Course Description
Science fiction and Crime Literature are genres that hold
up dual mirrors for their readers and facilitate discussions of the
changing nature of society, and the nature of good and evil, through
popular culture. Over the past decades, Scandinavian crime fiction has
seen an explosion in both production and popularity. Scandinavian crime
authors have attracted large international audiences and are widely
translated with names such as Mankell, Holt, and Larson leading the
ranks. This phenomenon poses interesting questions as the Scandinavian
countries are known as peaceful, with low crime rates and a
cradle-to-grave social-welfare system. Why has Scandinavia produced
world-renowned writers of crime fiction and used the genre to
international acclaim? Does this conflict with our general perceptions
of Scandinavia, and is there a specific Scandinavian element in the
crime literature? In contrast, science fiction which is a hugely
popular genre in the US has never seen a large following in the
Scandinavian countries, and again, this poses interesting questions.
Why are Scandinavians reluctant to embrace fantasy and science fiction?
Is the Scandinavian culture too earthbound and secure to venture out
onto imaginary limbs? What are the characteristic Scandinavian elements, if any, in the science fiction literature which is produced?
Science fiction portrays imaginary realms which illustrate the highest
potential for the achievements of the human race, both spiritually in
conjunction with ideologies, philosophies, and religions, and
technologically in conjunction with technical advances, technological
inventions, and practical innovations in our contemporary lives. At the
same time, science fiction depicts the lowest common denominator of
the potential of humanity in its inherent criticism of existing social human
interactions, conditions, and societies.
Similarly, crime fiction shows the dualistic nature of
the human race in its portrayal of the basest acts of humanity and the
most exemplary human reaction to such acts.
Hence, both genres are related in their exploration of
the nature of good and evil and, consequently, eminently capable of
spurring existential discussions about the role of humankind and our
power to influence our surroundings. They both question the essence of
the status quo and yield different answers to such essential questions
as the nature of personal identities, values, beliefs, and worldviews.
Obviously, since they both allow a critique of contemporary society, it
is, then, very relevant to ask why one genre is more popular than the
other in Scandinavia.
This course will attempt to answer the questions raised
above, and more. It will, furthermore, include an examination of the
origins of science fiction and the crime literature genre in a broader
historical perspective, drawing on British and American texts and
theories.
Through the reading of a variety of novels and short
stories, as well as viewing of films, the course aims to heighten the ability
of the students to engage in analytical and critical thinking, voice
coherent argumentation, explore, examine, reason, and write academic
essays.
The investigation of human issues is relevant to all
literature courses; science fiction and crime literature is particularly
relevant in its enquiry into human nature for better and worse, and this
course will focus on the particular Scandinavian response to the
above-mentioned questions as portrayed in two popular culture genres.
Materials
A Reader
will be prepared for the class, containing excerpts from books
that need not be purchased.
The following books should be purchased, either from
Underground Textbook Exchange, or Amazon.com.
Harry
Martinson Aniara, 1953 (Swedish)
Karin Boye: Kallocain, 1940 (Swedish)
Anders Bodelsen Freezing Down, 1969 (Danish)
Sam J. Lundwall No Time for Heroes,
1971 (Swedish)
Henrik Stangerup The Man Who wanted to be guilty, 1982
(Danish)
Liza Marklund:
The Bomber, 1998 (Swedish)
Karin Fossum: Don't Look Back, 1996 (Norwegian)
Stieg Larsson: The Girl with the Dragon Tattoo, 2005
(Swedish)
Arnaldur Indridason:
Jar City, 2005 (Icelandic)
Henning Mankell: Sidetracked, 1995 (Swedish)
Sjowall and Wahloo: The Laughing Policeman, 1968
(Swedish)
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Syllabus (liable to change!)
Week 1:
Introduction to class
ppt
Utopias and Dystopias, purpose and expression
Thomas More Utopia, 1516, excerpts
ppt
Jonathan Swift Gulliver's Travels, 1726, excerpts
Ludvig Holberg Niels Klim's Journey to the World Underground,
1741, excerpts
ppt
Week 2:
Defining science fiction and establishing it as a genre.
Samuel Butler Erewhon, 1872, excerpts
ppt
Harry Martinson Aniara, 1953
Jean Baudrillard, Simulacra and Science Fiction, 1991, article
ppt
Week 3:
Technology and Warfare
George Orwell 1984, 1949, excerpts
ppt
Karin Boye Kallocain, 1940
ppt
Week 4:
Humanity and Survival
Anders Bodelsen Freezing Down, 1969
ppt
Sam J. Lundwall No Time for Heroes, 1971
ppt
Week 5:
Female and Male perspectives
Dorrit Willumsen The Creation of Bianca, 1981, short
story
ppt
Henrik Stangerup The Man Who wanted to be guilty 1982
ppt
Week 6:
Futuristic Societies
Philip K. Dick Do Androids Dream of Electric Sheep, 1968,
excerpts
ppt
Svend Aage Madsen See The Light of Day,1980, excerpts
pptx
ppt
Week 7:
Summing up: science fiction in Scandinavia.
ppt
First response due
Moving into Crime Literature: a brief history of the genre
Edgar Allan Poe, The Murders in Rue Morgue, 1841, short story
ppt
Week 8:
The history of Crime Fiction Continued
Arthur Conan-Doyle, The Adventure of the Speckled Band, 1892,
short story
Dorothy L. Sayers, The Necklace of Pearls, 1932, short story
ppt
Liza Marklund The Bomber, 1998
ppt
Week 9:
Karin Fossum Don't Look Back, 1996
ppt
Michel Foucault: Discipline and Punish, 1975, excerpts
from article
Raymond Chandler The Big Sleep, 1939, excerpts
ppt
Week 10: Crime fiction in movies:
Movie: The Big Sleep (dir. by Howard Hawks, 1946) 116 min,
Depictions: Comparison of book and movie
Second Response Due
Week 11: The Postmodern Crime Story, Stieg Larsson: The
Girl with the Dragon Tattoo, 2005 (Swedish)
ppt
Movie: Nightwatch (dir. by Ole Bornedal, 1994 ) (Danish /
American)
99 min
Week 12: Movie: Nightwatch (dir. by Ole Bornedal, 1994 )
(Danish / American) 99 min
Taking over: Henning Mankell Sidetracked, 1995 (Swedish)
Week 13: Movie: Insomnia (dir. Erik Skjoldbaerg, 1997)
(Norwegian), 97 min.
Movie: Insomnia (dir. Erik Skjoldbaerg, 1997) (Norwegian), 97
min.
Peer editing of essay, in class.
Week 14: Darkness in Iceland
Arnaldur Indridason Jar City, 2005 (Iceland)
Movie: Jar City (dir. by Baltasar Kormakur, 2006) 95 min.
Essay Due
Week 15:
Movie: Jar City (dir. by Baltasar Kormakur, 2006) 95 min.
Coming Full Circle
Maj Sjoewall and Per Wahloo: The Laughing Policeman, 1968
(Swedish)
Conclusion about crime literature
Final exam: The final exam will consist of writing an essay. You will be given topics from which to choose.
The final essay is due on the last day of classes. |
Grading:
| Essay: |
25 % |
| Responses: |
25 % |
| Group Presentation: |
25 % |
| Final Exam: |
25 % |
Participation:
Active
participation is crucial for you to benefit from this class.
An involved and enthusiastic attitude is
conducive to the best kind of learning, and in this class I
encourage you to question the readings and participate in
class-discussions.
It is essential that
you have finished the assigned readings and come to class well
prepared for discussions.
Writing
is also an integral part of this class, and you will hand in
three writing assignments during the semester.
Essay:
You will be asked to write one analytical essay 3-4 pages long.
The essay should be argumentative, contain a strong thesis, and
include the use of sources. Topics for writing will be provided.
Time will be spent peer-reviewing in class.
Responses:
You will be asked to write two literary reviews each 1-2 pages
long. These are formal writing assignments containing a thesis,
a body, and a conclusion. However, they are based on your
personal response to one or more of the readings and do not
require outside sources.
Questions for formal and final essay.
Presentation:
In groups of 4, you will be asked to prepare a 15-30 minute group presentation to
the class about one of the texts read during the course. You
may choose any aspects of the text for this, and you may
organize your presentation as you wish.
You may prepare a lecture, a power point lecture, show clips /
excerpts from movies, use additional readings etc.
Following your presentation, you should be prepared to lead a class discussion.
You may also choose to divide the class into smaller groups for
a discussion prior to the whole-class discussion.
After your presentation, please hand in a sheet of paper with
the outline for your presentation, any power point slides you
may have used, and the names of the group members.
A sign-up sheet for the presentations will be circulated during
the second class, so think about your preference ahead of time.
Plagiarism :
You commit plagiarism:
- if you fail to acknowledge the sources of any information in your paper
which is not either common knowledge or personal knowledge;
- if you fail to acknowledge direct quotation either by using
quotation marks when quoting short passages or indention when
quoting longer passages;
- if you too closely paraphrase the original words of
your source;
- if you take, buy, or receive a paper written by someone else
and present it as your own;
- if you use one paper for two different courses, or re-use a
paper previously submitted for credit, without the prior
approval of both instructors.
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Links: For information about Scandinavia, please visit
the following site:
http://www.stolaf.edu/depts/norwegian/nordic/
Here, you can find a number of useful links directing you to
an abundance of useful information about the Scandinavian
Countries.
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Contact:
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Nete Schmidt |
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1368 Van Hise
262-2128
aschmidt2@wisc.edu
Office Hours:
T and R 12-1 pm
and by appointment |
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