En450 550-01 Fall 08 Syllabus

UNIVERSITY OF GUAM SYLLABUS FALL 2008 LITERARY FORMS: THE SCIENCEFIC TION EPIC EN 450/550 Section 1 Tu: 6:00pm-8:50pm EC Conference Room

Instructor Information: Jason Vest, Ph.D. [email protected] Office: EC 216A Office Hours: M W: 11:00am1:00pm Tu: 2:00pm4:00pm By Appointment Office Phone: 735-2735 Home Phone: 734-0607 (not after 10pm)

Required Texts Butler, Octavia E.: Lilith’s Brood (Grand Central Publishing, 2007) Card, Orson Scott, ed.: Masterpieces: The Best Science Fiction of the Twentieth Century (Ace Books, 2004) Dick, Philip K.: Do Androids Dream of Electric Sheep? (Del Rey-Ballantine, 1996) Gibaldi, Joseph: MLA Handbook for Writers of Research Papers, Sixth Edition (MLA, 2003) Le Guin, Ursula K.: The Left Hand of Darkness (Ace Books, 1969) Miller, Jr., Walter M.: A Canticle for Leibowitz (Eos-HarperCollins, 2006) Shelley, Mary: Frankenstein, or The Modern Prometheus (Oxford World Classics, 1998) Wells, H.G.: The War of the Worlds (Modern Library Classics, 2002) Internet access to facilitate downloading all electronic course readings and files Suggested Texts A good style guide, such as one of the following sources: Hacker, Diana: The Bedford Handbook, Sixth Edition (Bedford/St. Martin’s, 2003) Lunsford, Andrea A.: The St. Martins Handbook, Fifth Edition (Bedford/St. Martin’s, 2003) Strunk, Jr., William: The Elements of Style (Coyote Canyon Press, 2007) A good college-level dictionary Overview Science fiction (SF) probes human experience—past, present, and future—in imaginative, extrapolative, and disturbing ways. This course will consider novels, short stories, films, and television programs from the eighteenth, 1

nineteenth, and twentieth centuries to understand how science fiction has developed as a popular genre, as a mode of writing, and as an art form that explores the political, cultural, legal, scientific, economic, religious, and sexual anxieties of the past three hundred years. We will consider the scientific, religious, cultural, economic, and political contexts of science fiction to recognize how this genre intriguingly portrays human life, history, and culture by examining themes such as the Alien Other, extraterrestrial life, artificial intelligence, time travel, and environmental apocalypse. Student Learning Objectives To successfully complete this course, the student must: 1) Demonstrate an ability to critically analyze SF novels, short stories, films, and television programs, as well as literary scholarship, about science fiction; 2) Master literary and cinematic terminology, especially as this terminology applies to the science fiction and the scholarship under discussion; 3) Compose insightful response papers, as well as one original research project, that feature a precise thesis statement; a compelling argument about the fictional text(s) under discussion; the use of relevant textual evidence to substantiate this argument; the use of appropriate secondary scholarship about science fiction; and the appropriate documentation of quotations, paraphrases, and sources; 4) Discuss science fiction with insight and intelligence in small-group and full-class conversations and presentations; 5) Synthesize critical thoughts about different fictional texts, formats, and genres in examinations. Grading Your final grade will be computed according to the following criteria: Undergraduate Students Midterm Exam 10% Presentation 15% Participation (includes discussion questions) 15% Hour Exams 15% Response Papers 20% Final Research Project 25% Graduate Students Midterm Exam Participation (includes discussion questions) Hour Exams Presentation Response Papers Final Research Project

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10% 15% 15% 20% 20% 20%

The following grade scale will apply to all assignments: A AB + B BC +

95100 90-94 87-89 83-86 80-82 77-79

C

73-76

CD + D DF

70-72 67-69 63-66 60-62 59 below

Attendance and Participation Policies Attendance: Regular attendance in this course is crucial, for many of the written assignments develop from exercises and discussions that take place during class, while the course’s writing skills build cumulatively. Students who miss class sessions are responsible for contacting Jason for all information, homework, assignments, and/or handouts that were distributed. Absences: There are no excused or unexcused absences in this course. In other words, students are either present (in class) or absent (not in class). For students miss more than 2 class sessions, Jason will lower their final course grades by a full letter for each day missed (in other words, if a student’s final grade is “A”, but that student has missed 3 class sessions, the final grade will be “B.” Missing 4 class sessions results in a final grade of “C.” Missing 5 class sessions results in a final grade of “D.”) Missing more than 6 sessions results in failing the course. Leaving class early will be counted as 1 absence. Daily Work: Bring all required texts, readings, and assignments with you to class. Forgetting to bring the day’s readings and written work will be counted as 1 absence. Tardiness: Please be on time to class; 2 tardies will be counted as 1 absence. Coming to class more than 20 minutes late will be counted as 1 absence. Electronic Devices: Be certain to turn off all cell phones, pagers, iPods, and other electronic devices. Disruptions of this nature interrupt the flow of class discussions, disrespect peers and instructor, and betray a lack of intellectual sophistication. Taking cell-phone calls in class, or leaving class to take calls, will be counted as an absence, meaning that all written assignments submitted during that session will receive a grade of zero.

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Children: No children are allowed in class. Participation: This course depends upon regular participation for its success. Come to class prepared to contribute to each discussion. Good participation should be understood as consistent and thoughtful contribution to the classroom community, an engagement with course materials and conversations, and a general responsiveness to (and respect for) one’s fellow students and instructor. Discussion Questions: By 10a.m. on Tuesday mornings, please email Jason at least one discussion question about that day’s assigned text(s). This question should be a probing and intelligent query that displays the student’s grasp of the readings. Jason will base our conversations on these questions, as well as ask students to lead discussions about their question(s). Students should feel free to ask anything that intrigues, delights, disturbs, or confuses them. Jason will collect these questions and consider them part of every student’s participation grade. Film and Television Screenings: The course calendar includes several films and television episodes for students to view. Because this course only meets once per week, time constraints prevent us from viewing these selections during class. Jason will hold optional screenings of all film and television viewings 5 days before they are scheduled for discussion (on the prior Thursday evening, from 6pm-10pm) for all students who wish to attend. Students who cannot attend these screenings may “rent” DVD copies of all films and television episodes from Jason for a period of 48 hours. Since Jason will only have one DVD copy for each film and television episode listed on the syllabus, he suggests that students who borrow these DVDs organize themselves into viewing groups. All DVD “rentals” of this type will occur on a strictly first-come-first serve basis (these requests should be made during class, in person, or by email—no phone requests, please). DVDs “rented” on Tuesday evenings must be returned to Jason’s office (EC 216A) or to his EC mailbox no later than 5:30pm on the following Thursday (or brought to him in EC 110 at the conclusion of his EN210-07 class between 5:20pm and 5:30pm). DVDs “rented” from Jason at other times will be due two (2) days later at 5pm (i.e., a DVD “rented” from Jason at 2pm on Wednesday is due no later than 5pm on Friday). DVDs “rented” from Jason on Friday are due no later than 11am on the following Monday morning. Please bring Friday “rentals” to Jason’s office at the beginning of his Monday office hours or drop them in his EC mailbox. All late “rentals” will be charged a 10-point penalty per day from the next response paper, hour exam, or final research project (whichever comes first). 4

Students can also rent these films and television episodes from Blockbuster (if they are available) or download them (where available online—not all selections are available for download). Netflix is another option for renting these selections. Students should consider these examples of SF media to be required texts for the course. It is unacceptable to forget to view them or to fail to make appropriate viewing arrangements. Research Presentation: Undergraduate students, individually or in small groups, must present at least one reading (whether textual or electronic) for at least one 30 minutes per individual of a single class session (for a maximum of 90 minutes). These presentations should: 1) review relevant autobiographical information about the author(s)/creator(s); 2) offer important insights about the author/creator and the text under discussion gleaned from secondary scholarship; and 3) lead effective and energetic class discussion by responding to the ideas, questions, and challenges of one’s peers and instructor. Beyond these criteria, undergraduate students should feel free to be as creative as possible by integrating audio, visual, and electronic media into their presentations. Undergraduate students should schedule a conference with Jason, during which they will submit a 1- to 3-page outline of their presentation, at least 1 week in advance to discuss general expectations for the evening’s discussion. Each graduate student must present at least one reading for at least 90 minutes of a single class session, but for no longer than 2 hours. These presentations must not only conform to the same three general criteria as undergraduate presentations, but also include as much information from the available secondary scholarship as necessary to give all classroom participants a detailed overview of the academic work that has been published about the reading (and author/creator) under discussion. Graduate students should submit a 1- to 3-page outline of their presentation and a 2- to 4-page annotated bibliography of research sources (the annotations need be only 1 or 2 paragraphs) at least 1 week in advance. Graduate students may also schedule conferences with Jason to discuss the presentation. Conferences: Beyond conferencing for the research presentation, please feel free to seek out assistance by visiting Jason’s office during regularly scheduled office hours or by arranging appointments with him. Course Withdrawal: Students wishing to withdraw from this course must do so by Tuesday, October 28, 2008. Jason will sign no withdrawal forms after this date. Students who stop attending class due to poor performance will have their final course grades calculated according to the grading criteria listed above and reported to the Registrar’s Office.

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Disabilities: If a student’s work for this class requires special arrangements because of disability, please contact the EEO/ADA Office at 735-2244/43 (TTY). As long as Jason receives timely guidance in writing from the EEO/ADA Office, all students will receive the specific accommodations for which they are eligible. The EEO/ADA Office not only serves as the official university resource for approving and arranging student accommodations, but also handles all information confidentially. In addition, please speak to Jason privately about any special arrangements. Written Assignment Policies Exams: Three (3) hour exams will be distributed on the dates specified in the course calendar, then submitted one week later (on dates also specified in the course calendar). These exams will include ten (10) essay questions, from which students must select five (5) questions to answer with written responses of 2 to 4 paragraphs. Although these exams are called “hour exams” for the sake of convenience, students may use as much time as necessary to complete them. Please make certain that these exams conform to all paper-formatting policies (typed, double-spaced, stapled, and so forth) outlined in the “Paper Formatting” section. A midterm examination will be distributed on September 30, 2008, and must be submitted by October 14, 2008. It will cover all assigned texts from the semester’s first half. Students should also include a short paragraph at the end of this examination that notifies Jason about the final research project (see “Final Research Project” section for additional details). Response Papers: Please bring a typed, double-spaced response paper to the class sessions specified in the course calendar. Each response paper should include 2-3 pages that explain how and why students believe at least one (1) of the course’s readings (print or electronic) is significant (feel free, however, to discuss more than a single reading). These response papers should focus on the effects of the reading rather than simply summarizing the plot, characters, themes, and/or symbols of the text under discussion (or summarizing the argument of a scholarly text about science fiction). A response paper, in other words, should not simply report what happens in a novel, short story, film, television program, or scholarly work, but offer critical insight into its characters, themes, argument, writing strategies, and/or content. These papers should include quotations from the text under discussion, as well as substantial analysis of these quotations to prove the thesis. Jason recommends that each student bring two (2) copies of the response paper to the scheduled class session. Jason will collect one response paper at the beginning of the session (no additional papers will be accepted after class begins). The second copy is for the student’s 6

personal reference during small-group and full-class discussions. Jason will base class discussion on these response papers, and ask students to lead discussions about the novel, story, film, television program, or scholarly work that their papers examine. Final Research Project: The course’s final research project may be chosen from 2 general categories: 1) Traditional Research Essay or 2) Creative Research Project. Students should notify Jason of the type and topic of their final research project by including a short paragraph at the end of their midterm examination. The parameters for these projects are: Traditional Research Essay (TRE): This essay must provide a detailed, source-supported analysis of one (1) or more of the novels, short stories, films, and/or television programs that we read/screen during the semester. For undergraduate students, the TRE must be 17-20 pages long. For graduate students, the TRE must be 22-25 pages long. Students may also write about texts related to the course’s reading content that we do not consider in class (for instance, students may wish to analyze H.G. Wells’s second Martian invasion novel, Star Begotten: A Biological Fantasia; several Philip K. Dick short stories that we do not cover in class; an SF film such as Andrei Tarkovsky’s Solaris that we will not screen in class; or additional episodes of Star Trek: Deep Space Nine that we do not view during class). For undergraduate students, the TRE has two (2) initial components: 1) Prospectus: This 1- to 2-page essay, due on October 21, 2008, should outline the topic selected for the TRE in as much detail as possible. Please include a provisional thesis, a preview of the points that the essay will argue, and a summary of sources consulted that includes at least one (1) primary source and at least four (4) secondary sources (for a minimum of five [5] sources). This assignment is the semester’s first formal attempt to receive feedback about the TRE topic’s intellectual viability. 2) Annotated Bibliography: This 4- to 10-page assignment, due on November 11, 2008 (by email), should annotate at least ten (10) sources consulted about the TRE topic. This bibliography may contain as many as, but no more than three (3) primary sources (meaning that it will contain at least seven (7) secondary scholarly sources). The annotations should comprise 2-3 paragraphs that summarize a primary source’s plot, characters, themes, symbols, and other literary effects; or a secondary source’s thesis, argument, and textual evidence/analysis. Graduate students, while not required to submit these intermediate assignments, may certainly do so. The research skills that graduate students have developed during their studies equip them to pursue the TRE without submitting these documents. Graduate 7

students, however, should feel free to seek additional guidance from Jason. Graduate students, however, must prepare to submit their TREs to a reputable graduate conference or publication, then show evidence of such submission by the December 9, 2008, class session to receive full graduate credit for the course: 1) Abstract: This 250to 500-word document should concisely summarize the TRE’s major argument so that conference organizers and journal editors receive a quick (yet comprehensive) sense of the essay’s scope. 2) Cover Letter: This 1-page document should briefly introduce the author and the essay to a specific conference organizer or journal editor. The cover letter should not be a template (or form letter), but rather be addressed to the organizer of a specific academic conference or the editor of a specific scholarly journal that the student has researched. Creative Research Project (CRP): This project can take many forms, including: 1) original SF short stories, 2) original SF verse, 3) chapters from an original SF novel, 4) acts from an original SF screenplay, 5) acts from an original SF teleplay, 6) acts from an original SF stage play, 7) acts from an original SF radio play, 8) footage from an original SF film, 9) footage from an original SF online video, 10) footage from an original SF video game, or another type of project not envisioned by Jason. CRPs must conform to certain parameters: 1) They must be at least 20 pages or 20 minutes long (although screenplays, teleplays, stage plays, and radio plays will need to be longer—see below); 2) They must include a critical introduction that incorporates secondary SF scholarship to contextualize the CRP within an existing SF tradition, subgenre, and/or mode (or, alternatively, to explain why the CRP breaks from previous SF traditions, subgenres, and/or modes); 3) They must include a critical postscript that explains details of the CRP’s creation in light of SF themes, characters, plots, symbols, and conventions; and 4) They must include a Works Cited page that demonstrates the extent of the research performed to finish the CRP. CRPs, in other words, still involve writing and research. Page Count: For short stories, verse, and novels, students should submit at least 20 double-spaced pages of original work in addition to the critical introduction, postscript, and Works Cited page discussed above. This page count translates into 2-5 short stories (depending upon length), 5-20 poems, and at least 2 novel chapters. For screenplays, teleplays, stage plays, and radio plays, students should submit at least 35 pages in the correct script format in addition to the critical introduction, postscript, and Works Cited page discussed above. This page count translates into 1.25 to 1.5 screenplay acts, 2 to 2.5 teleplay acts, 1 to 2.5 stage play acts, and 2.5 to 3 radio play acts. Films, Video Games, and Other Electronic Submissions: 8

Students who prepare audio-visual projects should submit their scripts, the critical introduction, the critical postscript, and the Works Cited page along with the audio and/or video tracks. If the audio-visual portion has been uploaded to a website for listening/viewing, make certain that the site is active and that Jason has the appropriate browser, online viewer, and/or software to watch the project. If the audio-visual portion has been recorded to DVD or CD, make certain that the disc works in a variety of players (or at least in a Toshiba DVD player and an Aiwa CD player) so that Jason need not request another disc from you. Paper Formatting: All writing assignments must be typed, proofread, spell-checked, and submitted at the beginning of class on the date specified in the course calendar. They should have one-inch margins, a staple, double-spacing, 11- or 12-point Times or Times New Roman font, MLA-approved documentation, page numbers, and the writer’s name written on the back right corner. The penalty for violating any of these formatting requirements will be an automatic lowering of the final essay’s grade by one third for each violation (for instance, if an A- paper has no page numbers, its grade becomes B+). Late Papers: Turning in written assignments on time is essential, while catching up can be difficult if students fall seriously behind. No late papers will be accepted. All late assignments will receive a score of zero. No comments from the instructor will be provided for late assignments. All assignments are due at the beginning of class on the assigned day (so: a paper turned in after class will be considered late and therefore receive a score of zero). Coming late to class on the day that an assignment is due results in that assignment being considered late (and, therefore, receiving a score of zero). NOTE: Last-minute computer, disk, and printer problems are not valid excuses for submitting late assignments. Make appropriate backups of all files and print your assignments in enough time to have them with you when coming to class. Plagiarism: This course encourages students to develop their own voices as writers, and to produce persuasive and well-supported arguments that are based on critical insight and careful reading. Falsifying citations, borrowing language or ideas from sources without acknowledging them, and other such violations of academic convention tend to be conspicuous to those who know a student’s writing well. These actions not only constitute intellectual theft, but also undermine a student’s authority as a writer and a thinker. Whether intentional or accidental, plagiarism will not be tolerated; all instances will be reported to the appropriate university authorities. In 9

other words, the best rule to keep in mind about plagiarism is: Don’t do it. Ever. Electronic Readings and Web Resources: All readings and handouts marked with an asterisk (*) can be electronically downloaded from Jason’s faculty webpage, which can be found at http://www.uog.edu/dynamicdata/CLASSDEALVestCoursePage.aspx?siteid =1&p=237, or this course’s webpage (http://www.uog.edu/dynamicdata/CLASSDEALVestEN450Page.aspx?siteid =1&p=455). Short stories and secondary sources are in .pdf form, so students will need Adobe Reader 5.0 (or higher) to access them. All course documents, including this syllabus, can also be found on this course page. These files are in .doc form, so students will need Microsoft Word 2000 (or higher) to access them. If prompted for a login ID and a password when attempting to access any coursepage file, simply click “Cancel.” These files are not password protected. This course also encourages its students to use the World Wide Web to discover additional primary and secondary sources about science fiction. Conducting Google searches (http://www.google.com/); examining the offerings of the Internet Public Library (http://www.ipl.org/); and searching for online syllabi from other university courses about science fiction can yield intriguing articles, essays, and resources for the curious student. The Science Fiction Research Association (www.sfra.org), the International Association for the Fantastic in the Arts (www.iafa.org), and the Society for Utopian Studies (www.utoronto.ca/utopia) all maintain websites with links to resources about science fiction. The journals Science Fiction Studies (www.depauw.edu/SFs), Extrapolation (www.enotes.com/extrapolationjournals), and the Journal of Popular Culture (www.msu.edu/~tjpc) also include good scholarly articles devoted to science fiction. EN 450/550’s online coursepage also includes links to SF resources, although students should seek their own online materials as time permits. Changes to Syllabus: This syllabus is subject to change at the instructor’s discretion. Students should bring it with them to every class session in case alterations are made to the reading schedule. NOTE: All written assignment dates are firm, so please do not ask when an assignment is due. Check the syllabus. In the event that a written assignment’s date should change, it will only be delayed to a later date rather than being brought forward to an earlier date. COURSE CALENDAR Week 2 Tuesday, August 26 Introductions; explanation of class policies and assignments; discussion of SF Card: Introduction to Masterpieces: The Best Science Fiction of the Twentieth Century* 10

Thursday, August 28 Optional Screening (6pm-8pm) Frankenstein (1931) (Dir. James Whale) Week 3 Tuesday, September 2 Joseph, M.K.: Introduction to Frankenstein (pp. v-xiii)* Ketterer: Preface, Part I, and Chapter 1: “Science Fiction”* (pp. ix25)* Masterpieces: Poul Anderson, “Call Me Joe” (pp. 7-35) Robert A. Heinlein, “‘All You Zombies—‘” (pp. 36-46) Shelley: Frankenstein, Introduction to Chapter XI (pp. 1-110) Suvin: Preface to Metamorphoses of Science Fiction (pp. vii-xv)* Film: Frankenstein (1931) (Dir. James Whale) Assignment: Response Paper #1Due Thursday, September 4 Optional Screening (6pm-8:30pm) Mary Shelley’s Frankenstein (1994) (Dir. Kenneth Branagh) Week 4 Tuesday, September 9 Masterpieces: Lloyd Biggle, Jr., “Tunesmith” (pp. 47-79) Theodore Sturgeon, “A Saucer of Loneliness” (pp. 80-90) Shelley: Frankenstein, Chapters XII-XXIV (pp. 110-223) Ketterer: Chapter 2, “A Prophecy of America, the Moon, and Mars” (pp. 26-39)* Suvin: Chapter 1, “Estrangement and Cognition” (pp. 3-15)* Film: Mary Shelley’s Frankenstein (1994) (Dir. Kenneth Branagh) Distribution: Hour Exam #1 Thursday, September 11 Optional Screening (6pm-10pm) 1) War of the Worlds (1952) (Dir. George Pal) 2) War of the Worlds (2005) (Dir. Steven Spielberg) Week 5 Tuesday, September 16 Clarke: Introduction to The War of the Worlds (pp. xii-xvii)* Masterpieces: Issac Asimov, “Robot Dreams” (pp. 91-96) Edmond Hamilton, “Devolution” (pp. 97-109) Suvin: Introduction to H.G. Wells and Modern Science Fiction (pp. 930)* Wells:The War of the Worlds Film: 1) War of the Worlds (1953) (Dir. Byron Haskin) Film: 2) War of the Worlds (2005) (Dir. Steven Spielberg) Assignment: Hour Exam #1 Due

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Thursday, September 18 Optional Screening (6pm-8pm) Forbidden Planet (1956) (Dir. Fred M. Wilcox) Week 6

Tuesday, September 23 Masterpieces: Arthur C. Clarke, “The Nine Billion Names of God” (pp. 110-115) James Blish, “A Work of Art” (pp. 116-129) Miller: A Canticle for Leibowitz, Chapters 1-16 (pp. 1-175) Russell: Introduction to A Canticle for Leibowitz (pp. xi-xii)* Suvin: Chapter 2, “SF and the Genealogical Jungle” (pp. 16-36)* Film: Forbidden Planet (1956) (Dir. Fred M. Wilcox) Assignment: Response Paper 2 Thursday, September 25 Optional Screening (6pm-9:30pm) The Twilight Zone: 1) “Walking Distance” (1959), 2) “Time Enough at Last” (1959), and 3) “The Monsters are Due on Maple Street” (1960) Star Trek: 4) “Balance of Terror” (1966) and 5) “The Devil in the Dark” (1967) Babylon 5: 6) “The Deconstruction of Falling Stars” (1997) Week 7 Tuesday, September 30 Masterpieces: Ray Bradbury, “ Dark They Were, and Golden-Eyed” (pp. 130-142) Harlon Ellison, “‘Repent, Harlequin!’ Said the Ticktockman” (pp. 145-155) Miller: A Canticle for Leibowitz, Chapters 17-30 (pp. 176-334) Suvin: Chapter 3, “Defining the Literary Genre of Utopia” (pp. 3762)* Television: The Twilight Zone: “Walking Distance,” “Time Enough at Last,” and “The Monsters are Due on Maple Street” Television: Star Trek: “Balance of Terror” and “The Devil in the Dark” Television: Babylon 5: “The Deconstruction of Falling Stars” Distribution: Hour Exam #2 Distribution: Midterm Exam Week 8

Tuesday, October 7 Masterpieces: R. A. Lafferty, “Eurema’s Dam” (pp. 156-165) Robert Silverberg, “Passengers” (pp. 166-176) Dick: Do Androids Dream of Electric Sheep?, Chapters 1-10 (pp. 1120) “Faith of Our Fathers”* Note about “Faith of Our Fathers”* Suvin: Chapter 4, “SF and the Novum” and Introduction to Older SF History (pp. 63-89)* 12

Zelazny: Introduction to Do Androids Dream of Electric Sheep? (pp. vii-x)* Assignment: Hour Exam #2 Due Thursday, October 9 Optional Screening (6pm-9:30pm) 1) Blade Runner (1982) (Dir. Ridley Scott) 2&3) Star Trek: The Next Generation: “The Best of Both Worlds” (1990) and “The Best of Both Worlds, Part II” (1990) Week 9

Tuesday, October 14 Masterpieces: Frederick Pohl, “The Tunnel under the World” (pp. 177-202) Brian W. Aldiss, “Who Can Replace a Man?” (pp. 203-211) Dick: Do Androids Dream of Electric Sheep?, Chapters 11-22 (pp.121-244) Film: Blade Runner (1982) (Dir. Ridley Scott) Television: Star Trek: The Next Generation: “The Best of Both Worlds” (1990) and “The Best of Both Worlds, Part II” (1990) Assignment: Midterm Exam Due

Thursday, October 16 Optional Screening (6pm-10pm) 1) Star Wars: Episode IV: A New Hope (1977) (Dir. George Lucas) 2) Star Wars: Episode V: The Empire Strikes Back (1980) (Dir. Irvin Kirshner)

Week 10 Tuesday, October 21 Masterpieces: Ursula Le Guin, “The Ones Who Walked Away from Omelas” (pp. 212-217) Larry Niven, “Inconstant Moon” (pp. 218-239) Ketterer: Chapter 4: “Ursula K. Le Guin’s Archetypal ‘WinterJourney’” (pp. 76-90)* Le Guin: Introduction to The Left Hand of Darkness* “Is Gender Necessary? Redux”* The Left Hand of Darkness “Winters King”* Television: Battlestar Galactica Miniseries Parts I & II (2003) 13

Assignment: TRE Prospectus Due Thursday, October 23 Optional Screening (6pm-9pm) 1&2) Battlestar Galactica Miniseries Parts I & II (2003) Week 11 Tuesday, October 28 Masterpieces: George R.R. Martin, “Sandkings” (pp. 243-275) Harry Turtledove, “The Road Not Taken” (pp. 276-296) Butler: “Bloodchild”* Butler: Dawn, Sections I (“Womb”) and II (“Family”) (pp. 1-112) Le Guin: “Some Thoughts on Narrative”* Film: Star Wars: Episode IV: A New Hope (1977) (Dir. George Lucas) Film: Star Wars: Episode V: The Empire Strikes Back (1980) Assignment: Response Paper #3 NOTE: Final Day to Withdraw from Course Thursday, October 30 Optional Screening (6pm-9pm) Star Trek: Deep Space Nine: 1) “Emissary” (Pilot Episode) (1993), 2) “Duet,” (1993), and 3) “Far Beyond the Stars” (1998) Week 12 Tuesday, November 4 Masterpieces: Willam Gibson & Michael Swanwick, “Dogfight” (pp. 297-315) Karen Joy Fowler, “Face Value” (pp. 316-326) Butler: Dawn, Sections III (“Nursery”) and IV (“The Training Floor”) (pp. 113-248) Television: Star Trek: Deep Space Nine: “Emissary,” “Duet,” and “Far Beyond the Stars” Distribution: Hour Exam #3 Thursday, November 6 Optional Screening (6pm-9pm) The X-Files: 1) “Pilot” (1993), 2) “Jose Chung’s ‘From Outer Space’” (1996), 3) “Home” (1996), and 4) “The Post-Modern Prometheus” (1997)

Week 13 Tuesday, November 11 Veteran’s Day Holiday (No Class) Assignment: TRE Annotated Bibliography Due (Email 14

Document to Jason no later than 6pm and drop off paper copy no later than 5pm on Wednesday, 9/12/08) Assignment: Hour Exam 3 Due (Email Document to Jason no later than 6pm and drop off paper copy no later than 5pm on Wednesday, 9/12/08) Week 14 Tuesday, November 18 Masterpieces: C.J. Cherryth, “Pots” (pp. 327-350) John Crowley, “Snow” (pp. 351-363) James Patrick Kelly, “Rat” (pp. 364-374) Butler: Adulthood Rites Television: The X-Files: “Pilot,” “Jose Chung’s ‘From Outer Space,’” “Home,” and “The Post-Modern Prometheus” Week 15 Tuesday, November 25 Thanksgiving Day Holiday (No Class) Week 16 Tuesday, December 2 Masterpieces: Terry Bisson, “Bears Discover Fire” (pp. 375-383) John Kessel, “A Clean Escape” (pp. 384-395) Butler: Imago, Section I (“Metamorphosis”) to Section II Chapter 7 (pp. 519-642) Assignment: Final Research Project Due Thursday, December 4 Optional Screening (6pm-9pm) 1) Millenium: “Jose Chung’s ‘Doomsday Defense’” (1997) 2) The Matrix (1999) (Dir. Larry and Andy Wachowski) Week 17 Tuesday, December 9 Masterpieces: Lisa Goldstein, “Tourists” (pp. 396-407) George Alec Effinger, “One” (pp. 408-422) Butler: Imago, Section II Chapter 8 to End (pp. 642-746) Television: Millenium: “Jose Chung’s ‘Doomsday Defense’” Film: The Matrix (1999) Assignment: Abstracts and Cover Letters (Graduate students only) Week 18 Tuesday, December 16 Final Session Fiesta: Meet at Mermaid Tavern at 6pm

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