Norton Anthology Of World Literature - Volumes D E F Pdf

[Curtis Cassel]

Ledby Martin Puchner of Harvard University, the editors of the Fourth Edition (2018) are experienced classroom teachers as well as accomplished scholars. For help in selecting the best texts and translations and revising the editorial apparatus for the twenty-first-century classroom, the editors solicited the advice of more than 500 world literature instructors and expert counsel from a world-class team of regional specialists. The result is an anthology that a scholar can respect, that a teacher can assign with confidence, and that students can read and study with pleasure.

The Fourth Edition of the most trusted and widely used anthology of world literature retains and expands the most popular works from the last edition, while refreshing the anthology with new selections and new translations of major works. As always, the Norton provides hundreds of literary selections, helpful apparatus, beautiful illustrations, and a robust suite of digital resources.

The Norton Anthology of World Literature represents continuity as well as change. Like its predecessor, the anthology is a compact library of world literature, offering an astounding forty-three complete longer works, more than fifty prose works, over one hundred lyric poems, and twenty-three plays. More portable, more suitable for period courses, more pleasant to read, and more attuned to current teaching and research trends, The Norton Anthology of World Literature remains the most authoritative, comprehensive, and teachable anthology for the world literature survey.

Read by millions of students since its first publication, The Norton Anthology of World Literature remains the most-trusted anthology of world literature available. Guided by the advice of more than 500 teachers of world literature and a panel of regional specialists, the editors of the Third Edition--a completely new team of scholar-teachers--have made this respected text brand-new in all the best ways. Dozens of new selections and translations, all-new introductions and headnotes, hundreds of new illustrations, redesigned maps and timelines, and a wealth of media resources all add up to the most exciting, accessible, and teachable version of "the Norton" ever published.

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She is so focused she often does not respond the first time we call her name. She looks like a Talmudic scholar poring over the tractates or a mathematician straining to divine the mystery buried deep in a differential calculus equation. She maintains the same body position for hours. She is my daughter, and she is playing Sims on her new iPad mini.

That she is playing a game means that she is not reading a book. Oh, she could read a book on her iPad, of course, but so far, she has chosen not to do so and we, her parents, have chosen not to push her.

My daughter, who just turned eleven, has not turned into the kind of reader that I hoped she would have. She is not the sort of kid to open a book and lounge on the couch for hours engrossed in fictional fantasy.

Of a Fire on the Moon offered me a great many rewards, and I recommend it to any reader interested in the NASA space program or the history of human exploration or the American zeitgeist during the 1960s and 70s.

Looking back on my reading list for 2012, I read twenty books. This is about average for me and, as I noted in a previous post, this is not an impressive number to some readers. However, considering the myriad demands of my life, I can live with it.

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Of course, one cannot teach the entire history of world literature in eleven weeks, yet that is, in a sense, what I am charged with each time I am assigned to teach the world literature course at our college.

Readers of this blog might well remember that I previously mentioned using the Norton Anthology of World Literature as our textbook. In that post, my concerns had more to do with the physically cumbersome nature of the book than the weightiness of the content between the covers. Now, having just completed another iteration of teaching GE4455, Literature, I have literary selections on my mind.

Despite the fact that my college is corporately owned and publically traded, and that we are in obeisance to a cabal of major shareholders, I have enjoyed near total autonomy over pedagogical decisions. Aside from the fact that the course competencies are delivered unto us from the corporate office in Pittsburgh, my colleagues and I have a say in the textbook we use, and we have enjoyed total control over how we deliver the course content.

However artificial such historical constructs are, as an instructor, I found them incredibly useful for selecting course readings. Though somewhat arbitrary, I could use the six historical sweeps to organize my eleven-week course by selecting two readings from each sweep, twelve readings in all. This number of readings, twelve, seems to be the number of readings my colleagues and I have settled upon for, no matter the combination of short and long selections, it is difficult to imagine my students reading more than twelve readings during the term (many of them do not) and it is difficult to imagine covering more than twelve readings myself.

The most recent edition of the Norton Anthology is no longer divided into sweeps, and this, then, presents the instructor with a bewildering array of considerations without the same editorial guidance. Among these, one must ponder how to offer a reading list that covers as many cultural perspectives as possible across the broadest range of genres. But no longer are we directed to make choices based upon clearly delineated historical periods.

In these days of learner-centered education, readers might be tempted to suggest that a progressive instructor should entreat students to choose the readings themselves. I have tried that approach. While I still believe that it has its merits, I have also discovered that is poses a number of challenges. Most importantly, it requires that an instructor possesses a good working knowledge of all 93 literary selections and a curriculum that is flexible enough to execute such an approach on short notice. A second consideration is that the very stakeholders who know least about how to pair reading selections, i.e. the students, are the ones charged with making these choices.

Back to choosing the reading list myself, I am stuck with the same erstwhile dilemma: what to read and what not to read? Should we begin, (and how should we presume?) as we so often have, by reading Gilgamesh, arguably the oldest known literary work, and thereby examining the fertile soil out of which grew the entire literary tree? If so, what to do after that? Since many of the most important early literary works were religious texts, it would seem appropriate to cover some of those, but which ones? If I assign Suras from the Koran but do not assign chapters from the Torah or the New Testament, what message does that send? And how does one offer an eleven-week literature course without assigning Hamlet? How do I tell a hawk from a handsaw?

About the only solution that I have been able to come up with is to tinker with the reading list from quarter to quarter and continue to experiment with combinations and pairings that, through their juxtaposition, might ignite our discourse or instigate thoughtful responses.

What convincing rationale might I offer for the above list? There is none. While there are reasons why I have chosen each of the twelve readings above, I do not know that I can make a case that this is the best twelve, for to do so would be to suggest that such a claim could be made. It cannot. The best I can do is argue that this list has worked, and does work, well, for our students, in these times, but that is not to say that there are not other, equally valuable, combinations. In fact, there are over 400 trillion possible combinations of twelve readings.

I chose Gilgamesh because it is recognized as the oldest literary work, and because its powerful tale still manages to resonate some 4500 years after it was written. It also enables us to examine an early writing system, cuneiform and, by implication, the relative value of written forms of expression versus oral forms. After Gilgamesh, the literary selections spread in an ever widening gyre over the globe.

Operating under the assumption that I ought to select some religious works, I chose the Bhagavad-Gita and The Koran, over the other options, because they are generally the least well known to my students, but each work has its merits.

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