MAJOR WRITERS AND GENRES:

MONSTROSITIES
EL 250-01: Major Writers and Genres Dr. Michael Arnzen
Fall 2017 -- Seton Hill University Office: 302 St. Joseph's
Meets in: Admin 407 Office Hours: MW Noon-2p; W 4:30-6pm
Meetings: MW 2:15-3:30 pm & others by appointment only
3 Credits Office Phone: 724-838-2467 (or ext. 2467)
Our "Canvas" Website: Instructor's E-mail: [email protected]
https://shu.instructure.com/
(login with your e-mail password via Griffin's Lair)

Catalogue Description:
"Emphasis varies from term to term, e.g., Literature for Adolescents; Short Fiction; Autobiography, Science Fiction.
Alternate years. Repeatable for credit. 3 credits." -- SHU Catalog

COURSE DESIGN & GOALS

Welcome to the dark side! Here there be monsters.
I bid you welcome to our study of a familiar staple of literature, popular culture, and the world at large: that
strange character we often find in fantasy fiction and horror movies, but which also appears nearly
everywhere humanity expresses its fears: the world of MONSTERS.

We will be researching imaginary creatures and reading a lot of monster stories/novels, investigating popular
culture's treatment of the monstrous over time, to learn what these characters mean, why they scare us, and
how they reflect social fears. Our course will not only discuss a variety of iconic monsters, but also aim to
raise the whole issue of "monstrosity" and "cultural othering." It promises to be a very interactive class, with a
few creative and fun elements, and your research will definitely matter, because we will be teaching each
other along the way - especially when give reports on monsters from folklore and telling monster stories of
our own creation!

Because monsters predominantly rule over what is known as the “horror genre,” we will examine the primary
conventions of this genre, to deepen our ability to critically read and respond to literary texts, and to broaden
our knowledge of English literary history. We'll also practice drawing connections between this heritage of
"Gothic" literature and its diverse manifestations in popular culture today. We'll look at three of the most
popular novels ever written in English -- Frankenstein (3rd ed., 1831), Dr. Jekyll & Mr. Hyde (1886), and
Dracula (1897) -- in order to study the issues they raise regarding authorship, narrative, science, culture,
gender, and identity. Though written over a hundred years ago, the issues we will uncover speak to us even
today. Animals, ethics and allegory will be studied when we read The Island of Dr. Moreau (1896). We'll then
sample the monsters of the 20th Century, enjoying snippets of contemporary horror poetry, fiction, and film,
contemplating how and why representations of fear and uncertainty have managed to entertain and thrill us
all the way up to today. In particular our focus on the 20th century will focus on media representations. Then
we'll return to today's monster books, to inquire into how they are both unique and a product of the history of
monstrosity. Two recent horror novels – a zombie story, The Rising (2013) and a kaiju story, Monstrosity
(2017) – will round out our class as we think about the threats, anxieties and regressions/anticipations of the
21st century.

Our course promises to be as fun as it is frightening, but be forewarned: we will be reading quite a bit.
Reading a novel requires long periods of uninterrupted time for concentration, so secure that time (I
recommend habitually reading in the library). This course will place a heavy emphasis on writing in
evaluating your performance, as well, so don't be afraid to visit the Writing Center if you need help with your
papers. There will be no exams, but I will use quizzes and participation grades to make sure you are
keeping up with the reading, so make sure you meet deadlines listed in the course calendar, and always
come to class ready to share thoughts and to openly discuss monstrosity with your peers.

COURSE OBJECTIVES
The course has been shaped with specific aims in mind that are guided by the broader objectives of the
English program. By the end of this class, you should be confident in your ability to:
 Arnzen/EL 250 Monstrosities Syllabus -- 2

 comprehend and interpret literature written in English, representing a wide range of genres, styles and
cultures, which we will actualize by reviewing a variety of monsters in horror (and other) literature over
the past two hundred years, by authors and filmmakers from diverse cultures in America and across
Europe.
 demonstrate a knowledge of literary history, appraising texts from the traditional British and American
canon as well as writings from popular culture and previously marginalized groups, which we will do by
studying not only "classic" short stories, novels or authors, but also asking serious questions about tales
of popular culture often neglected by canonical scholars, such as horror movies and "lowbrow" genre
fiction.
 analyze a variety of literature in discussion and in the writing of critical essays, which we will perform
orally and accomplish also by keeping a reading journal and writing a term paper that applies what you
have learned in the course.
 write and speak in a wide range of formats appropriate to the English major, which we'll develop via open
"seminar style" discussion, group work, creative writing exercises, and formal critical writing tasks
 discuss and assess significant issues arising in the discipline of English and relate them to the culture at
large, which we will achieve by raising critical questions about what monstrosity means, culturally as well
as psychologically, and searching through answers the discipline has offered in published scholarship

COURSE REQUIREMENTS
Required Texts/Readings/Software:
BOOKS:
Curran, Tim. Monstrosity. Hobart, Tasmania: Severed Press, 2017. ISBN 9781925597356
Hoffman, Andrew J. Monsters: A Bedford Spotlight Reader. NY: Bedford/St.Martin's, 2016. ISBN
9781457690303
Keene, Brian. The Rising: Author's Preferred Ed. Portland, OR: Deadite Press, 2013. ISBN 9781621050926
Shelley, Mary, Bram Stoker and Robert Louis Stevenson. Frankenstein, Dracula, Dr. Jekyll and Mr.
Hyde (With Introduction by Stephen King). NY: Signet Books, 1978. ISBN 9780451523631
Wells, H.G. The Island of Dr. Moreau. NY: Penguin Classics, 2005. ISBN 9780141441023

Please immediately purchase the textbooks above, since readings begin right away (see attached schedule
for all readings and due dates). Although the Shelley/Stoker/Stevenson novels are available in many
different versions, I would like you to purchase this anthology version for in-class page references during
discussions. (If you decide to work with ebook editions, I recommend the "Vintage Classics" or "Vintage
Magic" editions). Other required readings will also be posted on Canvas -- https://shu.instructure.com --
and you may have to print/copy them prior to a class meeting from time to time, so be sure to routinely log in
to our class website. In most cases, you will need to be able to read Adobe .pdf files for posted material.
Technical difficulties are not an acceptable excuse for not doing homework or preparing for class. It is always
expected that you will complete all assigned readings before coming to class and you should always bring
those texts and your notes with you to class for reference during our discussions, along with your laptop.

CANVAS: Our class home page at https://shu.instructure.com/ will be a place you'll want to visit often. It
will often feature downloadable documents, copies of handouts from class, web links, and information about
apps and software for the course. We may collaborate on sharing information there through board forums
and other means as homework activities. I will update this page frequently with a record of homework,
lecture notes and in-class writing exercises; if you miss class, check Canvas to see what you can make up.

GOOGLE DRIVE & DOCS: This comes free with your SHU gmail web account. Log in to gmail with your
laptop browser (not an app or on the phone) and click on the "square of squares" icon on the top right of the
screen. Select "Drive." Google "drive" is where you create and share google "docs." I will ask you to not
only post but also share material you create or upload to the service and also "comment" on them for peer
editing. Please spend some time mastering the system.

Graded Work:
 In-Class Quizzes (20% -- 200 pts. total). You will be given four quizzes on planned dates, usually covering
what happens in the assigned novels…but you will also be responsible for showing your knowledge of the
 Arnzen/EL 250 Monstrosities Syllabus -- 3

concepts and shorter readings and essays discussed in class. If I feel students are not keeping up with
readings, I may break down some of these points into "pop quizzes" as well… I recommend you stay up to
date on the assigned deadlines.
 A Course Journal (40% -- 400 pts. total) Create a class journal folder in google docs and share your
entries with me by getting the "Sharable Link" on Canvas. Your journal is a place for critical thinking about
ideas and responding to the literary texts. It is central to succeeding in this class. There are 15 planned
entries, but more in-class writing or ad hoc activities should be put into it. Think of it as your "homework
container" -- if I ever ask you to write something, then put it in here.
 Multimodal Cultural Presentation (20% -- 200 pts) A study of a specific culture's monsters, presented orally
to class with accompanying multimodal presentation. Guidelines will be provided
 Storytelling Activity (15% -- 150 pts.) You will write a story about a monster or a memoir involving a class
concept of monstrosity, and deliver it orally to the class in a reading event that you sign up for in advance.
 Participation (5% -- 50 pts.) These points are earned by actively contributing to class discussion and
group/peer work; being timely with attendance; meeting due dates; visiting my office during paper
preparation, etc.

I will usually give you detailed guidelines and recommended resources for the paper assignments above; if
you have any questions, however, you are invited to visit with me during office hours. See the attached
course calendar for due dates, and keep your eyes on Canvas for submission, feedback, and grades.

Evaluation of Grades:
Over the term, you will earn a number of points which will be converted into a percentage and placed on the
scale below. Points notwithstanding, any student who fails to turn in an essay or accrues an excess of 5
absences (e.g., 3 weeks worth of classes) will automatically fail the course. Other penalties apply to
lateness.
100 point scale
C+ 78-79 F 59 and below
A 93-100 C 73-77
A- 90-92 C- 70-72

B+ 88-89 D+ 68-69
B 83-87 D 63-67
B- 80-82 D- 60-62
Students often ask "What can I do to get an 'A'?" or "What do you want me to write?" The truth of the matter
is that I do not know an "A" paper until I see it...and more often than not an "A" paper is something the
student felt an urgent passion to write on their own accord. However, I will share my biases: in evaluating
essays and presentations, I feel that a "C" grade simply satisfies the basic requirements and that an "A"
grade is actively earned through effort. Anything your word processor does for you (e.g. thesaurus/fonts/etc.)
is not a grading consideration, but if you don't utilize its basic functions (spell check; page numbering; etc.) it
likely will cost you points. I consider the following criteria when I grade drafts, and you should consider our
class a lesson in learning to develop these skills too:

 THESIS: a strong focus on a specific point -- an assertion addressing a question at issue

 REASONS: a clear line of critical reasoning, healthy skepticism, and a genuine inquiry or
pursuit of the truth; reasons essentially answer the question "why?" in convincing ways
 EXAMPLES & EVIDENCE: the significant use of evidence to support or illustrate ideas (such
as examples from life experience and/or explicit references to readings and sources)
 CLOSE/CRITICAL READING: a response to literature that accounts for the actual language
and other significant elements of the text (like character and plot) seeking to unfold and
interpret meanings beyond the obvious; the ability to put those meanings into a broader context
that enlightens or expands upon what most readers already initially think about the text on their
own
 ORIGINALITY: originality in approach to a topic, moving beyond the ideas already covered in
class or self-evident in readings/research; independently researched evidence; risk-taking
 Arnzen/EL 250 Monstrosities Syllabus -- 4

 INTELLECTUAL CURIOSITY: open-mindedness, tact, fairness, and honesty (the

consideration of opposing viewpoints or alternative interpretations/responses; a sense of
objectivity; a feeling that the writer is respecting the complex facets of their chosen topic)
 CRAFT: clear, well-polished language and formatting, which shows the writer cares about her
audience's needs and impressions; evidence of revision and care put into the presentation

Attendance Policy:
Because success in EL 250 depends upon active discussion and class participation, attendance is
mandatory. You are allowed three absences over the term -- whether "excused" or not, your first three
absences will be waived. Each subsequent absence reduces your final grade by 2 increments (+/-) -- ie.
two-thirds -- of a letter grade. However, six total absences (including the two waived) produces "instant
failure" in the course. Absences may be excused, with prior negotiation initiated by the student with the
instructor for school-required events that take place during the class meeting time, including participation in
intercollegiate sports, theater or music productions, conferences, or workshops. The sponsoring staff or
faculty member (coach, director, etc.) must provide written verification of the event prior to the absence. The
student is responsible for making up the material covered during the missed class, including obtaining
assignments or handouts. If you anticipate missing a class, please file work in advance rather than late.

Late Policy
You can only earn 4/5 credit (or 80% = a "B-") at most for any late paper, missed presentation, exam or quiz.
You have one week at most to turn in late work; it will not be accepted after that and you will have to repeat
the course. If you expect to be absent on a due date, you should always turn in work in advance, so
that your absence will not directly affect the grade on your written work, and so that others can read
it in peer review workshops. If an assignment is due online (soundcloud, google docs, etc.) you are
expected to turn it in on time or early, even if you anticipate missing the class meeting on the due date for
excused absences.

Policy on Electronic Devices

Our classroom is a haven from the distractions of everyday life, giving us a place to focus attentively, in
collaboration, on learning. Listening to each other is imperative and enables focused concentration.
"Multitasking" inhibits learning and disrupts communication; unexpected beeps and surprising ringtones
distract us all. Thus, while I want you to use devices (cell phones, PDAs, laptops, sound recorders, and
other electronic devices) in class, they must only serve class needs (e.g., typing on a laptop for an in-class
writing assignment; using an iPhone to record lectures; tapping notes on an ipad).

My policy on this matter can be summed up in one phrase: "class in the foreground." If you ever appear to
be "backgrounding" the class in order to attend to personal matters (like checking your facebook feed or
chatting on twitter), you will receive an absence for the day, and may be expelled from the room and not
permitted to make up missed in-class work. Examples of "backgrounding" the class in a punishable
way include: answering or making a cell phone call; texting, tweeting or IMing; checking or writing e-
mail; surfing the web; wearing headphones; logging into Facebook, Pinterest, your blog, or other
social network; reading an ebook or any printed matter not related to class content (e.g. a magazine);
and handheld gaming. Please set your cell phones to "silent" mode before class begins. If I say
"laptops down" then I expect everyone to temporarily extinguish electronic media and pay attention to
lecture/group. I reserve the right to collect your electronic device during the class period if I feel it is
distracting you or your classmates from proper study. It is important for us to listen to each other.

Archive Policy
Do not throw anything away, and I urge you to download/back up everything you create and receive on a
personal drive. You may need these materials later in your college career, for your portfolio in Senior
Integrative Seminar. ENGLISH MAJORS MUST ARCHIVE WORK FOR THEIR ENGLISH EXIT
PORTFOLIO, which is presented your final term at SHU.

I sometimes use handouts on paper -- and almost always with quizzes -- so please bring pen and paper to
class and consider keeping a paper folder for handouts and handwritten/printed work; you may want to scan
these documents into your archive/backup, as well (apps like JotNot can do this for you). If you do it right,
 Arnzen/EL 250 Monstrosities Syllabus -- 5

you'll capture your growth and development and not just the final products of your learning.

Academic Integrity Policy

Seton Hill University expects that all its students will practice academic honesty and ethical conduct. The
University regards plagiarism, cheating on examinations, falsification of papers, non-sanctioned
collaboration, and misuse of library material, computer material, or any other material, published or
unpublished, as violations of academic honesty. Violators of the code may expect disciplinary sanctions,
which are discussed in the Seton Hill University Catalog (under "Code of Academic Conduct"). Any
unreferenced use of the written or spoken material of another, or of previously submitted work of the
student’s own, constitutes plagiarism. Paraphrasing the thoughts or written work of another without
reference is also plagiarism. Helpful information is available at the following web site: "Plagiarism: What It Is
and How to Recognize and Avoid It" (http://www.indiana.edu/~wts/pamphlets/plagiarism.shtml).

I unconditionally trust all my students, because the writing we produce is the result of discussions and
readings in class. You will want to express your own thoughts and get credit for your original thinking if you
genuinely participate. But if you are discovered being intentionally dishonest -- for example, cheating,
plagiarizing, or assisting others with dishonesty -- the faculty member is obligated to file an Academic
Dishonesty Report Form (aka "Academic Alert") with the Office of Academic Affairs. This is the case with ALL
of your classes. [For complete statement of policy, see Griffin Gate home page, Help Guides, Academic
Integrity Materials.]

For this course, as in all English courses, your research is typically expected to be documented in
current MLA Style (8th Edition). When in doubt, document your sources! If you ever need help with these
matters, ASK, and don't risk a violation! Please visit tutors in the campus Writing Center or consult with Dr.
Arnzen during office hours. NOTE: we will be using google docs, turnitin.com and other electronic
storehouses for paper submission as part of this course. Turnitin.com reports the level of originality in
your writing, and you should use its findings to revise. By taking this course, you assent to having your
writing retained within the "cloud" (an online database). While privacy will be retained whenever possible,
some of the writing and other artifacts you create may be accessible to the public. Also expect that any
writing you produce may be read by a classmate, analyzed by your peers, or recited to the whole class.

Information Fluency
Seton Hill University defines information fluent students as those who upon graduation will possess the
ability to combine all forms of literacy in order to master a chosen topic. Students who develop information
fluency skills will successfully:
• Critically analyze appropriate topics
• Conceptualize the parameters of the topic
• Locate and access relevant information in all forms
• Competently evaluate information
• Understand practical, legal, and social issues related to the information
• Interact with faculty and staff in a manner evident of the development of superior research skills
• Synthesize diverse types of information into a comprehensive and coherent work

Disability Assistance
If you have a disability that may require consideration by the instructor, you should contact Terri Bassi-Cook,
the Director of Disability Services at 724-838-4295 or [email protected] and/or
[email protected] as soon as possible to develop a plan of accommodation. You should
provide the instructor with a copy of your accommodation plan and schedule a meeting so that you can be
supported in an informed manner. It is not necessary to disclose to your instructor the nature of your
disability. If you need accommodations for successful participation in class activities prior to your
appointment at the Disability Services Office, you should offer information in writing to your instructor which
includes suggestions for assistance in participating in and completing class assignments.

Our class will solicit a voluntary notetaker and notes will be shared publicly on Canvas.
 Arnzen/EL 250 Monstrosities Syllabus -- 6

EL 250: COURSE CALENDAR

Always read the assigned texts before class meets and always bring your books and laptops to class.
These due dates and exercises are tentative; any oral directions will supersede this schedule. Exercises,
online activities and additional homework will be announced/performed in class but details about this will
appear on our Canvas page, so if you miss a day, please check there or email me for information).
Date Topic DUE IN CLASS

WK 1 8/21 Introductions/Policies SOLAR ECLIPSE - class released at 2:30pm. Practice eye

safety, please.

8/23 Werewolves & Transformations Reading: "Wolves Don't Cry" and "Mustachio Moon" (pdf); and
Konstantinos, "Birthright" (Hoffman 105)
Journal 1: Answer a discussion question given by Arnzen

WK 2 8/28 Why Monsters? Research: Browse through ilovewerewovles.com and come to

Monster Culture class ready to discuss at least one interesting discovery.
Reading: Lawrence, "Werewolves in Psyche and Cinema"
(Hoffman 108); King, "Why We Crave Horror Movies" (Hoffman
16); Genoways, "Here Be Monsters" (Hoffman 130)
Journal 2: Choose a relevant question from Hoffman.

8/30 Monsters and Morality Come to class with a political monster ready to share with
Monsters and Reality classmates on projector, per instructions.
Read: Kaplan, "Cursed by a Bite" (Hoffman 164) and Asma,
"Monsters and the Moral Imagination" (61)
Journal 3: Choose a relevant question from Hoffman.

WK 3 9/4 Labor Day - No Classes

9/6 Animals and Monstrosity Read: Wells, The Island of Dr. Moreau, Chapters I-XI
Read: Kawin, "Composite Monsters" (Hoffman 99)

WK 4 9/11 Mad Science Read: Wells, The Island of Dr. Moreau, Chapters XII-End
Journal 4: Respond to Moreau

9/13 Mythological Creatures Read: Borges, Apollodorus, Ovid, Simonsen (Hoffman 72-98)
Journal 5: Choose a relevant discussion question from Hoffman.

Recommended: Hitchcock, Psycho film screening, time TBA

WK 5 9/18 Psychological Allegory TBA

9/20 Monsters of the Id: JEKYLL& READ: Stevenson, Dr. Jekyll and Mr. Hyde (ALL)
HYDE Journal 6: Respond to Jekyll & Hyde
QUIZ 1 IN CLASS

WK 6 9/25 Zombies I: FRANKENSTEIN READ: Shelley, Frankenstein, Chaps 1-10

READ: Hitchcock, "Conception" (Hoffman 23)
Journal 7: Choose a relevant question from Hoffman

9/27 READ: Frankenstein, Chaps 11-19

Journal 8: Choose a relevant question from Hoffman page 22.

WK 7 10/2 READ: Frankenstein, Chaps 20-End

MidTrm QUIZ 2 IN CLASS

10/4 OUR MONSTERS: PART I In-Class Storytelling by sign-up sheet

WK 8 10/9 Fall Weekend - No Class

10/11 Parasitic Creatures: VAMPIRES Read: Stoker, Dracula, Chaps 1-8

Journal 10: Choose a relevant question from Hoffman page 201.
 Arnzen/EL 250 Monstrosities Syllabus -- 7

WK 9 10/16 Read: Stoker, Dracula, Chaps 9-17

Read: Melton, "Sexuality and the Vampire" (Hoffman 202)
Journal 11: Respond to a relevant question from Hoffman

10/18 Read: Stoker, Dracula, Chaps 18-end

QUIZ 3 IN CLASS

WK 10 10/23 20th C Monsters and The Rise of Read Backstein, "(Un)Safe Sex" (Hoffman 211) & Other TBA
Popular Culture Journal 12: Respond to relevant question from Hoffman

10/25 OUR MONSTERS: PART II In-Class Storytelling by sign-up sheet

WK 11 10/30 OUR MONSTERS: PART III In-Class Storytelling by sign-up sheet

(Happy Halloween!)
11/1 Zombies II: Night of the Living In-Class Screening & Discussion
Dead
WK 12 11/6 The Golden Age of the 70s In-Class Screening & Discussion
Castillo, "Zombie Masses: Monsters for the Age of Global
Capitalism" (pdf)

11/8 Zombies III: Post-Apocalyptic Read: Keene, The Rising, Chaps 1-10
Fiction Journal 13: Answer a discussion question given by Arnzen

WK 13 11/13 Read: Keene, The Rising, Chaps 12-End

QUIZ 4 IN CLASS

11/15 Making Modern Monsters Read: Arnzen, "Making Modern Monsters" [& Connolly,
"Traumatic Descent" if chosen] (pdfs)
Guest Speaker (?)

WK 14 11/20 OUR MONSTERS: PART IV In-Class Storytelling by sign-up sheet

11/22 Thanksgiving - No classes

(11/22-11/26)

WK 15 11/27 Kaiju & Monsters of Magnification Read: Curran, Monstrosity, ALL

Journal 14: Answer a discussion question given by Arnzen

11/29 The Cultural Diversity of Monsters: Monster in Folklore multimodal reports due for in-class
Presentations I presentations, per sign-up sheet

WK 16 12/4 The Cultural Diversity of Monsters: Monster in Folklore multimodal reports due for in-class
FINALS Presentations II presentations, per sign-up sheet
Journal 15: Answer a discussion question given by Arnzen DUE
by 3pm on 12/5.
12/5 No final exams held! But I
reserve our scheduled final exam
time slot in case we need to
reschedule due dates, meet
again, etc. Our time is
scheduled for: TUES 12.5, 1-3pm