Compact Anthology of World Literature

Revision Two: 10/12/2016 Editors\u27 Description: The introductions in this anthology are meant to be just that: a basic overview of what students need to know before they begin reading, with topics that students can research further. An open access literature textbook cannot be a history book at the same time, but history is the great companion of literature: The more history students know, the easier it is for them to interpret literature. In an electronic age, with this text available to anyone with computer access around the world, it has never been more necessary to recognize and understand differences among nationalities and cultures. The literature in this anthology is foundational, in the sense that these works influenced the authors who followed them. A word to the instructor: The texts have been chosen with the idea that they can be compared and contrasted, using common themes. Rather than numerous (and therefore often random) choices of texts from various periods, these selected works are meant to make both teaching and learning easier. While cultural expectations are not universal, many of the themes found in these works are.https://oer.galileo.usg.edu/english-textbooks/1001/thumbnail.jp

British Literature I: Middle Ages to the Eighteenth Century and Neoclassicism

The University of North Georgia Press and Affordable Learning Georgia bring you British Literature I: From the Middle Ages to Neoclassicism and the Eighteenth Century. Featuring over 50 authors and full texts of their works, this anthology follows the shift of monarchic to parliamentarian rule in Britain, and the heroic epic to the more egalitarian novel as genre. Features: Original introductions to The Middle Ages; The Sixteenth Century: The Tudor Age; The Seventeenth Century: The Age of Revolution; and Neoclassicism and the Eighteenth Century Over 100 historical images Instructional Design, including Reading and Review Questions and Key Terms Forthcoming ancillary with open-enabled pedagogy, allowing readers to contribute to the project This textbook is an Open Access Resource. It can be reused, remixed, and reedited freely without seeking permission. Accessible files with optical character recognition (OCR) and auto-tagging provided by the Center for Inclusive Design and Innovation.https://oer.galileo.usg.edu/english-textbooks/1017/thumbnail.jp

World Literature I: Beginnings to 1650

This peer-reviewed World Literature I anthology includes introductory text and images before each series of readings. Sections of the text are divided by time period in three parts: the Ancient World, Middle Ages, and Renaissance, and then divided into chapters by location. World Literature I and the Compact Anthology of World Literature are similar in format and both intended for World Literature I courses, but these two texts are developed around different curricula. Accessible files with optical character recognition (OCR) and auto-tagging provided by the Center for Inclusive Design and Innovation.https://oer.galileo.usg.edu/english-textbooks/1005/thumbnail.jp

Compact Anthology of World Literature II: Volumes 4, 5, and 6

The Compact Anthology of World Literature, Parts 4, 5, and 6 is designed as an e-book to be accessible on a variety of devices: smart phone, tablet, e-reader, laptop, or desktop computer. Students have reported ease of accessibility and readability on all these devices. To access the ePub text on a laptop, desktop, or tablet, you will need to download a program through which you can read the text. We recommend Readium, an application available through Google. If you plan to read the text on an Android device, you will need to download an application called Lithium from the App Store. On an iPhone, the text will open in iBooks. Affordable Learning Georgia has also converted the .epub files to PDF. Because .epub does not easily convert to other formats, the left margin of the .pdf is very narrow. ALG recommends using the .epub version. Although the text is designed to look like an actual book, the Table of Contents is composed of hyperlinks that will take you to each introductory section and then to each text. The three parts of the text are organized into the following units: Part 4—The Seventeenth and Eighteenth Centuries Unit I: The Age of Reason Unit II: The Near East and Asia Part 5—The Long Nineteenth Century Unit I Romanticism Unit II Realism Part 6—The Twentieth Century and Contemporary Literature Unit I Modernism Unit II Postcolonial Literature Unit III Contemporary Literature Texts from a variety of genres and cultures are included in each unit. Additionally, each selection or collection includes a brief introduction about the author and text(s), and each includes 3 – 5 discussion questions. Texts in the public domain--those published or translated before 1923--are replicated here. Texts published or translated after 1923 are not yet available in the public domain. In those cases, we have provided a link to a stable site that includes the text. Thus, in Part 6, most of the texts are accessible in the form of links to outside sites. In every case, we have attempted to connect to the most stable links available. The following texts have been prepared with the assistance of the University of North Georgia Press in its role as Affordable Learning Georgia\u27s Partner Press. Affordable Learning Georgia partners with the University of North Georgia Press to assist grantees with copyright clearance, peer review, production and design, and other tasks required to produce quality Open Educational Resources (OER). The University Press is a peer-reviewed, academic press. Its mission is to produce scholarly work that contributes to the fields of innovative teaching, textbooks, and Open Educational Resources. Affordable Learning Georgia Textbook Transformation Grant funds may be used for services provided by the Press. To determine how the University Press can assist ALG grantees or anyone interested in developing OER with ALG, the University Press will provide advance free consultations. Please contact the Press at 706-864-1556 or [email protected]. “Textbook Transformation Grants” from Affordable Learning Georgia Accessible files with optical character recognition (OCR) and auto-tagging provided by the Center for Inclusive Design and Innovation.https://oer.galileo.usg.edu/english-textbooks/1018/thumbnail.jp

False Assumptions: the challenges and politics of teaching in China

Teachers in American study-abroad programs usually receive little, if any, training before the trip, since “teaching is teaching.” The cultural differences between Chinese and American university classrooms, however, affect the students’ ability to learn and the teacher’s ability to teach in profound ways. Foreign teachers in China require at least a basic understanding of the educational, moral, and political dimensions of their classrooms if they wish to maximize the learning potential of their Chinese students. During the nineteen weeks that I taught at Tsinghua University in Beijing, I encountered students who were unfamiliar with studying literature, class monitors who reported what I was teaching, and students who truly did not understand why plagiarism was a problem. At the same time, the best teaching experiences were when my students caught me off guard with their cultural perspectives on works such as Hamlet, Oedipus, and The Outcasts of Poker Flats. I had another kind of eye-opening experience—this time political—when I taught An Enemy of the People on the 20th anniversary of the Tiananmen Square crackdown. In addition to the classroom situation, faculty teaching abroad should be prepared for the politics of their university department, including management styles that can hamper efforts to acclimatize to the new setting. The Chinese concept of saving face controlled most situations, leading to misunderstandings about schedules, book orders, copyright issues, and accommodations. Even email messages followed a set of rules that no one had taught me. Teaching in China was an amazing and worthwhile experience, but I would have had an easier time of it if I had known at least part of what to expect. While flexibility helps with most study abroad scenarios (and did in my case), faculty should be better prepared for the challenges that they will face

2K: Labyrinth of Love: Aeneas and Dido in Chaucer and Vergil

This paper analyses Geoffrey Chaucer’s rendition of the famous relationship between Aeneas and Dido, founder of Rome and queen of Carthage, respectively. The discussion focuses heavily on reflections of labyrinth myth and custom in both Chaucer and Vergil’s versions. Based on recent thesis research from the University of Melbourne, I conclude that while Vergil uses the labyrinth as the basis for his plot structure and timeline, Chaucer recreates it instead at the word level, creating syntactical pathways which resemble the winding dance of an ancient labyrinth. Chaucer takes this as well as several other influences from Vergil and combines them with traits of Ovid’s version of the story to create his House of Fame. While using elements of both, Chaucer is less committed to either party than are Vergil or Ovid. Vergil sides with Aeneas and Ovid with Dido, but Chaucer offers both praise and critique of each party. I argue that this is due to Chaucer’s consistent questioning of the meanings of truth, knowledge, and literature, and how they interact. He rarely fed his readers opinions and often labored over where true knowledge could be found, so the disorienting labyrinth of words that he builds is an appropriate reflection of his tendency for encouraging deep thought. In building this argument I also discuss how Chaucer’s variances from Vergil, while slightly more sympathetic to Dido, also serve to further dehumanize her in death, instead expounding on the wrongdoings of men in love and ultimately serving Chaucer’s more philosophical interest

Breath: Environmental Data-Driven Kinetic Sculptures

The numbers surrounding pollution, electronic waste, sustainable energy, and climate change are so vast that they are difficult to fathom. Our research aims to embody such data at a human scale, creating a literal moving empathy with our environments. It asks for us to engage with plants, waste, or greenhouse gasses on an intimate level, and to act towards that change on a global scale. We are working on a series of kinetic sculptures that embody developing ecological data: for example, moss sighing at the rate of oxygen production in Brazil, shoes cantering to the quality of air in the room or laptops palpitating to the number of lives lost to Cobalt mining. These sculptures require careful research and experimentation around the data used, the movements those numbers make, materials, mechatronics, code, and the qualifying texts that accompany them