Assignments
ENGL 2110 World Literature, Spring 2026
Section 03: MW 2:00-3:15 p.m., Arts & Sciences 246
In Class Activities
1. Lysistratic Nonaction aka Sex Strike!
Today, let's begin our discussion of Aristophanes's Lysistrata by break into groups of 4-5 students to meet some peers and break down the play's representation of gender and sexuality. Groups should respond to their assigned group number and elect a secretary to share, orally, their work with the class.
- Discuss the characters' attitudes toward men, men's roles and male sexuality. Select 2-3 passages demonstrating these attitudes.
- Discuss the characters' attitudes toward women, women's roles and female sexuality. Select 2-3 passages demonstrating these attitudes.
- Given the ironic tone of the play, what is the play's attitude toward men's roles and male sexuality? Select 2-3 passages demonstrating these attitudes.
- Given the ironic tone of the play, what is the play's attitude toward women's roles and female sexuality? Select 2-3 passages demonstrating these attitudes.
- What ideas does the play convey about marriage on the one hand and war on the other hand?
2. Connections, Conversions, and Queries
In accordance with modified campus operations due to the winter storm, today's class will be conducted asynchronously on the GeorgiaVIEW discussion board. To be marked Present, answer your assigned question in a 150-250 word response in GeorgiaVIEW > Course Work > Discussions > Winter Storm Discussion Board by Tuesday, January 27, at 11:59 p.m. Here is the question:
- Explain the key relationship conflict in your assigned section of Ovid's Metamorphosis, and explore the key transform both metaphorically and thematically. In other words, what's the main character tension and what's the change that resolves the tension?
Here are the assigned sections of Metamorphosis:
- Apollo and Daphne (NAWL 619-22): Louisa Baria, Sophia Beal, Lucy Bell, Brooke Carter
- Jove and Io (NAWL 623-8): Mattie Dial, Bristol Dixon, Cade Fetzer, Haley Fleming
- Ceres and Proserpina (NAWL 630-9): Annalyse Flynt, Jessica Hurtado Garzon, Audrey Jansen van Vuuren
- Iphis and Isis (NAWL 639-43): Caroline Jenkins, Bri King, Landon Schnell
- Pygmalion (NAWL 643-50): Baylie Shumans, Riley Jane Stillwell, Jack Strickland, Raleigh Thompson
- Venus and Adonis (NAWL 650-5): Brody Trauth, Dhara Weaver, Troy Wilson
3. Self and Sacrifice
For today's class on The Bhagavad-Gita, let's break into groups (with secretaries taking notes to share with the large class) to discuss the key philosophical and moral ideas discussed by Arjuna and Lord Krsna.
- Chapter One: Discuss Arjuna's reaction to entering the field of battle, especially his moral thoughts on family and war.
- Chapter Two: How does Lord Krsna describe wisdom, self/soul, body, and the cycle of birth, life, and death? What is Lord Krsna message to Arjuna regarding the warrior's duty and just war?
- Chapter Three: How does Lord Krsna describe the relationship between self/soul and action? What is Lord Krsna's messages to Arjuna regarding action and sacrifice, and senses and attachment?
- Chapter Six: According to Lord Krsna, what does a yogi control, and what is the end result of that control?
- Chapter Eleven: What does Arjuna learn about the Supreme Self, and what does Sanjaya say Arjuna learned from the Great Soul? According to Lord Krsna, how might his divine form be seen by Arjuna?
4. From Chinese Philosophy to Christian Autobiography
Today, let's complete our discussion of Confucius and Laozi and begin our discussion of Augustine with directed questions to be answered by our six research project groups.
- Laozi and the Spiritual Way: What do Laozi's repeated use of terms like emptiness, nothingness, and nonaction suggest about the spiritual meaning of the Dao, the Way individuals should cultivate themselves? How does this compare to Confucius's teachings?
- Laozi and the Political Way: What do Laozi's repeated use of terms like emptiness, nothingness, and nonaction suggest about the political meaning of the Dao, the Way governments should rule? How does this compare to Confucius's teachings?
- Augustine and Childhood: How does Augustine talk about the relationship between the world and God, sinning and the soul, in Book I?
- Augustine and The Pear Tree: How does Augustine talk about flesh and the soul, the lower and the higher good, human power and divine power in Book II?
- Augustine, Student at Carthage and Augustine Leaves Carthage for Rome: What is Augustine's attitude toward love, on the one hand, and the school of rhetoric, on the other hand, in Book III? What is Augustine's attitude, first, toward his students, and second, toward his mother in Book V?
- Augustine, Earthly Love and Conversion: What does Augustine say about his mistress in Book VI? Explain what Augustine means by continence and contrition in Book VIII.
5. Dante's Descent
Let's spend our first day discussing Dante's Inferno by looking for and at significant patterns across its sections. After you are individual assigned a canto, spend a few minutes answering the following questions:
- What literally and narratively happens in the canto?
- What does the canto convey about either Heaven and the True Path or Hell, Sin, and Punishment?
- How does Dante react to what he witnesses on his journey in the canto?
Here are the cantos:
- Canto I The Dark Wood of Error (NAWL 993-8): Peyton Antwine / Emma Kate Noggle / Owen Beasley
- Canto II The Descent (NAWL 998-1002): Rachel Brooks / Reese Pascual / Daijah Brock / Nick Lanford
- Canto III The Vestibule of Hell (NAWL 1002-7): Caro Brousseau / Kendall Roberts / Emily Buck / Harris Martin
- Canto IV Circle One: Limbo (NAWL 1008-11): Lizzy Cariochi / Robert Smith / Maggie Connerly Grace McVay
- Canto V Circle Two: The Carnal (NAWL 1012-6): Aidan Conrad / Lana Spraley / Natalie Correa / Brooklyn Moore
- Canto VI Circle Three: The Gluttons (NAWL 1016-9): Joe Dickman / Da'Vian Street / Connor Cramer / Sunita Oliver
- Canto VII Circle Four The Hoarders and the Wasters / Circle Five: The Wrathful and the Sullen (NAWL 1019-24): Gracie Elloy / Jillian Thompson / Constantine Dallis / Alex Sabathne
- Canto IX Circle Six: The Heretics (NAWL 1024-8): Victoria Garland / Heidi von Kleydorff / Andrew Daniel / Sarah Smith
- Canto XI Circle Six: The Heretics (NAWL 1028-31): Kendall Graham / Micah Witcher / Hunter Ellis / Francisco Sotomayor
- Canto XII Circle Seven: Round One: The Violent against Neighbors (NAWL 1032-6): Dylan Greer / Megan Young / George Heidacher / Hilton Stinson
- Canto XVII Circle Seven: Round Three: The Violent against Art. Geryon (NAWL 1036-40): Caroline Heidacher / Eli Mullen / Hannah Hollingsworth / Rorey Vanderford
- Canto XVIII Circle Eight (Malebolge): The Fraudulent and Malicious / Bolgia One: The Panderers and Seducers / Bolgia Two: The Flattererss (NAWL 1041-5): Marilyn Ingram / Sid Hughes / Alexis King
- Canto XIX Circle Eight: Bolgia Three: The Simoniacs (NAWL 1045-9): Brode LaFrance / Maddox Israel
- Canto XX Circle Eight: Bolgia Four: The Fortune Tellers and Diviners (NAWL 1049-53): Lindsay Larroude / Carter Joachim
6. Shonagon's Delights and Disgusts
Today, let's break into groups to conclude our discussion of Kantian ethics and begin our conversation about The Pillow Book.
- Group 1
- Kant: Does Ovid's Metamorphosis contain any moral duties, hypothetical imperatives, or categorical imperatives?
- Shonagon, Sections 1, 2, 4 (NAWL 1252-5): What delights Shonagon and why? What breaks her heart and why?
- Group 2
- Kant: Does The Bhagavad-Gita contain any moral duties, hypothetical imperatives, or categorical imperatives?
- Section 6 (NAWL 1255-7): What does the vignette about the cat and dog say about courtier politics?
- Group 3
- Kant: Does Confucius's Analects contain any moral duties, hypothetical imperatives, or categorical imperatives?
- Shonagon, Section 20 (NAWL 1257-60): What status does poetry hold in court and why?
- Group 4
- Kant: Does Laozi's Daodejing contain any moral duties, hypothetical imperatives, or categorical imperatives?
- Shonagan, Section 22, 30 (NAWL 1260-4): What dispirits Shonagon and why? What is the status of religion in the court?
- Group 5
- Kant: Does Augustine's Confessions contain any moral duties, hypothetical imperatives, or categorical imperatives?
- Shonagon, Section 82 (NAWL 1265-71): What does the vignette about the old nun say about courtier attitudes toward appearances? What does the snow mountain vignette say about courtier values?
- Group 6
- Kant: Does Dante's Inferno contain any moral duties, hypothetical imperatives, or categorical imperatives?
- Shonagon, Section 104, 144, 257 (NAWL 1271-3): What distresses, endears, and pleases Shonagon and why?
7. Shikibu Wrote What Now?
Let's begin our first day of discussion of Murasaki Shikibu's The Tale of Genji by reviewing some significant passages that paint a picture of marriage and relationships in tenth century Japan.
- The Warden: "When all is said and done, we men really should consider picking a completely childlike, compliant woman . . . a woman we can mold into an acceptable and flawless wife" (NAWL 1297)
- The Warden: "It is folly for a wife to resent her husband, display her anger, and quarrel obsessively over some little affair he has had on the side. A man's affections may stray, but so long as he is still capable of the kind of feelings he had for her when they were first married, then she has good reason to think that their relationship has strong emotional bonds. If she makes a big fuss over his dalliances, however, those bonds may be cut for good." (NAWL 1298)
- The Warden: "I cannot continue putting up with you the way you are now. If you reform and develop a more steady disposition, then maybe we can see each other." (NAWL 1301)
- The Warden: "Women are just like that . . . their beauty passing out of season." (NAWL 1302)
- Tō no Chūjō: "She was so wretched worrying over the baby girl I had fathered by her that she sent me a wild pink, suggesting, I suppose, that the child was like the flower, hidden from sight and easy to overlook." (NAWL 1304)
- Genji: "I know this will sound like a bizarre request, but would you do me the kindness of asking the girl’s grandmother to consider allowing me to take charge of the child? I have good reasons for this request. I do call upon my primary wife from time to time, but we really don’t get along so well, and I live alone for the most part. You may not consider her the proper age for such an arrangement, and you may thing I am motivated by some common, base desire. But if you do, you are being unkind and dishonoring my intentions." (NAWL 1313)
- The Narrator: He couldn’t get the girl out of his mind, and he was curious to see what that little shoot of grass would look like when she was fully grown. (NAWL 1319)
- The Nun: "Still we cannot fathom your future intentions, and even though we should feel happy on occasions like this when you visit us, we remain extremely hesitant about your proposal . . . after all, the girl is simply not appropriate for you. Her character is immature and undeveloped, even for someone her age." (NAWL 1326)
- Genji: "You may be right [. . .] but just what do you think I’m going to do with someone so young? Carefully observe the sincerity of my feelings, the purity of my heart, and you will realize that they are peerless, that you will find nothing like them in this world." (NAWL 1327)
- The Narrator: At around the time of the procession Fujitsubo left the court and withdrew to her own residence. As always, Genji sought out every opportunity to see her, and consequently he was subjected to complaints from the Minister of the Left’s household that he never visited his wife. Moreover, he learned that his wife was more distressed than usual because one of her attendants had reported to her that Genji had plucked a certain "wild grass"—meaning his little Murasaki—and that "he was keeping her in his villa at Nijō."
Genji: It's natural she would feel upset [. . .] since she knows nothing at all about the situation or how young Murasaki is. Even so, why can’t she just tell me how she feels and vent her resentments like a normal woman? I could then speak without reserve, tell her all the things I feel in my heart and put her mind at ease. But no, she has to be so damnably suspicious all the time. It’s no wonder I find myself conducting these illicit affairs. (NAWL 1335) - Murasaki: So he's my husband, is he? The attendants here all have husbands, but they’re really ugly. Mine on the other hand, is a dashing handsome young man. (NAWL 1337)
Next, let's discuss the following questions.
- What do men expect from relationships and marriage?
- What do women expect from relationships and marriage?
- What are some of the implicit rules in the relationship and/or marriage contract?
- How might social contract theory inform the relationship and marriage contracts described in The Tale of Genji?
- How do you respond to the relationship and marriage contracts described in The Tale of Genji?
8. The Princely Morality
Today, let's divide into groups and delve into the politics and morality of ruling as advised by Niccolò Machiavelli. Here are the questions:
- First, explain Machiavelli's political advice.
- Then, consider the moral idea underlying the political consultation.
- Finally, explore how Machiavelli's political and/or moral understanding might change from a prince ruling a monarchy to an elected leader ruling a representative democracy.
Here are the groups:
- Princely Virtues (NAWL 1576)
- On Liberty and Parsimony (NAWL 1577-78)
- On Cruelty and Pity, and Whether It Is Better to Be Loved or to Be Fears, and Vice Versa (NAWL 1578-80)
- In What Way Faith Should Be Kept by Princes (NAWL 1580-1)
- On Avoiding Contempt and Hatred (NAWL 1581-4)
- In What Way Flatterers Are to Be Avoided (NAWL 1589)
9. The Ethics of Caring for a Lunatic
Today, let's divide into groups to complete our discussion of the ethics of care and begin our discussion of Don Quixote. Here are the groups and questions:
- Concept: Select and discuss significant quotations that explain the ethics of care.
- Characters: Review the literature on our syllabus and discuss how two main characters employ the ethics of care.
- Narrator: Draw a brief character sketch (in writing) of the narrator and select two quotations to illustrate it.
- Don Quixote: Draw a brief character sketch (in writing) of the narrator and select two quotations to illustrate it.
- Sancho Panza: Draw a brief character sketch (in writing) of Sancho Panza and select two quotations to illustrate it.
- Reactions: Discuss how and why other characters, such as the innkeeper and the sex workers, react to Don Quixote, and select two quotations to illustrate your analysis.
10. The Tempest of Power Dynamics
For our final in-class group activity, let’s look at the vicissitudes of power in William Shakespeare's The Tempest.
- Prospero: What does Prospero’s monologue suggest about his feelings toward his brother, his books, and political power? (NAWL 1788: 1.2.88-116)
- Caliban: What does the exchange between Caliban and Prospero illuminate about the power dynamics of their relationship? (NAWL 1794-5: 1.2.330-374)
- Gonzalo: What does Gonzalo’s plan for colonization of the island indicate about his attitude toward European civilization, on the one hand, and new lands, on the other hand? (NAWL 1803: 2.1.142-163)
- Ferdinand and Miranda: What does Ferdinand and Miranda’s conversation reveal about relationships in terms of gender and power? (NAWL 1813-4: 3.1.33-86)
Research Project
While the in-class essay exams will test your comparative understanding of world literature and its predominant issues, the research project will compel you to delve deeper into an author's work, examine a text from a variety of perspectives, and collaborate with peers. Here are the components of the research project
- Sign Up: First, sign up for a text to research,
- Plan of Action and Working Bibliography: Then, read the text and then meet with your group to create a plan of action (meeting times, deadlines) and working bibliography (a 20-source MLA formatted list of scholarly journal articles and scholarly book chapters found using University Library Research Methods search processes, not Google, that also indicates which members are responsible for reading which sources) that each group member must submit to the professor at least two weeks before the presentation. Failure to submit the plan of action and working bibliography on time at GeorgiaVIEW > Assignments > Research Project will result in a 1/3 letter grade penalty.
- Annotated Bibliography: Next, group members should work on their own reading and annotating at least 4 scholarly journal articles and book chapters. Each annotation should be approximately 100 words long and describe 1) the topic of scholarly discussion, 2) the main idea, meaning, or conclusion as it relates to the work of literature, and 3) how the source helps your understanding of the work of literature. The OWL provides additional strategies of summarization, evaluation, and reflection as well as sample annotations. Each group member should submit their own 4 source annotated bibliography to GeorgiaVIEW > Assignments > Research project at any time on presentation day.
- 10-15 Minute Presentation and Slide Show: Finally, groups should meet to create a 10-15 minute presentation with accompanying slide show that highlights the results of their research. Do not just read your annotations but share patterns of critical interpretations and scholarly debates. Each group member should speak during the presentation and only one group member needs to upload the slide show to GeorgiaVIEW > Assignments > Research Project.
- Grade: Your research project grade will be based on your active participation in the group, the quality of your research and annotations, and the delivery of your part of the presentation. You can retrieve your graded assignment approximately one week after your presentation in GeorgiaVIEW > Course Work > Assignments > Research Project. Here's how to calculate your course grade.
Exam 1
In class, sans notes or textbook, you will write two comparative essays, one on themes of literature and one applying ethics to literature. Then, outside of class, you will revise and resubmit one of those two essays. More details, including exam preparation recommendations, will be provided two weeks before the exam.
Exam 2
Same as Exam 1.
Exam 3
Same as Exam 2, during the final exam time, without essay revision and resubmission.