This introductory course aims principally to examine and critique the evolving representations of women in literature. However, given that these literary interpretations are often given a contemporary “spin” through film, the course also examines how these representations change as the literary texts are adapted to film, or how contemporary films deal with similar types of narratives concerning principally gender and sex, but also with an emphasis on representations on race, class, nationality, embodiment and other factors. The questions this course engage include the following issues: representations of power or ideology embedded in “natural” characterizations of especially sex and gender, but also in relation to other factors such as class, race, nationality, etc.; the reader’s implied relation to the text alongside authorial “intent,” when that can be established; whether ethics matter in relation to the creation and reception of literature and their cinematic adaptations or counterparts; what is the nature of aesthetic pleasure in relation to literature or filmic adaptations/cinematic explorations of parallel themes found in literature; what roles expression and emotion play in the generation and interpretation of texts; whether literary or their corresponding cinematic texts, as art objects, are independent of external relations and depend purely upon a unique system of internal relations; how realms of “fact” and “fiction” in relation to depictions of gender and sex are mediated particularly through fictional conventions/genre demarcations (magic realism, Gothicism, science fiction), among other questions. The structure of the course is built around the attempt to illustrate how these basic questions generate various answers, grounded in different and yet related historical, political, and cultural environments. Hence, using these basic problems as guide questions, this course attempts to sketch the development of certain traditions of literature, aesthetics, film criticism and cultural studies through taking a sample of texts produced in 19th Century England, such as Mary Shelley’s Frankenstein or Bram Stoker’s Dracula; 20th Century American offshoots, such as Anne Rice’s Queen of the Damned; and contemporary multicultural texts, such as Isabel Allende’s House of Spirits. The course ultimately culminates in the creation of a 5-7 page scholarly/creative reflection paper.

This course will employ principally a lecture and discussion format, and will integrate the effective use of technology (e.g., Blackboard, powerpoint, videos or DVDs, when relevant). Please note the hand-out on Blackboard and how to register for this course online a.s.a.p. Note that to fulfill the requirements necessary to not only pass, but do well in the course, you will need to learn the essentials of Blackboard and powerpoint as soon as possible. The essentials, other than registering, entail learning how to use threaded conversations (Under “Communication—Discussion Board” and “Communication—Small Groups—Discussion Board”); checking for “Announcements,” and checking posted grades (Under “Student Tools--Check Your Grade”). There are other additional features you may use, such as the e-mail feature under “Communication.”
Students are required to come in, having read the assigned texts of the day, in order to present and defend their opinions, respectfully critique those of others, and pose clarificatory questions individually. A significant percentage of the marks will come from participation in class and via virtual threaded conversations, where literary and critical theory will be actively done, rather than written about. Students will also be required to learn how to use Blackboard in order to make threaded conversation posts and to use its various functions, such as to check posted lectures, announcements and grades. Later on, students will be required to do one in-class group report (normally in pairs, depending on the size of the class) as part of fulfilling the requirements of the course. Students are highly encouraged to consult the professor early and regularly if they are having difficulties with the course.

According to university policy, students who accumulate more than two weeks’ worth of absences are in danger of failing (that’s four TR classes); those who are involved with university-sanctioned events (inclusive of, but not limited to athletics, band, ROTC, academic honor societies, and nursing) may not be counted absent on days scheduled as service work for the university. To be excused on such days, obtain a signed statement on FSU letterhead, authorizing such a schedule of projected absences, from your advisor, by the second week of classes. This is the student’s responsibility; without such a document, those absences will be counted. Documented illnesses (get an authorized note from your physician or Thagard) will also be counted as excused absences. In all these cases, however, the students are still held responsible for work due that day and for all material covered, inclusive of class announcements or if necessary, changes to the course calendar; if a major requirement is due, such as a final paper, it is the student’s responsibility to get the paper to the instructor either ahead of time, or on the day itself, through e-mail (kpicart@english.fsu.edu). No late work is acceptable. However, in this class, you are allowed three free passes in terms of minor requirements such as quizzes; that is, I will cancel the three lowest minor requirements (where threaded conversations are twice the weight of quizzes), which are submitted weekly. Use those free passes wisely.

The Florida State University General Bulletin contains an Honor Code that is repeated verbatim in the Student Handbook. You are responsible for knowing and conforming to it; in addition to the information listed in the Handbook, you are also cautioned that:
1. If you take material that is not yours, from any source (inclusive of websites), and copy it into anything you submit, you are obligated to provide a footnote, endnote or parenthetical reference and works cited list at the end of the paper.
2. Material that is lifted verbatim from other texts must be placed in quotation marks or, in the case of anything longer than three sentences, blocked quotes, indicating its source, as in item # 1 above.
3. Material that is paraphrased must also be documented as in item # 1.
4. Persons who violate the Honor Code and any of the items above in any requirement, whether minor or major, will receive an “F” for the course.
Keep these in mind when you write your final papers. Remember that cheating constitutes adequate justification for expulsion. When you use a source (and your final paper will require at least two literary texts used in class, two movies used in class, and three new texts from a collection of sources, such as books, articles, newpapers, web sources, as well as one new film), these should be cited properly, either as direct quotes, or as paraphrased material. You may use either the MLA or Chicago Manual of Style for citations, as long as you are consistent throughout the paper, and identify which citation system you are using.

Students with documented disabilities needing academic accommodations should, in the first week of class: 1.) register with and provide documentation to the Student Disability Resource Center (SDRC) and 2.) bring an authorized letter from SDRC to the professor, indicating the need for academic accommodations, if necessary. This and all other class materials are available in alternative format, upon request. I will do everything I can to ensure fairness to everyone in class.

Requirements for the successful completion of the course include:
Graded participation in class group or individual quizzes and weekly threaded conversation discussions (as indicated in the timetable) will take the place alongside formal attendance checks in class.

Each threaded conversation post must be posted before Sunday midnight of every week (Note: 12:01 a.m. is late). Each group or individual quiz, given at the start of each new section, will constitute 100 points; each threaded conversation will also be worth 100 points. Three lowest or missed quizzes or threaded conversations (where one threaded conversation is 200 points, with the total being dropped totaling 300 points) will be dropped from the final tally. Quizzes and threaded conversations constitute 30% of the total mark; in-class individual participation and attendance constitute 10%. Often, if you are on the verge of the next higher mark (1-2 points away), extra effort in these categories may give the professor enough justification to be able to pull your grades up to the next level without violating standards of fairness.

1.) A group report (usually in pairs)
This requires the effective use of powerpoint, and which will constitute 20% of the total mark. After the usual 10 minute group quiz, each report will be 50 minutes long, with the remaining 15 minutes to be used by the professor for providing summary remarks. You will be graded on an individual basis on the following criteria:

Summary of Essential Arguments 30%
Critique/Evaluation 30%
Ability to Stimulate/Further a Discussion 30%
Use of Powerpoint/Creative Ways to Present the Material 10%

Note: 24 hours before the group is due to report, you are required to e-mail me (kpicart@english.fsu.edu) and Scott Kopel (skopel@english.fsu.edu), requesting for help with ftp-ing the file to my webpage. On the day of the report itself, you are required to come in with a diskette back-up copy, just in case anything goes wrong with the web, and with two printed copies of the powerpoint presentations, printed as “hand-outs.”
Below are the instructions for printing out powerpoint presentations as hand-outs:

From the web
(You must have the PowerPoint program installed in your computer to do it this way)
1. Use Netscape to get to campus.fsu.edu.
2. After you log in and get to the course webpage, click to External Links.
3. Click on the PowerPoint presentation you would like to print out.
4. A window will open to ask if you would like to "save it to disk" or "run from the current location". For convenience's sake, click "run from current location." This will download and transfer the presentation to the PowerPoint program on your computer.
5. Go to "File" on the menu. Scroll down to "Print."
6. When the print menu pops up:

a. You can choose from "slides". This will print each slide on a full page.
b. To save paper, you can choose to print as "handouts". On a section on the right, you can choose how many slides you would like on each page.
c. Also, there are checklist options at the bottom, I recommend clicking "pure black and white" for clearer pictures on a black and white printer.
d. When you are finished, click the "OK" button.

From the PowerPoint Program
1. Click on the "my computer" icon.
2. Click on the icon representing where your file is saved (for example, if the PowerPoint presentation you wish to open is on your disk, click A:)
3. Click on the file in order to open.
4. Go to "File" on the menu. Scroll down to "Print".
5. When the print menu pops up:

a. You can choose from "slides". This will print each slide on a full page.
b. To save paper, you can choose to print as "handouts". On a section on the right, you can choose how many slides you would like on each page.
c. Also, there are checklist options, I recommend clicking "pure black and white" for clearer pictures on a black and white printer.
d. When you are finished, click the "OK" button.

2.) A 3-5 paged draft, which will account for 20% of the total mark.

3.) A 5-7 paged research-based and creative final paper, which will account for 20% of the final mark.

Download Final Paper Questions PowerPoint Here (105K)

Note as well that all films used in class are required viewing for scheduled class quizzes and discussions. To help people who have difficulty acquiring these films (though these are easily available through local video stores), I am scheduling viewing times in Williams at a venue and time to be announced.

The professor reserves the right to revise these requirements and the schedule listed below if these prove necessary. Full credit will be earned for the course only if all requirements are completed on schedule. There are no make-up quizzes and no make-up threaded conversation discussions. In case accidents or emergencies come up, it is the student’s responsibility to inform the professor as soon as possible, preferably before the paper or report is due so that alternative plans may be made, if warranted. If the student informs the professor only after the deadline, s/he must provide proof for why s/he missed the deadline; in such cases, make-ups may be given, but the student must be willing to accept a grade reduction to the next lower level (i.e., an “A” becomes an “A-“ and so on). Unless there are clear and sufficient reasons, NO make-ups for major requirements; NO make-ups for minor requirements are possible, given that the equivalent of 300 points will be canceled from this requirement. Cheating/plagiarizing in a major requirement (e.g. draft or final paper) will warrant a mark of “0” the first time; and instant failure for the course the second time.

1. Mary Shelley, Frankenstein, Diane Johnson, intro (Bantam, 1984) ISBN: 0553212478
   
2. Margaret Atwood, Handmaid’s Tale (Anchor Books, 1998). ISBN: 038549081X
   
3. Bram Stoker, Dracula: Authoritative Text Contexts Reviews and Reactions Dramatic and Film Variations Criticism (Norton Critical Edition), Nina Auerbach and David Skal, eds. (W.W. Norton, 1997). ISBN: 0393970124
   
4. Joseph Sheridan Le Fanu, Carmilla (Wildside Press, 2002). ISBN: 1587155958
   
5. Anne Rice, Queen of the Damned (Ballantine, 1993). ISBN: 0345351525
   
6. Thomas Harris, Silence of the Lambs (St. Martin’s, 1991). ISBN: 0312924585
   
7. Thomas Harris, Hannibal (Dell Publishing Company, 2000). ISBN: 0440224675
   
8. Octavia Butler, Dawn (Warner Books, 1997). ISBN: 0446603775
   
9. Toni Morrison, Beloved (Plume, 1998). ISBN: 0452280621
   
10. Isabel Allende, House of Spirits, Magda Bogin, trans. (Bantam, 1986). ISBN: 0553273914
    
11. Laura Esquivel, Like Water for Chocolate, Carol and Thomas Christensen, trans. (Prentice Hall, 1994). ISBN: 038542017X
    

1. Caroline Joan S. Picart, Remaking the Frankensteinian Myth on Film (State University of New York Press, 2003). ISBN: TBA
   
2. Donald Glut, The Frankenstein Archive: Essays on the Monster, the Myth, the Movies, and More (McFarland, 2002). ISBN: 0786413530
   
3. Anne Mellor, Romanticism and Feminism (Indiana University Press, 1988). ASIN: 0253204623
   
4. William Veeder, Mary Shelley and Frankenstein (University of Chicago Press, 1988). ASIN: 0226852253
   
5. Pilar Cuder, Margaret Atwood (Beginner’s Guide) (Headway, 2003, forthcoming). ISBN: 0345397398
   
6. Margaret Atwood, An Interview with Margaret Atwood, (audible.com)
   
7. James Craig Holte, Dracula in the Dark : The Dracula Film Adaptations (Greenwood, 1997). ISBN: 0313292159
   
8. David Skal, Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen (W.W. Norton, 1991) ASIN: 0393308057
   
9. Michael Riley and Anne Rice, Conversations with Anne Rice (Fawcett Books, 1996). ISBN: 0345396367
   
10. Linda Badley, Writing Horror and the Body: The Fiction of Stephen King, Clive Barker and Anne Rice (Greenwood, 1996). ISBN: 0313297169
    
11. Katherine Ramsland and Anne Rice, The Vampire Companion: The Official Guide to Anne Rice's the Vampire Chronicles (Ballantine, 1995). ISBN: 0345397398
    
12. Toni Morrison, ed. Race-ing Justice, En-Gendering Power : Essays on Anita Hill, Clarence Thomas, and the Construction of Social Reality (Pantheon, 1992). ISBN: 0679741453
    
13. Nancy J. Peterson, Toni Morrison: Critical and Theoretical Approaches (Modern Fiction Studies Book) (Johns Hopkins University Press, 1997). ISBN: 0801857023
    
14. David Middleton, Toni Morrison's Fiction: Contemporary Criticism (Critical Studies in Black Life and Culture), (Garland, 1999). ISBN: 0815335881
    
15. Isabel Allende, Virginia Invernizzi, trans., John Rodden, ed., Conversations with Isabel Allende (University of Texas Press, 1999). ISBN: 0292770936
    
16. Celia Correas De Zapata, Isabel Allende, Short Stories by Latin American Women: The Magic and the Real (Modern Library, 2003). ISBN: 0812967070
    
17. Celia Correas Zapata, Isabel Allende: Life and Spirits (Hispanic Civil Rights) (Arte Publico Press, 2002). ISBN: 1558853634
    
18. Laura Esquivel, Stephen Lytle, trans. Between Two Fires: Intimate Writings on Life, Love, Food and Flavor (Crown Publishing, 2001). ISBN: 0609608479
    
19. Caroline Joan S. Picart, The Cinematic Rebirths of Frankenstein (Praeger, 2001). ISBN: 0275973638
    
20. Caroline Joan S. Picart, Frank Smoot and Jayne Blodgett, The Frankenstein Film Sourcebook (Greenwood, 2001). ISBN: 0313313504