SUNY Fredonia
College of Arts and Sciences
ENGL 216: Science Fiction
Spring 2012
Section 1: TTh 12:30-1:50, Fenton 179
Office: Fenton 265; M 10-11, TTh 11-12:30, 2-3:30, W 10-12, and by appointment; 673-3856
E-mail: simon@fredonia.edu, brucesimon18@yahoo.com
Web Page: www.fredonia.edu/department/english/simon/
ANGEL Space: https://fredonia.sln.suny.edu/default.asp

Critical Essays, Spring 2012

This page takes on two important questions about the critical essays you will write this semester in this course: what and what for; it also includes specific assignment sheets for each unit. My goal is to make this page as useful to you as possible, so let me know if it can be improved. If anything is badly worded, unclear, or missing, please contact me with constructive criticisms and suggestions. Ditto for any questions you may have about any of the options listed below or on the assignment sheets. Thanks.

What

Your critical essays are to be thesis-driven, analytical, and persuasive four-to-six-page papers. They should not be simply personal responses to what you have read, or simply statements of your opinions or assertions of your views, but should instead be organized to convince your readers to accept arguments you have developed in response to specific questions. In short, for each critical essay you turn in, you are being asked to generate an original, creative argument that supports your own perspective on the text or texts you've chosen to write on and is persuasive to your intended audience(s).

What For

Over the course of the semester you'll be doing a good deal of informal writing--ranging from the free writing on specific topics in class to your online participation on our ANGEL discussion forum and perhaps even to posting on our course blog. You'll be getting good practice at noticing things about texts and asking questions of them; we'll be focusing a lot in class on making connections between texts and identifying tensions within and between them, interpreting significant passages and patterns, and considering various answers to questions that you all have posed as well as I. What this assignment gives you the chance to do is develop a sustained argument on a specific topic at least twice. Each critical essay allows you to focus in on a particular topic or question that most interests you (this involves reviewing your notes and memories of the readings, as well as discussion forum contributions), to delve more deeply into specific readings (this involves choosing the readings that best allow you to address the topic or question you have chosen and focusing on those parts that seem most relevant to the topic), and to develop and support a sustained argument about the relation between the readings and the topic or question (this involves both critically analyzing the texts you have chosen to focus on and crafting a valid, persuasive argument). Doing these things will not only improve your skills in active, critical reading and analytical, persuasive writing, but it will also prepare you for the research-based final project.

The other major purpose of the critical essay is for me to indicate clearly what I see as the major questions or issues raised by each of the units in the course. These should provide you with something of a framework for understanding and reviewing each unit as a whole. Hence, it is highly recommended that you consider carefully each of the options given before settling on one on which to focus your critical essay. It's easy to miss the forest for the trees, especially when there were so many different "trees" we were analyzing each day, so seeing the range of questions I think are most important to consider when looking back on each unit can give you a new, better perspective on what we've read, as well as lay out possible directions for the final research project.

Assignment Sheets

As you know, even though you are required to write two critical essays over the course of the semester, you have the chance to write as many as you want and have your lowest grade(s) dropped.

Critical Essay I: The Bad Old Century

Due: late night Monday, 27 February 2012 (or early morning the next day), in the CE dropbox in the Lessons area of the course ANGEL space.

Format: 4-6 pages, double spaced, with reasonable fonts, font sizes, and margins (be warned that barely getting on to the fourth sheet of paper does not a four-page paper make!); title that indicates main argument of paper; heading that includes your name, the course name or number, and the date; format, bibliography, and citations in MLA style (the basic template is Author. "Title of Poem, or Essay, or Story." Title of Book from which It Comes. Editor of Book (if any), ed. Place of Publication: Publisher, Date of Publication. Page Numbers.); proper quotation format in body of paper: "..." (Orwell 18). for quotations within a paragraph; blockquote format for quotations five lines or longer.

Criteria for Evaluation: Your grade for this critical essay will be determined by the coherence and validity of your paper's arguments, the effectiveness of their structures in conveying your ideas and convincing your audience, and the quality of their prose (including grammar, syntax, and punctuation).

Audience: In general, think of your immediate audience as those who have taken and are taking this class; hence, you can assume that your readers have read the texts you're writing on and you don't have to include the kind of background that someone not taking this course would need.

Draft Policy: I would be happy to offer brief comments on your drafts, so long as you get me them over email by 24 February or meet with me earlier that week.

Rewrite Policy: I will accept revisions of one of your critical essays and replace the old grade with the new one earned; it is up to you whether you wish to do this for this critical essay.

Options: Here are your options for the first critical essay:

• How and to what ends do the writers (any combination of them) that we've read in the "The Bad Old Century" unit offer their readers not so much a prediction of the future or an extrapolation from present trends as what Samuel Delany has called a "significant distortion of the present"? What do these significant distortions reveal about the time period in which the writer or writers was/were imagining and writing his/her/their novel(s)?
• Another possible title for the "The Bad Old Century" unit could well be "The Ramifications of the Disaster." While brainstorming for this option, consider the different kinds of disasters and their ramifications that the writers in this unit have imagined and represented. Then develop and support an argument about the significance and stakes of one (or more) imagined/represented disaster(s)/ramifications, particularly for us today.
• What do the writers (any combination of them) that we've read in the "The Bad Old Century" unit have to teach us today about either politics in general or specific political issues (in their times and/or ours)? What insights should we take from these lessons? What are their limitations or liabilities?
• Each of the novels in the "The Bad Old Century" unit focuses very sharply on the experiences, memories, feelings, and relationships of a very central protagonist. Consider the strengths and weaknesses of this kind of focus and the larger issues of perspective, point-of-view, voice, tone, and mood that arise from it in these novels. In your paper for this option, you must use one or more novels from this unit to construct an argument about what is significant about and at stake in this tendency to filter our understanding of the near-future dystopia through a central protagonist.
• Intertextual critics in literary studies often examine the means, ends, and stakes of a literary "re-vision"--the act by a later writer of revising and reenvisioning an earlier writers' work or works. Your task if you choose this option is to focus on one such literary "re-vision" from the "The Bad Old Century" unit and develop and support and argument that addresses how and to what ends the later writer has revised and reenvisioned the earlier author's work (or works), as well as what is at stake in this "re-vision."
• Each of the novels in the "The Bad Old Century" unit has been made into a film at least once. Your job if you choose this option is to develop and support an argument about what is at stake in the relationship between one novel from the unit and one film based on it. What do the similarities and differences between novel and film reveal or suggest, and why is this important?

Critical Essay II: The Bad New Century

Due: late night Friday, 23 March 2012 (or early morning Saturday), in the CE dropbox in the Lessons area of the course ANGEL space.

Format, Criteria for Evaluation, Audience: Same as for Critical Essay I.

Draft Policy: I would be happy to offer brief comments on your drafts, so long as you get me them over email by 20 March or meet with me by the 21st.

Rewrite Policy: I will accept revisions of one of your critical essays and replace the old grade with the new one earned; it is up to you whether you wish to do this for this critical essay.

Options: Here are your options for the second critical essay:

• How and to what ends do the writers (any combination of them) that we've read in the "The Bad New Century" unit offer their readers not so much a prediction of the future or an extrapolation from present trends as what Samuel Delany has called a "significant distortion of the present"? What do these significant distortions reveal about the time period in which the writer or writers was/were imagining and writing his/her/their novel(s)?
• Another possible title for the "The Bad New Century" unit could well be "Escaping the Disaster." While brainstorming for this option, consider the different kinds of disasters and escapes that the writers in this unit have imagined and represented. Then develop and support an argument about the significance and stakes of one (or more) imagined/represented disaster(s)/escape(s), particularly for us today.
• What do the writers (any combination of them) that we've read in the "The Bad New Century" unit have to teach us today about either the media in general or specific political issues tied to the media (in their times and/or ours)? What insights should we take from these lessons? What are their limitations or liabilities?
• Whereas Bradbury and Butler continue the focus from the last unit on the life of a central protagonist in their novels, MacLeod breaks new ground in the course by introducing us to a wider range of characters and consciousnesses in The Execution Channel. While brainstorming for this option, consider the strengths and weaknesses of both kinds of writing. In your paper, you must use comparisons of MacLeod's with either Bradbury's or Butler's novel in order to develop and support an argument about what is at stake in their choices with respect to characterization, perspective, and point of view.
• Intertextual critics in literary studies often examine the means, ends, and stakes of a literary "re-vision"--the act by a later writer of revising and reenvisioning an earlier writer's work (or writers' works). Your task if you choose this option is to focus on one such literary "re-vision" from the "The Bad New Century" unit and develop and support and argument that addresses how and to what ends the later writer has revised and reenvisioned the earlier author's work (or works), as well as what is at stake in this "re-vision."
• Fahrenheit 451 has been made into a film more than once. Your job if you choose this option is to develop and support an argument about what is at stake in the relationship between Bradbury's novel and one film based on it. What do the similarities and differences between novel and film reveal or suggest, and why is this important?

Critical Essay III: The Corporate Century?

Due: late night Friday, 20 April 2012 (or early morning Saturday), in the CE dropbox in the Lessons area of the course ANGEL space.

Format, Criteria for Evaluation, Audience: Same as for Critical Essays I and II.

Draft Policy: I would be happy to offer brief comments on your drafts, so long as you get me them over email by 16 April or meet with me by the 18th.

Rewrite Policy: I will accept revisions of one of your critical essays and replace the old grade with the new one earned; it is up to you whether you wish to do this for this critical essay.

Options: Here are your options for the third critical essay:

• How and to what ends do the writers (any combination of them) that we've read in the "The Corporate Century?" unit offer their readers not so much a prediction of the future or an extrapolation from present trends as what Samuel Delany has called a "significant distortion of the present"? What do these significant distortions reveal about the time period in which the writer or writers was/were imagining and writing his/her/their novel(s)?
• Another possible title for the "The Corporate Century?" unit could well be "Evading the Disaster." While brainstorming for this option, consider the different kinds of disasters and evasions that the writers in this unit have imagined and represented. Then develop and support an argument about the significance and stakes of one (or more) imagined/represented disaster(s)/evasion(s), particularly for us today.
• What do the writers (any combination of them) that we've read in the "The Corporate Century?" unit have to teach us today about either corporations in general or specific political issues tied to one or more specific corporations (in their times and/or ours)? What insights should we take from these lessons? What are their limitations or liabilities?
• Brin uses multiple protagonists, Stephenson a pair, and Morgan a single protagonist. While brainstorming for this option, consider the strengths and weaknesses of these different kinds of writing. In your paper, you must use comparisons of any pair of novels from "The Corporate Century?" unit in order to develop and support an argument about what is at stake in the authors' choices with respect to characterization, perspective, and point of view.
• Intertextual critics in literary studies often examine the means, ends, and stakes of a literary "re-vision"--the act by a later writer of revising and reenvisioning an earlier writer's work (or writers' works). Your task if you choose this option is to focus on one such literary "re-vision" from the "The Corporate Century?" unit and develop and support and argument that addresses how and to what ends the later writer has revised and reenvisioned the earlier author's work (or works), as well as what is at stake in this "re-vision."
• None of the novels from "The Corporate Century?" unit has been made into a film (yet). If you've already done at least one critical essay thus far this semester, you may choose to develop and support an argument as to how and why one of them should be made into a film.
• If you've already done two critical essays and are looking for extra credit, you may write a critical essay that offers your answer and rationale for it to one of the class-generated questions about science fiction.

Critical Essay IV: The Asian Century?

Due: late night Friday, 4 May 2012 (or early morning Saturday), in the CE dropbox in the Lessons area of the course ANGEL space.

Format, Criteria for Evaluation, Audience: Same as for Critical Essays I, II, and III.

Draft Policy: I would be happy to offer brief comments on your drafts, so long as you get me them over email by 2 May or meet with me by the 4th.

Rewrite Policy: I will accept revisions of one of your critical essays and replace the old grade with the new one earned; it is up to you whether you wish to do this for this critical essay.

Options: Here are your options for the fourth critical essay:

• How and to what ends do the writers (any combination of them) that we've read in the "The Asian Century?" unit offer their readers not so much a prediction of the future or an extrapolation from present trends as what Samuel Delany has called a "significant distortion of the present"? What do these significant distortions reveal about the time period in which the writer or writers was/were imagining and writing his/her/their novel(s)?
• Another possible title for the "The Asian Century?" unit could well be "Rebuilding from the Disaster." While brainstorming for this option, consider the different kinds of disasters and rebuilding efforts that the writers in this unit have imagined and represented. Then develop and support an argument about the significance and stakes of one (or more) imagined/represented disaster(s)/rebuild(s), particularly for us today.
• What do the writers (any combination of them) that we've read in the "The Asian Century?" unit have to teach us today about either globalization in general or specific political issues tied to Asia (in their times and/or ours)? What insights should we take from these lessons? What are their limitations or liabilities?
• Gibson focuses on Case's perspective but makes Molly a shadow protagonist, McHugh focuses on Rafael/Zhong Shan Zhang but develops a supporting cast of characters who indirectly provide insight into her protagonist, and Bacigalupi has Anderson and Emiko emerge as protagonists out of a profusion of characters. While brainstorming for this option, consider the strengths and weaknesses of these different kinds of writing. In your paper, you must use comparisons of any pair of novels from "The Asian Century?" unit in order to develop and support an argument about what is at stake in the authors' choices with respect to characterization, perspective, and point of view.
• Intertextual critics in literary studies often examine the means, ends, and stakes of a literary "re-vision"--the act by a later writer of revising and reenvisioning an earlier writer's work (or writers' works). Your task if you choose this option is to focus on one such literary "re-vision" from the "The Asian Century?" unit and develop and support and argument that addresses how and to what ends the later writer has revised and reenvisioned the earlier author's work (or works), as well as what is at stake in this "re-vision."
• None of the novels from "The Asian Century?" unit has been made into a film (yet). If you've already done at least one critical essay thus far this semester, you may choose to develop and support an argument as to how and why one of them should be made into a film.
• If you've already done two critical essays and are looking for extra credit, you may write a critical essay that offers your answer and rationale for it to one of the class-generated questions about science fiction.

ENGL 216: Science Fiction, Spring 2012
Created: 2/15/12 2:45 pm
Last modified: 4/24/12 10:56 am
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