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Seminar in Literature
Spring 2016
Dr. Sheila Liming
Office: Merrifield 1B
Course Description

Office hours:
MWF 10 am – 12 pm,
and by appointment
Office hours:
MWF 10 am – 12 pm,
and by appointment

“Whether it be in the form of a videogame or a musical,” observes critic Linda Hutcheon,
“an adaptation is likely to be greeted as minor and subsidiary and certainly never as good as the
‘original.’” This course, which surveys a variety of examples of narrative adaptation (stories
adapted from text for additional media formats, like film), seeks to get at the heart of Hutcheon’s
comment. Why do we tend to see the book as “better than the movie”? What qualities and
considerations – like authorship, context, interiority, aesthetic, and style – inform our preference
for one version of a text over another?
In this course, we will collectively assess a range of narrative adaptations in a variety of
media formats. We will study, for instance, supposedly “faithful” filmic adaptations, working
from original literary sources to understand how films like Trainspotting (1996) and Gone Girl
(2014) adapt aspects of their stories in order to appeal to different audiences. Likewise, we will
consider how some directors take liberties in interpreting their literary source material, studying
how auteur filmmakers translate literary works to the screen. Our studies of narrative adaptation
will not be confined to books and movies, though. In the second half of the course, using the
Nazi Holocaust and World War II as a primary case study, we will work through a range of
narratival adaptations that will include young adult literature, film, videogames, graphic novels,
and music. In doing so, we will be crafting a web of connections between texts like Anne
Frank’s Diary of a Young Girl and Neutral Milk Hotel’s hit underground album In the Aeroplane
Over the Sea, or between Art Spiegelman’s graphic novel Maus and Theodor Adorno’s elegiac
philosophical text Minima Moralia. Our explorations in this vein will be underscored by
theoretical and critical readings that investigate the nature of adaptation and its associated forms,
including para- and intertextuality, satire, sequel, and translation.
Course Objectives

To provide students with an introduction to touchstone works of twentieth century literature.

To familiarize students with the process of reading and writing closely in the immediate context
of such touchstone literary works.

To professionalize and train students for advanced work within the literary arts curriculum.

To impart processes of close reading, close writing, and attentive research as preparation for
advanced coursework in literary or communicational study.

To encourage multimodal thinking in both the consumption and construction of written texts, and
to hone students’ skills in both writing and creating textual artifacts.

To establish standards for academic discourse and participation through in-class discussion, peer
evaluation, and collaborative assignments.

To model a process of critical textual investigation, and to permit students the opportunity to
practice applying a variety of critical and theoretical approaches to the interpretation of textual

To encourage students to consider narrative in the context of mediation, and to survey narrative
and storytelling broadly across a landscape of digital and new media methods.

Required Texts
[to be purchased]
Adorno, Theodor. Minima Moralia. New York: Verso, 2006. Print.
Delillo, Don. White Noise. New York: Penguin, (1984) 2009. Print.
Flynn, Gillian. Gone Girl. New York: Penguin (2012) 2014. Print.
Freud, Sigmund. Dora: An Analysis of a Case of Hysteria. New York: Simon and Schuster
(1901) 1997. Print.
Spiegelman, Art. Maus. New York: Pantheon, 1986. Print.
Schlink, Bernhard. The Reader. New York: Vintage, 1997. Print.
*** NOTE: Schlink’s The Reader is not available via the UND Bookstore and should be
purchased separately ***
Thomas, D.M. The White Hotel. New York: Penguin, 1993. Print.
Ullman, Ellen. By Blood. New York: Picador, 2012. Print.
Welsh, Irvine. Trainspotting. New York: Norton (1993) 1996. Print.
[available on Blackboard]
Barthes, Roland. “From Work to Text.” Image, Music, Text, tr. Heath. New York: Hill and
Wang (1977): 55-65. Print.
Bay, Robert B. “The Field of ‘Literature and Film’.” Film Adaptation, ed. Naremore. New
Brunswick, NJ: Rutgers UP (2000): 38-53. Print.
Bazin, André. “Adaptation, or the Cinema as Digest.” Film Adaptation, ed. Naremore. New
Brunswick, NJ: Rutgers UP (2000): 19-28. Print.

Benjamin, Walter. “The Work of Art in the Age of Its Technological Reproducibility.” The Work
of Art in the Age of Its Technological Reproducibility and Other Writings on Media.
Cambridge, MA: Belknap (2008): 19-55. Print.
---. “The Task of the Translator.” Illuminations. New York: Schocken (1968): 69-83. Print.
Hutcheon, Linda. “Beginning to Theorize Adaptation.” A Theory of Adaptation. New York:
Routledge (2006): 1-32. Print.
Jameson, Frederic. “Afterword: Adaptation as a Philosophical Problem.” True to the Spirit:
Film Adaptation and the Question of Fidelity, ed. MacCabe. New York: Oxford UP
(2011): 215-233. Print.
Kittler, Friedrich A. “Film.” Gramophone, Film, Typewriter, tr. Winthrop-Young and Wutz.
Stanford, CA: Stanford UP (1999): 115-182. Print.
Patterson, Shelagh. “Universalizing a Nation and the Adaptation of Trainspotting.” True to
the Spirit: Film Adaptation and the Question of Fidelity, ed. MacCabe. New York:
Oxford UP (2011): 131-141. Print.
Sanders, Julie. “What is Adaptation?” Adaptation and Appropriation. New York: Routledge
(2005): 17-25. Print.
Stam, Robert. “Beyond Fidelity: The Dialogics of Adaptation.” Film Adaptation, ed. Naremore.
New Brunswick, NJ: Rutgers UP (2000): 54-77. Print.
Assignments and Grading
Reading Responses: short, written responses that offer claims about the assigned reading and
[15 pts. each]
ask strategic questions about it (250 words total)
Paper I: Adapting for Popular Audiences (Flynn / Welsh)
[80 pts.]
Minima Moralia Film Shorts Assignment
[120 pts.]
Précis [20 points]
Film [100 points]
Paper II: Final Paper
[100 pts.]
Course Participation
Mid-semester [50 pts.]
Final [50 pts.]

Course Policies and Procedures
Since this is a discussion-based course, attendance is mandatory. Students in upper-level and
graduate courses should view course attendance as part of the job of being a student;
missing class should only happen under rare and exceptional circumstances, much like missing a
day of work.
You are allowed two absences without penalty— following your third absence, your grade in the
class will begin to drop by a half-a-letter grade per absence (5% of your total grade). Plan ahead
if you think you might miss class for religious holidays or for other scheduled events. I do not
distinguish between excused and unexcused absences. You are allowed two absences – be they
excused or unexcused – before your grade begins to decrease, unless other special
arrangements have been made with me ahead of time.
If you have extenuating circumstances significantly affecting your attendance throughout the
semester (such as an illness or a family emergency), please get in touch with me so we can
discuss your specific situation. If you miss more than the allotted days due to such extenuating
circumstances, we will discuss whether it’s prudent for you to continue in the course.
Late Arrival
Arrive on time. You will not receive an A in this class if you do not arrive on time. Lateness not
only disrupts the class but also demonstrates disrespect for your peers and for your instructor. If
you are more than 15 minutes late to class, you will be marked absent for that day.
Class Participation
This course depends upon the participation of its members. Participation, which includes both
classroom involvement and physically being in class, makes up roughly 20% of your total grade.
While your class participation grade falls to my discretion, there are several steps you can take to
ensure you achieve a satisfactory grade:

Come to class prepared, with a hard (physical) copy of the required reading.
Since laptop use is prohibited in class, it is essential that you print bring a hard
copy of the required reading to class every day. When .pdf readings are provided
on Blackboard, it is your responsibility to print those readings out and bring them
with you to class. Failure to do so will result in the loss participation points;
additionally, failure to do so may affect any in-class writing assignments, quizzes,
or exercises that require the text in question.

Be prepared to participate; plan to participate. You should anticipate contributing
to course discussions on a regular basis. This means that you must both be
prepared (having done the required assignment or reading) and must formulate
and offer contributions to the discussion on a regular basis (at least once a

Be courteous toward your peers. When you raise disagreement in class – either
with the instructor or with your peers – try to do so respectfully. Articulate your
reasons and grounds for disagreement and direct them towards an idea, rather
than a person. Failure to show adequate respect towards your peers or towards
your instructor may result in your being asked to leave the classroom. Such a
request will, in turn, affect my assessment of your class participation, and
possibly your attendance record as well.

Keep in mind that participation will be assessed twice throughout the semester –
at the mid-semester point, and once again at the end.

Scholastic Honesty, Plagiarism, and Cheating
At the University of North Dakota, we believe in the excellence of our students and in the
integrity of our academic programs. We also believe that your good ideas become better when
you test them against the ideas of others. So for this course, feel free to discuss your ideas about
the major writing assignments with other students. Collaborating on question/answer homework
assignments or open-book quizzes, however, is not acceptable; these types of assignments are
designed for me, your instructor, to monitor how you are handling specific parts of the course
material. Blatantly taking someone else’s words, ideas or concepts, and using them without
citing your source is plagiarism. So is using another student’s essay, or part of his or her essay,
as your own. In the world of writing (academic writing especially), this is a serious crime, and is
treated as such. Anyone who uses non-documented material from another source, including
online sources, will receive a failing grade for the entire course and will be referred to university
administrators for possible further disciplinary action.
These policies are concurrent with the University of North Dakota’s policies regarding scholastic
honesty. For more information about these policies, please refer to the “Scholastic Honesty”
section of the Undergraduate Academic Information materials available online at
All final versions of essay assignments will be submitted to Blackboard, which runs digital
comparisons of submitted assignments in order to identify possible cases of plagiarism. For this
reason, you must submit final versions of papers to Blackboard. You may additionally submit
versions of your assignment through other electronic means (via email, for instance), but if you
fail to submit your paper to Blackboard, it will be treated as late, and lateness penalties will
In this course, we will talk about the differences between plagiarism and the misuse of sources. If
you have any questions regarding the appropriate use of source material (readings, critical
opinions, or supplemental research), please feel free to ask me. In my experience, those students
who plagiarize are also those who feel overwhelmed by the assignment and thus compelled to
use someone else’s work as their own. If you get so frustrated with an assignment that you feel
like your only option is to plagiarize, come see me. My role as a teacher is to help students, not
to punish them— please use me as a resource to help you write, brainstorm, or work out
assignments and essays.

General Guidelines for Submitting Assignments
All papers submitted in this class – including short, type-written homework responses
(“Reading Responses”) – must comply with Modern Language Association (MLA) guidelines
and citation rules. This means that you must provide MLA compliant documentation for the use
of additional sources, including:

a Works Cited page, providing correct bibliographic information for each source
cited, quoted, or consulted in your paper

correct in-text citations for each source cited, quoted, or consulted in your paper

If you are unsure of MLA guidelines, I suggest you either consult or purchase a current
MLA Style Guide, or consult the following online source:
The Online Writing Lab (OWL) at Purdue University
website !

In addition to proper citation,

All papers, including short response assignments, must be typed, double-spaced, with 1”

All papers completed as homework – including “Reading Responses” – must be
digitally submitted via Blackboard, unless otherwise specified.

Include page numbers on all assignments longer than one page.

Carefully edit and proofread all texts to eliminate problems in grammar, spelling, and

Digital copies of all final papers must be cleanly edited and readable. This means that
you must remove all digital comments/suggestions, including highlighted or underlined
text, and including all comment balloons.

Spell-check your documents.

Documents that do not meet these and other assignment-specific requirements will not be
All written assignments must be submitted on the due date, and missing the class when the
assignment is due doesn’t mean your assignment isn’t late. Turning in an assignment on time is
part of doing the assignment, and late work will be penalized, regardless of how well it’s
Lateness penalties are as follows:

Papers and assignments. For every day – that is, every day of the week, and not every
class period – that a paper or homework assignment is due, your final draft will lose two

Midterm and final papers/projects. For every day that a midterm or final paper/project is
late, you will lose five points.

Daily assignments. All late assignments may receive a maximum of half-credit (50%),
regardless of how late they are.

Cell Phones, Laptops, etc.
Students are expected to participate and be engaged in class discussion. Therefore, students are
required to silence or turn off cell phones before coming to class (there is, quite obviously, to be
no text messaging during class). All laptops must remain closed unless you have made prior
arrangements with me and have demonstrated that using a laptop is necessary for your learning.
Campus Resources
If you have a learning disability that could impair your progress in this course, please contact
Disability Services. Students are encouraged to register through Disability Services in order to
receive recommendations for learning accommodations.
Disability Services
McCannel Hall Room 190
We can arrange to accommodate your learning style based on DS recommendations. Please
notify me at the start of the semester if you have specific needs, or if Disability Services has
provided you with a Verification of Needs for Disability Accommodations.
Writing Help
All students are encouraged to take advantage of UND’s Writing Center to receive help in
preparing writing assignments.
To make an appointment or speak with a tutor, visit their website, or the visit the Writing Center
UND Writing Center
Merrifield Hall Room 12

You can reach me via email, office phone, or a note in my mailbox in Merrifield Hall. The best
way to reach me, of course, is through email – I check it frequently and, while I cannot guarantee
an immediate reply, it is certainly the fastest way to get in touch.
If you have questions about the policies of this class, review the syllabus first, and then make
an appointment to speak with me.

Course Schedule
January 13

DUE: Sanders, “What is Adaptation?” [BB]
Introductions; course overview; discuss Sanders’ guidelines
for adaptation

Unit I: Theorizing Adaptation; Critiquing Adaptations
January 20
DUE: Flynn, Gone Girl
+ Reading Response 1 (submit to Blackboard)
January 25
January 27

SCREEN: Gone Girl (2014), 4 PM (Location TBA)
DUE: Hutcheon, “Beginning to Theorize Adaptation”;
Barthes, “From Work to Text”; Benjamin, “The Work of
Art …” [BB]

February 3

DUE: Welsh, Trainspotting
+ Reading Response 2

February 8
February 10

SCREEN: Trainspotting (1999), 4 pm (Location TBA)
DUE: Bazin, “Adaptation, or the Cinema as Digest”;
Jameson, “Adaptation as Philosophical Problem; Patterson,
“Universalizing a Nation and the Adaptation of
Trainspotting” [BB]

February 17

DUE: Paper I: Adapting for Popular Audiences (Flynn /
Welsh); Kittler, “Film” [BB]

Unit II: Mediation, Translation, and Adaptation –
The Nazi Holocaust as a Case Study in Adaptation
February 24
DUE: Frank, Diary of a Young Girl [BB];
Neutral Milk Hotel, In the Aeroplane Over the Sea
! listen to the whole album: YouTube link
! read the album lyrics wiki: Wiki link
In-class: screen Night and Fog (1955)
March 2

DUE: Spiegelman, Maus + Reading Response 3
Adorno, Minima Moralia
I. Dedication
13. Protection, help & …
2. Grassy Seat
17. Proprietary rights
4. Final Serenity
18. Refuge for the Homeless
5. How nice of you, Doctor 24. Tough baby
6. Antithesis
25. To them no thoughts …

March 9

DUE: Freud, Dora
Adorno, Minima Moralia

33. Out of the firing line
35. Back to culture
37. This side of the …
39. Ego is Id
40. Always speak …
46. On the morality of …
50. Gaps
67. Unmeasure for …

69. Little folk
70. Uninformed opinion
71. Pseudomenos
72. Intellectus sacrificium …
80. Diagnosis

Introduce Minima Moralia video shorts assignment
March 14 – 18
March 16

NO CLASS: Spring Break
DUE: Minima Moralia film shorts assignment: Précis
[See Assignment Sheet, Step 3]

March 23

DUE: Thomas, The White Hotel
Adorno, Minima Moralia
104. Golden Gate
126. IQ
105. Expiry
136. Exhibitionist
113. Spoilsport
149. Don’t exaggerate
116. Just hear …
153. Finale

March 30

DUE: Ullman, By Blood
In-class lab time for editing film shorts
NOTE: you should have finished filming material for your
Minima Moralia film shorts assignment by this date, and
should have imported that material to your computer and
saved it to an accessible drive before the start of class – see
Assignment Sheet for details

April 6

DUE: Minima Moralia film shorts
Present / discuss film shorts in class

April 13

DUE: Schlink, The Reader + Reading Response 4

April 18
April 20

Screen: The Reader (2008)
DUE: Stam, “Beyond Fidelity”; Ray, “The Field of Film
and Literature”; Benjamin, “The Task of the Translator”

April 27

DUE: Delillo, White Noise + Reading Response 5

May 4

DUE: rough drafts of final papers
Present / discuss final papers in class
Complete course evaluations

Assignment Instructions: Paper I

[80 pts.]

In the first few weeks of this course, we’ve been concentrating on the theory behind the most
common type of modern narrative adaptation: the transformation of print texts into motion
picture films. We’ve reviewed two case studies in connection with this unit, Gillian Flynn’s
novel Gone Girl and its filmic counterpart, and Irvine Welsh’s Trainspotting and its filmic
For this paper, select one of these pairs of texts, concentrating either on Flynn’s novel /
Fincher’s film, or on Welsh’s novel / Boyle’s film. Prepare a 6-10 page paper that offers a
comparison between the text and film that you have chosen while drawing on at least one
critical or theoretical text from our course readings so far. You should use these critical or
theoretical texts to help bolster an argumentative interpretation of the text/film comparison you
have chosen to focus on in your paper.
Some questions to guide your thinking for this paper / possible areas of focus:

How does [novel x] appear to construct expectations of audience? How does the
film adaptation of this novel appear to alter, challenge, or broaden those

How do the characters in the novel compare to those portrayed in the film

What political messages, themes, or meanings are present in [novel x]? Are these
themes and messages also present in the film version?

How would you characterize the author’s narrative style in [novel x]? How does
the director’s style compare in the film version? In either case, what does style do
to develop the plot, themes, characters’ motivations, etc.?

Survey reviews of both the novel and the movie. What do these reviews indicate
about audiences’ responses to these two texts? Are those responses comparable,
or do they appear to differ?

Your paper should include the following:

a clear thesis sentence, structured around a plausible claim concerning the
comparison of these two texts

a “map” sentence, in which you outline your major “talking points” for the paper

a discussion of the “stakes” of your argument (i.e. why does your argument
matter? What kinds of larger arguments, considerations, critical angles, etc. does
it relate to?)

a Works Cited page, containing a minimum of three entries for the works you cite
and quote from in your paper

Assignment Instructions: Minima Moralia film shorts

[120 pts.]

Throughout this unit, we’ve been surveying narrative accounts of World War II, and of the Nazi
Holocaust in particular. Theodor Adorno’s Minima Moralia, which he wrote while living in exile
in the United States, contributes to this canon of narrative texts, though in a very different way.
Adorno’s style in Minima Moralia combines political theory and philosophy with narrative
prose, personal history and, arguably, poetry. And the question that we, as a class, will consider
in the context of this assignment is this: what kind of a narrative, if any, does this text offer us?
To get at the heart of this question, this assignment asks you to do some adapting and
translating of your own.
Select one of the vignettes from Adorno’s Minima Moralia and, with a partner, prepare a
short film that summarizes Adorno’s statements and / or presents the essence of his messages
and ideas from this particular vignette. Your finished film short should be no longer than 3
minutes in length and, rather than rehashing Adorno’s words verbatim, should offer a creative
interpretation of his ideas in a manner that is, in Bazin’s words, “true to the spirit” of
Adorno’s writing.
Step 1

Find a Partner

Step 2

Select a Vignette
Select a vignette from Minima Moralia. Claim your vignette by logging on
to our class Blackboard site and adding your name to the “Minima
Moralia Wiki” (left-hand toolbar)

Step 3

Write a Précis [20 points]
Prepare a written précis of your plans for your short film. A précis is a
summary of a text or speech that is written prior to the preparation of the
text/speech itself, similar to an abstract. Your précis should be about 2-pp.
in length and should include the following:

a summary of your concept for the film: state the vignette you’ve
chosen to focus on, the key ideas or arguments expressed in it, and
how you plan to translate / represent these ideas in your film
samples of dialogue you want to capture (lines from the text,
additional dialogue written for the film, conversations you intend
to film, etc.)
a list of scenes, shots, or possible filming locations
a list of any “found footage” you are considering including
a list of other people (if any) that you plan to include in the film
(aside from yourself and your partner)
a discussion of methods and techniques – for example:
- Will you be including live dialogue, or do you plan to
record separate, voice-over narration?

Step 4

- Will you include any on-screen text? If so, what, and how
- Will you incorporate music / non-diagetic sound? If so,
what kind, and from what sources? Keep in mind that
music may be subject to copyright, and detail your plans
to work within the statutes of that copyright, where
a statement of the overall argument / message of the film, and a
discussion of how this “message” itself relates to or stems from
Adorno’s original text
a working list of credits – credits will appear at the end of your
film and should include the names of anyone who contributes to it
and citations and references (for text, music, images, etc.)

Schedule Filming / Reserve a Camera
I will have a couple of cameras reserved for your use for nine days,
from March 21 – 29. You and your partner should schedule a time to do
some filming and then sign up to check out a camera.
*** Note ***
You will need to check out / reserve a camera by signing up on the
Camera Check-Out Wiki page (on our Blackboard site: left-hand toolbar).
Cameras should be checked out for no more than three hours at a time,
and should be returned promptly at the time specified.

Step 5

Export Your Footage
Before returning the camera to me, you’ll need to export your footage and
save it to a computer. Do this by connecting the HDMI cable to both the
camcorder and your computer and then follow the steps to export the file.
You’ll then need to save the footage to either a flash drive / external hard
drive, or to a cloud-based digital drive (GoogleDrive, DropBox, etc.) so
that you can access it later.

Step 6

Import Your Footage to Adobe Premier Pro
Before coming to class on Wednesday, March 30, you’ll need to import
your footage to Adobe Premier Pro and save your project as a Premier
file. To do this, follow these steps:

go to a lab on campus that has the Adobe Creative Suite software
(the student lab in the basement of the Memorial Union does)

connect your flash drive, or access your cloud-based drive and
download the file to the desktop of the computer you’re working

open Adobe Premier Pro

create and save your project (File ! Project)

import your file(s) (File ! Import)

Step 7

if you are using any found footage (from YouTube, etc.), you’ll
also want to download and import that footage at this time

Edit Your Film Footage
Once you have imported any and all footage to your Premier Pro project
file, that footage will appear as separate files in the bottom-left window of
the project browser. Double-clicking on a given file will bring it up in the
editing pane (top-left); the overall film / project sequence will appear topright in the sequence pane.

[Editing Pane]

[Imported Files]

[Film / Sequence

Editing Pane]

You can edit and cut film footage in the Editing Pane at top-left by
inserting markers
a and then clicking / dragging the footage into
the Sequence Editing Pane, arranging them on different tracks in order
to create different sequences.
We’ll explore other editing techniques in class. But I highly recommend
getting a head-start on the editing process by consulting this handy tutorial
Step 8

Export Your Completed Video [100 points]
You’ll need to export and save your completed film short as an MPEG4 /
MP4 file prior to coming to class on Wednesday, April 6. Then, be
prepared to present your completed video in-class with your partner,
walking us through the choices you made in creating it.
You should upload your completed video file to Blackboard under the
appropriate assignment heading.

Assignment Instructions: Paper II: Final

[100 pts.]

Over the course of the semester, we’ve been engaging the topic of narrative adaptation through
case study evaluations. Throughout Unit II, in particular, we’ve been focusing on narratival
accounts of an actual historical event – the Nazi Holocaust / World War II – in order to
conceptualize the many ways in which narratives of this kind may be constructed, and the myriad
meanings and interpretations that may result from that construction. For your final paper, select a
narrative account of the Nazi Holocaust / World War II to use as a case study, and then
prepare an 8-10 pp. paper analyzing and interpreting this text in the context of narrative
You may select from the following case study texts:
graphic / young adult novels:
DeLillo, Don. White Noise.
Frank, Anne. Diary of a Young Girl.
Schlink, Bernard. The Reader.
Spiegelman, Art. Maus.
Thomas, D.M. The White Hotel.
Ullman, Ellen. By Blood.
Neutral Milk Hotel, In the Aeroplane Over
the Sea.
Daldry, Stephen, dir. The Reader (2008)
Resnais, Alain, dir. Night and Fog (1955)
OR, you may select another narrative account of the Nazi Holocaust to serve as your case study.
The Nazi Holocaust, along with the related events of World War II, constitutes one of the
defining “stories” of twentieth-century culture, particularly in the West. The result is that there
are literally thousands of narrative accounts dealing with these historical events, and you are
welcome to select from among them so long as you clear your choice with me first!
In addition to your chosen case study, you are also required to incorporate at least one
secondary text from our course reading. These secondary texts include any works of theory or
criticism that deal with the ideas of narrative adaptation, appropriation, modification, etc.
Your final paper should accomplish the following:

it should offer a clear argument about the case study text that you have chosen to
work with. In particular, it should argue how, or in what ways, the text in question
adapts the “story” of the Nazi Holocaust / World War II.

it should offer a clear connection between your chosen case study text and a
secondary text (criticism / theory) from our course reading; it should develop the
connection between these two texts through thorough investigation, interpretation,
and analysis.

it should also refer to other narrative examples from our course readings. How
does your case study compare to the other “stories” about these historical events?