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English 615, Studies in Medieval Literature, Medieval Drama

1. Description 4. Goals and Objectives 7. Grades 2. Process 5. Texts 8. Reading and Class Schedule 3. Key Questions 6. Requirements and Policies 9. Reserve List / Bibliography

Description

Engl. 615, Studies in Medieval Literature: Medieval Drama. This seminar offers an intensive survey of medieval drama, beginning with 10^th century liturgical representations and 12^th century church drama, moving to the English "cycle" and morality plays, and concluding with a brief look at early Tudor drama. Our focus will be primarily upon the English material, particularly the "mystery" plays or four extant civic biblical dramas of York, Chester, Towneley, and N-Town, and we will read the York cycle intensively. We'll read the Middle English and Tudor texts in their dialects; the other texts are translated. We will also consider our subject in historical and theoretical terms, and consider briefly the development of contemporary views of medieval drama.

You can expect to lead one seminar session, prepare several brief position papers on primary and/or secondary material, and read and respond to one another's work in written and electronic form. These activities will, in turn, lead to a seminar paper, suitable for academic presentation.

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Process

The process of the course is straightforward: We will read significant texts from the period, analyze their content, and discuss their potential meanings, both in the context of their historical culture and our own period. We will also identify and interpret significant thematic emphases of individual works and authors, distinguish the characteristics of each genre, period, and writer, and look for both significant continuities and crucial innovations within and between writers and periods. As a way of examining the complicated relationship between literature, culture, and authorship, we will frame our examination of each author or text according to its historical context and examine each text through a set of social practices or "discourses"--the "cultural codes"--characteristic of that writer's historical context.

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Key Questions

We will also find ourselves returning to key questions of literary interpretation throughout the course, including:

1. What is "medieval drama"? How do these texts challenge or extend our definitions of "drama" and our understanding of things "medieval"?
2. How do these mostly anonymous texts challenge contemporary definitions of authorship. How do these medieval texts understand the artistic process and the function of literature; that is, what are the various "authorizing strategies" used in these texts? To what in the reader(s) does the "author" appeal to gain a hearing for the work?
3. What is the position and function of literature within culture? What is the relationship of art to society and to politics; that is, to systems of power, domination, and subordination? How does art shape our view of nature, culture, and humanity? In a similar vein, what is the relationship of history and literature or "historical" to "literary" texts?
4. What in the culture is the text, criticizing, justifying, exploring, analyzing, satirizing, and/or subverting?
5. What is reading, and what happens when we read? What do we attend to or ignore in our readings? What is the nature of the interaction between reader and text? What personal and social variables (gender, class, race, ethnicity, age) constrain or enable our readings?
6. Other related topics will include the place and role of women in society; the relationship of patriarchy and feminism; the construction and conventions of love, both spiritual and physical; the nature and exercise of power; the relationship of the individual to society; gender; and other such topics.

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Goals/Objectives

Our overall (and modest) goal for the course will be to achieve both an understanding and appreciation of approximately 500 years of medieval drama. The general goal of the course will enable you, by the end of the semester, to be:

1. Well-versed in the major authors and genres, important texts, and main themes of medieval drama from the 10^th to the 16^th century.
2. Familiar with the historical and social contexts, literary and theoretical analysis, as well as the practical stagecraft and production, of this drama. This includes some proficiency in reading a number of Middle English dialects.
3. Proficient in the basic vocabulary of literary and cultural criticism.5. Able to explore and articulate the connections between this literature and our present historical, cultural, and personal situation(s).
4. Able to develop and write brief, well-developed, and tightly focused literary analyses using graduate level research.
5. Produce a longer seminar length paper (15-20 pages) suitable for presentation at an academic conference.

Any student requiring individualized accommodation due to a documented ADA disability should see me during the first week of class. UAA is an equal opportunity institution.

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Texts

• Beadle, Richard, ed. The Cambridge Companion to Medieval English Theatre. Cambridge: Cambridge UP, 1994.
• Beadle, Richard and Pamela King, eds. The York Mystery Plays. Oxford: OUP, 1995.
• Bevington, David, ed. Medieval Drama. Boston: Houghton-Mifflin, 1975.
• Kastan, David Scott and John D. Cox, eds. A New History of Early English Drama. New York: Columbia UP, 1997.
• Unsworth, Barry. Morality Play. New York: W.W. Norton, 1996.
• English 615 Course Packet. Available at the Copy Center.
• Software: Norton Connect.Net

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Requirements and Policies

Thorough reading, class participation (primary and secondary response), one or two brief response papers, and a major literary analysis paper, suitable for conference presentation (15-20 pgs) are required in Engl. 615.

1. Reading: The careful and thorough reading of all assignments is essential to your success. Although we will be reading some texts in translation, you may find the Middle English selections initially difficult, but you will persevere. In addition, you should also read the editor's notes to each text, author, or historical period for each assignment.
2. Leading Discussion / Primary Sources: As part of the classroom work, you will serve as "Primary Respondent" for one class period and the "Secondary Respondent" for another. As the Primary Respondent, you will be responsible for a 2-3 (typed) page write-up which presents relevant historical, cultural, or textual information; summarizes the day's reading; offers several questions, concerns, or statements; and points to a couple of key passages to initiate discussion. As the Secondary Respondent, you are responsible for a 1-2 page summary of key questions, analyses, and/or passages for the text under discussion. In both cases, you will need to reproduce copies for the entire class (2 copies for me), and (hopefully) we can compile these at the end of the term. On the day you are the Primary Respondent, you will begin class with a 10-15 minute presentation of your paper; the Secondary Respondent will also offer h/h insights to get the class discussion rolling.
3. Response Papers / Secondary Sources: You will also write a brief critical response (2-3 typed pages; no more than 4 pages) to several secondary reading assignments during the term. These are to be very focused summaries with some evaluation and analysis. These too will need to be copied for the whole class. See the unit schedule for due dates; late papers begin with a "C."
4. Format: All papers (response and analysis) are to be typed on standard 8 1/2 x 11 inch typing paper according to the MLA format (title block in upper left-hand corner, no title page or plastic covers).
5. Seminar Paper: Your seminar paper, the term's major assignment, is to be a substantial and original critical essay (15-18 pages, no more than 20 of text). You are free to define your own topic within the purview of the course material. You will present a preliminary report on your topic in early March (10 minutes), meet with me once in conference with a preliminary outline and bibliography, and offer a final presentation during finals week (20 minutes). In preparation for the final presentation, you will also supply copies of your paper to each class member for feedback. In addition, you will serve as a reader on two other seminar papers and will prepare brief constructive critiques on those papers (3-4 pages) to be turned in to the author and to me. As an experiment, we will be using Norton's Connect.Net to facilitate collaborative writing via the WWW.
6. Attendance: I expect your regular attendance and participation, but if you miss class, you are still responsible for the work due and should check with classmates for notes and assignments before the next class meeting. Excessive absences warrant grade penalties. A roll sheet will be circulated at the beginning of each class attendance.
7. Plagiarism: Using other people's ideas, phrases, or writing without proper documentation, including having others write your assignments or using undocumented library research, including WWW and Internet sources, will not be tolerated. Disciplinary action can range from failure of the assignment in question to failure in the course. See the Student Code of Conduct for details.

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Grades

The course is strictly graded from A to F (A = 93-100, B = 85-92, C = 77-84, D = 70-76, E = 69 or below) according to the UAA descriptions (A = "comprehensive mastery," B = "high level of performance," C = "satisfactory level of performance," D = "lowest passing grade," and F = "failure").

• Class Participation/Primary & Secondary Response 20%
• Response Papers (2 @ 10 % per paper) 20%
• Analysis Paper 60%

Other grading concerns: You can withdraw at your discretion until midterm; after that point, my signature is required, but I will grant a "W" only in cases of grave personal emergency, and I generally do not give Incompletes ("I"). One final word: If your have a question at any point in the term, ask me or set up an appointment. If you have a problem that prevents your progress in the course, don't suffer in silence. Let me know before it gets unmanageable and we'll work something out.

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English 615: Medieval Drama, Spring 1998

Reading Schedule

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© 1998, Daniel T. Kline. All rights reserved. Page launched on 1.1.98. Last updated on 10.03.02.