World Literature Socratic Seminar

2. World Literature Socratic Seminar • We will conduct a Socratic Seminar of at least three class periods for each novel read. You will have access to your novel (properly annotated, I hope), your booknotes and any additional notes you have taken to fulfill the requirements listed below. I will follow the order of the Seminar as delineated below. For each section, I will draw a name randomly and ask you to respond to the category listed by discussing the devices presence in the novel. In order to receive full credit (4 points) you must answer promptly, correctly, and support your answer with a quote. If you are correct but slow in responding, you will receive 3 points. If you are correct and timely but have no quote, you will receive 3 points. Any combination of slowness, lack of quote or imperfect understanding of the answer will result in a grade of 0, 1, or 2 depending upon the problems inherent in the answer. I will record your points over a nine weeks period and average them for a test grade at the end of the quarter.

3. Plot • Structure • Does it follow alternating patterns? When taken together, does the story have a narrative arc from x to y to z concept? Consider also the symmetry of the narrative—in what ways do scenes mirror one another? Does it fall into several sections, or is it one unbroken piece of writing? What effect does its structure have? On what rationale is its structure based? (eg: different stages of a journey? a progression of thought? something else?) • What elements unify the plot or cause it to feel fragmented? • Division into section, chapters, stanzas, etc. • Consider: how the focus shifts from chapter / section to the next, importance of chapter titles • Point of view • NOT just naming it, but considering why the author makes that choice, how / if it shifts, when the focus narrows or broadens, whether it is intimate, detached—if there is a shift in perspective, what is gained from it?

4. Characters • Who changes • When called on for a character, tell HOW that person changes and WHY • Also consider his/her motivation for actions • Oppositions and tensions • Consider the duality within each character when called on • Discuss oppositions and tensions between characters as well—not just names of characters who are in conflict, but the underlying concepts that compete—male/female, light/dark, old/new, power/weakness, freedom/confinement, all/one,

5. Theme • Title • What does the title reveal about the author’s attitudes (tone)? Consider the title as symbol, as archetype, as turning point in the plot. • Thesis or theses • Consider what the author asserts to be true—sometimes the thesis of a book incorporates antithesis as proof, too. DO NOT leave out any idea that is repeated—repetition is the author emphasizing a point to you. • Imagery • Look for patterns—which images are repeated or given special attention? It is not enough just to notice them—once you see them, consider their usefulness: do they create a mood, elaborate a character’s traits, support a thesis, reach the level of symbol? • Symbolism • Which objects are repeated to the point that you can’t ignore them? Which patterns of imagery connect to an abstract concept? Is there a gesture or action that is also closely related to a concept?

6. Oppositions • Ironies • Rather than simply note small instances of irony, it is beneficial to consider the overarching ironies of the text as well—these are often related to themes. • Paradoxes • A subset of irony, paradoxes are the apparent contradictions that are still nevertheless true—like how Tieresias is blind but has greater sight than Oedipus, who has physical sight.

7. Setting • How does the setting and your understanding of the cultural context of the story impact the characters’ choices or thoughts or preconceived notions / place social restrictions on them / allow them freedoms / • Does the land / city support themes? Pay careful attention to shifts in descriptions of places in the book.

8. Genre • Consider the different genres included and their function—fairy tale, fantasy, quest, bildungsroman, fable, myth, poetry or poetic language, comedy, tragedy, parody, satire, black comedy, mystery, memoir, diary, confessional, romance, dystopia, etc.

9. Stylistic Devices • Tone • What is the author’s attitude about the major concepts / theses of the book? • Diction & syntax • What are the patterns of word choice and sentence structure? Do they consistently support a simplicity or complexity of ideas? Is there ever a shift in the complexity or tone of the vocabulary? If so, why? • Figurative language • Again, look for patterns—repeated metaphors & similes—and then ask what the comparison contributes to the various theses of the book. • Other stylistic considerations • In what ways is this author innovative or different from other authors you have read? Think about the idea of style—of personal style—of how you would recognize this work as being particular to this author, even if the author’s name were removed? (Like how you could tell who is in a picture based on their style of dress, even if the heads were cut off.)