E 340    SPECULATIVE FICTION
 Dr. K. Schneider                             Fall 2001
Office:  Ch 118, 745-5714             E-mail: karen.schneider@wku.edu       

Home: 782-3037                            www.wku.edu/~karen.schneider  

                                SCIENCE FICTION AND FANTASY
 

Course Description and Rationale
Speculative fiction of all stripes not only has a long and rich history but has become an increasingly salient art form, constituting a kind of contemporary mythology.   It lends itself to a variety of interpretations (psychological, sociological, ideological, e.g.) and can encourage a kind of imaginative thinking more "realist" literature by its vary nature may disallow.   In this course, we will survey three types of speculative fiction: science fiction, dark fantasy, and high fantasy.   In addition to selections from our anthology, our reading will include three paradigmatic novels and a handful of essays (for historical and generic background).  We will trace the historical development of SF from within its cultural and literary contexts.  We will also become acquainted with the attributes of SF as a multi-faceted but distinct literary genre, including its definitions, conventions, and themes.  In addition, practicing a bit of reader-response theory, we will consider the literature's cognitive effects.   Finally, we will dip into SF's representation in popular film.  Thus, in our reading and discussion, we will consider the following questions--and any others you wish to raise:
         --How has SF developed historically?  How does the SF of a particular time engage with and/or transcend its socio-historical circumstances?
         --What are its characteristics, common concerns, themes, and motifs?  How are the various genres distinctive?
         -- How does science fiction encourage us to see familiar things in new ways?  Why does dark fantasy frighten  us, and how does it give us pleasure?  What accounts for the continued popularity of high fantasy for adults, with its origins in fairy tale and magic?
         --How do the authors we will read differ from each other in style, thematic concerns, technique, and  emphasis?  How does each work fit into a particular type of SF--or not?
        --How do we evaluate these fictions as literature?
         --What makes SF worth not just reading but studying?  What does it tell us about ourselves, each other, and our culture?  In short, what does SF contribute to our understanding of the human  condition, and how?

Required Texts
Roberts, Garyn G.  The Prentice Hall Anthology of Science Fiction and Fantasy.  2001
Shelley, Mary.  Frankenstein.
Stoker, Bram.  Dracula.
Tolkien, J.R.R.  The Hobbit
Wachowski Bros. , The Matrix
Jackson, The Lord of the Rings (Fellowship)
horror film to be negotiated
reading packet

Requirements and Policies
**regular and prompt attendance
**keeping up with all assigned reading
**informed participation in class discussion
**Papers

--Six short papers (three pages)
    These should be clearly focused, cogently argued, well supported discussions of one or more works we have read in class.  You must write about our readings but may choose your own topic; we will discuss various possibilities as we go along.

          --One five-six page paper on one of the novels.
                You must turn in a paper at least every other week, beginning no later than the
            week of 9/14.  You should turn in the paper the same week we discuss the material
            or the one after.   If you are not an experienced writer of literary analyses, I
            would like you to meet with me before writing the first paper and then again as
            often as you find it useful.  You should also consult "Basic Advice on Writing about
            Literature" on my web site.  For everyone:  Good writing is basic to a good
            performance in this class.  If you have writing problems, now is the time to work on
            them.  I will give you all the individual attention you require.  We can talk at any and
            all stages of the writing process--brainstorming, thesis development, selecting textual
            evidence, organization, revision.  Even already good writers can improve.
 General instructions:  All papers must be either computer-generated or typed (double- spaced, with the usual  1" and NON-justified margins) on NON-erasable paper.  Cover sheets are not necessary, but all essays should have titles.  Do not put papers in any kind of binder; make sure the pages are stapled or clipped together.   I reserve to right to return, unread, papers that have not been adequately proofread.   Copy "Marking Symbols and Abbreviations" from web site.

**Exams:
      --reading quizzes (one for almost every new reading assignment) One will be dropped, but these cannot be made up.
     --comprehensive final (take home essay)

Grade Determination
Reading Quizzes      10 pts. each (~ 200 total)
Short Papers            100 pts. each (600 total)
Novel Paper             200 pts.
Final Exam               200 pts.
Total points available:     ~ 1200

Conferences
I urge you to take advantage of the individual assistance I offer in conferences.   I will occasionally require conferences if I find it in your best interest.  Otherwise, you must take the initiative.  To repeat, if you have never written a literary analysis, I want you to work with me on at least your first one.  If you want help with, or simply want to talk about, anything connected to this class--the readings, class discussion, the papers, the exams--I will be glad to provide it.  You can, of course, come by my office any time during my regular office hours, but an appointment is the best way to go.  Do not be shy about asking.
 Office hours:   10:00-11:00 and 1:00-2:00 Monday through Friday, and by appt.

**Writing Center:  Another source of assistance is the Writing Center, located in CH 124 (hours to
be announced).  Graduate students in English will help you with specific problems (say, sentence fragments or using transitions) or with any stage of the writing process, such as brainstorming, generating theses, organization, whatever.  Note: This is NOT a proof-reading service.

 SYLLABUS
T    8/21         Introduction to Class
                       Lecture:  Brief History of SF
I.  Science Fiction
R   8/23          Moskowitz, "How Science Fiction Got Its Name" (anthology)
                       Russ, "Speculations: The Subjunctivity of Science Fiction" (reading packet)
                       Web Site Reviews (see text for addresses)
______
T   8/28        Shelley, Frankenstein (all)

R   8/30         cont.
______
T   9/4           Wells, "The Star"
                      Clarke, "The Star" (packet)
                      Bradley, "Exiles of Tomorrow"

R   9/6          Stone, "The Conquest of Gola"
                     Merrill, "That Only a Mother"
                     Russ, "When It Changed"
______
T   9/11         Moore, "Shambleau"
                     Weinbaum, "Martian Odyssey"
                     MacLean, "Pictures Don't Lie"

R    9/13        van Vogt, "The Weapons Shop"
                      Vonnegut, "Harrison Bergeron"
______
T   9/18         Asimov, "Robbie"
                      Bester, "Fondly Fahrenheit"
                      Bear, "Blood Music"

R   9/20         Sheckley, "The Store of the Worlds"
                      Spider Robinson, "Melancholy Elephants"
                      Kim Stanley Robinson, "Remaking History"
______
T   9/25         Delaney, "Driftglass"
                      Card, "Ender's Game"

R   9/27         Butler, "Bloodchild"
                      Williamson, "The Purchase of Earth"
______
T   10/02        Discuss The Matrix
                      Russ, "On the Fascination of Horror Stories, Including Lovecraft's" (packet)

FALL BREAK
______
II.  Dark Fantasy
T   10/9         Stoker, Dracula

R   10/11         cont.
______
T   10/16        Hoffmann, "The Sandman" (packet)
                      Bierce, "The Damned Thing"

R   10/18        Hawthorne, "Young Goodman Brown"
                      Dickens, "No. 1 Branch Line: The Signalman"
                      Stevenson, "The Body Snatcher"
______
T   10/23        Lovecraft, "The Colour Out of Space"
                       Beaumont, "The Howling Man"

R   10/25         Bloch, "Catnip"
                       Matheson, "Duel"
______
T   10/30        Jacobs, "The Monkey' s Paw"
                       King, "The Raft"

R   11/1          Finney, "The Third Level"
                     Knight, "To Serve Man"
                     McCammon, "Nightcrawlers"
______
T   11/6         Discuss film
                     (The Haunting [original], The Night of the Living Dead, The Exorcist?)

III.  High Fantasy
R   11/8         Mathews,  Chronology  and "From Antiquity to Infinity: The                         Development of Modern Fantasy" (packet)
______
T   11/13        Merritt, "The People of the Pit"
                      Howard, "The Tower of the Elephant"

R   11/15         Stevens, "Friend Island"
                      Henderson, "The Anything Box"
                      Ballard, "The Drowned Giant"
______
T   11/20        Leiber, "Smoke Ghost"
                      Lee, "Red as Blood"
                      Yolen, "The Malaysian Mer"

Thanksgiving Break
______
T   11/27         Tolkien, The Hobbit

R   11/29         cont.
______
T   12/4          Gaimon, "Toll Bridge"
                      Blaylock, "Thirteen Phantasms"

R   12/6         Discuss The Lord of the Rings
                      Discuss final exam
______
Finals due by 10 a.m.  Wednesday, 12/12.