issues and why it matters that they be represented in this form. How, that is, does where we live and, even more importantly, how we imagine the place in which we live, affect who we are? How do our relationships to nature and our relationships with other people intersect? How do we come to value nature, and nature in relation to (or in competition with) human society, in specific ways? We will be considering a range of prose texts, including fictional narratives, non-fictional essays and journalism, primarily texts written or set in the Americas. Course goals include: 1) developing the analytical reading skills appropriate to different kinds of literary texts, 2) working on how to formulate and sustain critical arguments in writing, 3) learning how to uncover the supporting logic and stakes of specific attitudes toward the natural world, 4) understanding how environmental issues are linked to other social and cultural concerns, 5) seeing how those linkages are affected by particular historical and political conditions. The course will contain a significant writing component, both regular informal writing assignments and several medium-length analytical papers; it can count for W-credit.
Texts include Defoe, Robinson Crusoe; Faulkner, Go Down, Moses;McPhee, Encounters with the Archdruid; Abbey, Desert Solitaire; Appleman, Darwin; Butler, Wild Seed; Barry LopezArctic Dreams; and a reading packet.