M/W 05:00-06:30 79 Dwinelle Instructor: Tyleen Kelly

How do we understand a literary imitation? What is the nature of our intellectual double take when we perceive it? Does our recognition stir self-congratulation, delight, annoyance, disappointment—or lead us to skip over it entirely as the ‘mere copy’ of a more valued original?

What significance do we attach to our imitations of others… or another’s work of art? Is there a note of pride, guilt, communion, dialogue, criticism, scorn, or something more like a friendly elbow nudge? This course will consider the components of imitation and its various effects as we unpack literary works that are in some manner cut from the same cloth. The expertise required to articulate subtle differences between works will benefit our main project of conducting written analysis at a more nuanced level.

Course Objectives
While these questions and proposed texts will furnish us with material for rich discussions, this class is chiefly geared to improve your writing. We will concentrate on both mechanics and style, learning how to read closely, formulate interesting arguments, gather evidence, and organize claims into persuasive essays. Over the course of the semester, you will produce approximately 16 pages of written work through a gradual process of drafting, editing, reviewing, and revising. The assignments will also include a research paper, satisfying the course requirement.
 
Works may include:
Maria Edgeworth. Castle Rackrent [1800];
Kazuo Ishiguro. Remains of the Day [1989];
Oscar Wilde. The Importance of Being Earnest [1895]  
Tom Stoppard. Travesties [1974];
Apuleius. The Golden Ass [2nd century C.E.];
Franz Kafka. The Metamorphosis [1915]