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History: E212_Syllabus

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<h3><div align="center">
SYLLABUS FOR E212 BRITISH LITERATURE SINCE 1760, CSU FULLERTON SPRING 2011 (1/28/11)
</div></h3>

<p align="center">Image </p>

<p align="center"><strong>Email | Home | Syllabus | Policies | Questions | Presentations | Journals | Paper | Final | Blogs<br />Audio | Guides | Links | CSUF Library | CSUF Catalog | CSUF Calendar | CSUF Exam Schedule</strong></p>


<h3 align="center"><font color="#7800A7">BASIC INFORMATION</font></h3>

<p><strong>COURSE INFORMATION.</strong> English 212, Course Code 11668, Section 01. Tu/Th 11:30 a.m. - 12:45 p.m., SGMH-2301 (Mihaylo Hall). Instructor: Alfred J. Drake, Ph.D. Office hours: Tu/Th 10:30-11:25 a.m. in UH 329. <strong>E212@ajdrake.com.</strong> Catalog: "Major periods and movements, major authors and major forms from 1760 through modern times." Units (3). If students are not English majors, this course satisfies requirements for <strong>General Education (GE) Category III.B.2 (Disciplinary Learning, Arts and Humanities, Intro to the Humanities)</strong> with grade of C or better." <strong><font color="#FF0000">I will use +/- grading.</font></strong> The English Dept. may be reached at (657) 278-2123. Students who need special accommodations should contact the <strong>Disabled Student Services Office in UH 101</strong> or call (657) 278-3117. One other required link: <strong>Emergency Preparedness Guidelines</strong>.</p>

<p><strong>REQUIRED TEXTS AT LITTLE PROFESSOR BOOKSTORE</strong></p>


The bookstore is located at 725 North Placentia Avenue, Fullerton, CA 92831 (714) 996-3133. <strong>LittleProfessor.com</strong> It is not far from the university or the 57 Freeway's northbound side, and the major cross street is Nutwood Ave.

<p>Greenblatt, Stephen, et al., eds. <em>The Norton Anthology of English Literature.</em> 8th ed. New York: Norton, 2006. ISBN Package 2 (Vols. DEF) ISBN 13: 978-0-393-92834-1.</p>

<p>Austen, Jane. <em>Persuasion.</em> Eds. Deidre Shauna Lynch and James Kinsley. 2nd. Edition. Oxford: Oxford UP, 2004. ISBN 0-192-80263-1.</p>


<h3 align="center"><font color="#7800A7">OPTIONAL RESOURCES TO HELP YOU DO WELL</font></h3>

<p><strong>BROWSE INSTRUCTOR'S BLOG</strong>. My thoughts on the assigned readings; separately, I will post a running blog.</p>

<p><strong>LISTEN TO OUR CLASS SESSIONS IN MP3 AUDIO</strong>. Audio becomes available a day or two after each session.</p>

<p><strong>CHECK OUT RELEVANT ON-SITE STUDY GUIDES</strong>.</p>

<p><strong>BROWSE OFFSITE LINKS</strong>.</p>


<h3 align="center"><font color="#7800A7">COURSE RATIONALE AND PLAN</font></h3>

<p><strong>COURSE POLICIES.</strong> Please review the <strong>Course Policies Page</strong> early in the semester. Key points easily stated here: missing more than 20% of sessions may affect course grade; academic dishonesty may result in course failure. The four evaluative requirements outlined below must be substantially completed to pass the course. Since most assignments will be due by email, it is students' responsibility to contact me promptly if they do not get an email verifying receipt of materials.</p>

<p><strong>MAJOR STUDY UNITS AND COURSE OBJECTIVES.</strong> The course will follow a roughly chronological order and will cover poetry, fiction, non-fiction, and drama from the beginning of the Romantic Period through Modernism. A survey should help you build your knowledge of the periods, authors, and movements studied. My comments will provide historical and thematic background, and the course will center on discussion of assigned texts.</p>

<p><strong>CLASSROOM ACTIVITIES.</strong> Lecture, student presentations, discussion, and in-class quizzes. I encourage questions and comments — student participation improves any course, broadening its scope and introducing a variety of opinion that challenges the instructor to explain key points well and make new connections.</em> My tasks are to lecture concisely, to listen well, to ask good questions, and to help you find out more about our texts. Your tasks are to listen, respond, and develop your own ideas. In humanities study, insightful interpretation and an ability to make interesting connections are central goals. To succeed, it's important to treat the subject matter with due regard for its nature; literature doesn't respond well to being treated mainly as test material.</p>


<h3 align="center"><font color="#7800A7">HOW YOUR PERFORMANCE WILL BE EVALUATED</font></h3>

<p><strong>PRESENTATIONS REQUIREMENT: LINK TO FULL INSTRUCTIONS.</strong> At the beginning of the course, students will sign up for one 5-7 minute in-class presentation on an author of their choosing (if possible). I will provide presenters with a specific question to address from among those on the questions page, and a few days after sign-up I will post a schedule on the Presentations page. Each session will feature one or more presentations. <u><em>Required:</em></u> One week in advance of your presentation, email me as full a draft as possible of what you intend to say in class. I will email you back with advice. If I suggest developing the remarks further, email me a revised version at least one day before your in-class presentation. I won't judge students on their rhetorical skills during the presentation, but rather on evidence of prior preparation and consultation as well as on the written draft. <strong><u>How to do well on this assignment</u></strong>: meet with/email me as required, and send a final written version; good critics challenge and pose questions, so craft your responses to invite discussion; aim for spontaneity and a personal touch: use the question as a springboard rather than a prescription; speak up, but don't rush things. (20% of course grade.)</p>

<p><strong>JOURNALS REQUIREMENT: LINK TO FULL INSTRUCTIONS.</strong> Responses to a choice of questions from the study questions page for each play. Four separate journal sets due by email as specified below in the session schedule. Electronic format required. I will not mark journal sets down unless they are late (maximum grade = B), incomplete, or so brief and derivative as to suggest evasion of intellectual labor: they should consist of honest responses to the assigned readings, not "yes-or-no" style answers, quotation of the assigned texts without further comment, or pasted secondary material from Internet sources. <strong><u>How to do well on this assignment</u></strong>: read instructions; complete entries as you go through each text; send sets on time, making sure I verify receipt; respond with a thoughtful paragraph on each chosen question--use your own words and refer to the texts' specific language. (30% of course grade.)</p>

<p><strong>TERM PAPER REQUIREMENT: LINK TO FULL INSTRUCTIONS.</strong> <strong><font color="#FF0000">By the end of Week 13 (04/24) a one-paragraph description addressing the general topic <em>and</em> specific argument of the projected paper will be due by email.</font></strong> (Full rough drafts are also encouraged.) Not providing this description on time may affect the final draft grade. Please read the term paper instructions carefully since they contain the general prompt, suggested topics, and advance draft comments. I reserve the right to require proof of the final paper's authenticity, such as notes or an early draft. Final draft (5-7 pages) due as specified towards the bottom of the syllabus page. There is no need to consider this a research paper, though you are free to make it one. CSUF academic integrity policies apply (see <em>UPS 300.021</em>). See <strong>CSUF Library</strong>. <strong><u>How to do well on this assignment</u></strong>: send required advance paragraph on time and incorporate advice I send; allow time for revision; proofread and follow <strong><a href="http://www.ajdrake.com/wiki/tiki-download_file.php?fileId=7">MLA formatting and style guidelines</a></strong>; avoid exhaustive coverage and stale generalities: instead, develop a <em>specific, arguable</em> set of claims, demonstrating their strength by showing how they enhance our understanding of <em>specific language, structures, and themes</em>; document your online/print sources; read instructions and take advantage of Resources/Guides/Writing Guides: <strong>MLA</strong>, <strong>Grammar</strong>, <strong>Deductive (see especially)</strong>, <strong>Citing</strong>, <strong>Analyzing</strong>, and <strong>Editing</strong>. (30% of course grade.)</p>

<p><strong>FINAL EXAM REQUIREMENT: LINK TO FULL INSTRUCTIONS.</strong> The exam will consist of substantive id passages (30% of exam), mix-and-match questions (match phrase or concept x to speaker/play y; 30% of exam), and key lecture points paired with substantive quotations from the assigned texts (40% of exam). There will be more choices than required responses. Books and notes allowed for all sections, <em>but no laptops</em>. Students may not share books or notes during the exam. Exam date: see below. <strong><u>How to do well on this assignment</u></strong>: read the online prep. sheet; take good notes and ask questions/make comments; above all, enjoy the works rather than thinking of them only as "test material." If you take pleasure in the assigned texts' language, attend to the sophistication with which they have been structured, and reflect on the intellectual/moral/spiritual value you derive from them, you are likely to earn a good exam grade. (20% of course grade.)</p>

<p><strong>EMAILING JOURNALS, TERM PAPER, PRESENTATION DRAFTS TO E212 at AJDRAKE.COM.</strong> Email journals, presentations, and term paper as attachments. Don't send more than one document in the same email. Label subject lines appropriately: "E212 Journal 1, Jane Smith" etc. You can paste journal sets into a regular email or send them as an attachment. (Journal "sets" include responses to questions about several authors; do not send entries on each author in a given set separately — responses on the relevant authors should be combined into one document.) <em>Contact me if you don't receive an email confirmation within approximately three days.</em></p>


<h3 align="center"><font color="#7800A7">STUDY QUESTIONS FOR JOURNALS AND PRESENTATIONS</font></h3>

<p><strong>Questions:</strong> <strong>Blake</strong> | <strong>Wordsworth, W.</strong> | <strong>Wordsworth, D.</strong> | <strong>Coleridge</strong> | <strong>Shelley</strong> | <strong>Keats</strong> | <strong>Lamb</strong> | <strong>Hazlitt</strong> | <strong>De Quincey</strong> | <strong>Austen</strong> | <strong>Tennyson</strong> | <strong>Carlyle</strong> | <strong>Mill</strong> | <strong>Ruskin</strong> | <strong>Arnold</strong> | <strong>Browning</strong> | <strong>Hopkins</strong> | <strong>D. G. Rossetti</strong> | <strong>C. Rossetti</strong> | <strong>Wilde</strong> | <strong>WWI</strong> | <strong>Yeats</strong> | <strong>Joyce</strong> | <strong>Eliot</strong> | <strong>Rhys</strong> | <strong>Auden</strong> | <strong>Stoppard</strong></p>


<h3 align="center"><font color="#7800A7">SESSION SCHEDULE: WORKS DISCUSSED ON DATES INDICATED</font></h3>


<h3><font color="#7800A7">WEEK 1</font></h3>

<p>01/25. Tu. Course Introduction.</p>

<p>01/27. Th. William Blake. <em>Songs of Innocence and of Experience</em> (Norton Vol. D, 81-97); <em>The Marriage of Heaven and Hell,</em> Plates 2-5 (111-14).</p>

<h3><font color="#7800A7">WEEK 2</font></h3>

<p>02/01. Tu. William Wordsworth. "Preface to <em>Lyrical Ballads</em>" (Norton Vol. D, 262-74); "We Are Seven" (248-49); "Expostulation and Reply" (250-51); "The Tables Turned" (251-52).</p>

<p>02/03. Th. William and Dorothy Wordsworth. William's "Tintern Abbey" (Norton Vol. D, 258-62); "Three years she grew" (275-76); "I wandered lonely as a cloud" (305-06); "The Solitary Reaper" (314-15). Dorothy's <em>Alfoxden</em> and <em>Grasmere Journals</em> (389-402).</p>

<h3><font color="#7800A7">WEEK 3</font></h3>

<p>02/08. Tu. Samuel Taylor Coleridge. "The Eolian Harp" (Norton Vol. D, 426-28); "The Rime of the Ancient Mariner" (430-48); "Kubla Khan" (446-48); "Frost at Midnight" (464-66); "Dejection: an Ode" (466-69).</p>

<p>02/10. Th. Samuel Taylor Coleridge. <em>Biographia Literaria</em> (Norton Vol. D, 474-85); <em>Lectures on Shakespeare</em> (485-88); <em>The Statesman's Manual</em> (488-91).</p>

<h3><font color="#008000">WEEK 4</font></h3>

<p>02/15. Tu. Percy Bysshe Shelley. <em>Defense of Poetry</em> (Norton Vol. D, 837-50); "Mutability" (744); "To Wordsworth" (744-45); "Mont Blanc" (762-66).</p>

<p>02/17. Th. Percy Bysshe Shelley. "Ozymandias" (Norton Vol. D, 768); "Ode to the West Wind" (772-75); "To a Sky-Lark" (817-19).</p>



<strong>JOURNAL SET 1 DUE BY EMAIL SUNDAY 02/20; SEE INSTRUCTIONS.</strong> (Reminder: this set includes Blake through Shelley. Please expect an email from me verifying receipt of this and subsequent journal sets.)


<h3><font color="#008000">WEEK 5</font></h3>

<p>02/22. Tu. John Keats. "Ode to a Nightingale" (Norton Vol. D, 903-05); "Ode on a Grecian Urn" (905-06); "Ode on Melancholy" (907-08), "To Autumn" (925-26); <em>Letters</em> (940-955).</p>

<p>02/24. Th. Charles Lamb. "Christ's Hospital Five-and-Thirty Years Ago (Norton Vol. D, 496-505). William Hazlitt. "On Gusto" (538-41). Thomas De Quincey. "On the Knocking at the Gate in Macbeth (569-72) and "The Literature of Knowledge and the Literature of Power" from <em>Alexander Pope</em> (572-76).</p>

<h3><font color="#008000">WEEK 6</font></h3>

<p>03/01. Tu. Jane Austen. <em>Persuasion.</em> (Film)</p>

<p>03/03. Th. Jane Austen. <em>Persuasion.</em> (Film) and <em>Persuasion,</em> Vol. 1. (Separate text.)</p>

<h3><font color="#008000">WEEK 7</font></h3>

<p>03/08. Tu. Jane Austen. <em>Persuasion,</em> Vols. 1-2. (Separate text.)</p>

<p>03/10. Th. Alfred Tennyson. "The Lady of Shalott" (Norton Vol. E, 1114-18); "The Lotos-Eaters" (1119-23); "Ulysses" (1123-25); from <em>In Memoriam A.H.H.</em>: Prologue (1138-39), 1-5 (1140-42), 54-56 (1157-59).</p>

<h3><font color="#008000">WEEK 8</font></h3>

<p>03/15. Tu. Thomas Carlyle. <em>Sartor Resartus</em> (Norton Vol. E, 1005-1024).</p>

<p>03/17. Th. John Stuart Mill. <em>On Liberty</em> (Norton Vol. E, 1050-61); <em>Autobiography</em> (1070-77); <em>The Subjection of Women</em> (1061-70).</p>


<p><strong>JOURNAL SET 2 DUE BY EMAIL SUNDAY 03/20; SEE INSTRUCTIONS.</strong> (Reminder: this set includes Keats through Mill.)</p>


<h3><font color="#008000">WEEK 9</font></h3>

<p>03/22. Tu. John Ruskin. <em>Modern Painters</em> (Norton Vol. E, 1320-24) and <em>The Stones of Venice</em> (1324-34).</p>

<p>03/24. Th. Matthew Arnold. "The Buried Life" (Norton Vol. E, 1356-58); "Dover Beach" (1368-69); "Stanzas from the Grande Chartreuse" (1369-74); "Preface to <em>Poems</em>" (1374-84).</p>

<h3><font color="#008000">WEEK 10</font></h3>

<p>03/29. Tu. Spring Recess. No classes all week.</p>

<p>03/31. Th. Spring Recess. No classes all week.</p>

<h3><font color="#008000">WEEK 11</font></h3>

<p>04/05. Tu. Robert Browning and Gerard Manley Hopkins. Browning's "The Bishop Orders His Tomb. . ." (Norton Vol. E, 1259-62). Hopkins' "God's Grandeur" (1516); "As Kingfishers Catch Fire" (1517); "The Windhover" (1518); "Pied Beauty" (1518); "Binsey Poplars" (1519); "Duns Scotus's Oxford" (1520); "Felix Randal" (1520-21); "I wake and feel . . ." (1522-23); "No worst, there is none" (1522); "That Nature Is a Heraclitean Fire . . ." (1523); from <em>Journal</em> (1524-26).</p>

<p>04/07. Th. Dante Gabriel and Christina Rossetti. Dante Gabriel's "The Blessed Damozel" (Norton Vol. E, 1443-47). Christina's "Song — She sat and sang alway" (1460-61); "Song — When I am dead . . ." (1461); "In an Artist's Studio" (1463); "An Apple-Gathering" (1464); "Winter My Secret" (1464-65); "No Thank You, John" (1478).</p>

<h3><font color="#008000">WEEK 12</font></h3>

<p>04/12. Tu. Oscar Wilde. <em>The Importance of Being Earnest</em> (Film + text Act 1. Norton Vol. E, 1698-1740).</p>

<p>04/14. Th. Oscar Wilde. <em>The Importance of Being Earnest</em> (Film + text Acts 2-3. Norton Vol. E, 1698-1740).</p>


<p><strong>JOURNAL SET 3 DUE BY EMAIL SUNDAY 04/17; SEE INSTRUCTIONS.</strong> (Reminder: this set includes Ruskin through Wilde.)</p>


<h3><font color="#008000">WEEK 13</font></h3>

<p>04/19. Tu. WWI Writing. Voices of World War I Section — Sassoon (Norton Vol. F, 1960-64); Gurney (1965-66); Rosenberg (1966-70); Owen (1971-80); Cannan (1981-84); Graves (1984-87).</p>

<p>04/21. Th. W. B. Yeats. "The Lake Isle of Innisfree" (Norton Vol. F, 2025); "The Second Coming" (2036-37); "Leda and the Swan" (2039); "Sailing to Byzantium" (2040); "Among School Children" (2041-42); "Byzantium" (2044-45); "Crazy Jane Talks with the Bishop" (2045-46); "Under Ben Bulben" (2047-50); "The Circus Animals' Desertion" (2051-52).</p>


<p><strong>PARAGRAPH DESCRIBING GENERAL TOPIC AND SPECIFIC ARGUMENT FOR TERM PAPER DUE BY EMAIL SUNDAY 04/24; SEE INSTRUCTIONS.</strong></p>


<h3><font color="#008000">WEEK 14</font></h3>

<p>04/26. Tu. James Joyce. "The Dead" (Film).</p>

<p>04/28. Th. James Joyce. "The Dead" (Norton Vol. F, 2172-99).</p>

<h3><font color="#008000">WEEK 15</font></h3>

<p>05/03. Tu. T. S. Eliot. "The Love Song of J. Alfred Prufrock" (Norton Vol. F, 2289-93); "Tradition and the Individual Talent" (2319-25).</p>

<p>05/05. Th. Jean Rhys. "The Day They Burned the Books" (Norton Vol. F, 2356-61); "Let Them Call It Jazz" (2361-72). W.H. Auden. "In Praise of Limestone" (2435-36); "The Shield of Achilles" (2437-38); "Poetry as Memorable Speech" (2438-41).</p>

<h3><font color="#008000">WEEK 16</font></h3>

<p>05/10. Tu. Tom Stoppard. <em>Arcadia</em> (Act 1, Norton Vol. F, 2752-89).</p>

<p>05/12. Th. Tom Stoppard. <em>Arcadia</em> (Act 2, Norton Vol. F, 2789-2820).</p>


<p><strong>JOURNAL SET 4 DUE BY EMAIL EXAM DAY; SEE INSTRUCTIONS.</strong> (Reminder: this set includes WWI Voices through Stoppard.)</p>


<h3><font color="#008000">FINALS WEEK</font></h3>

<p>Final Exam Date <strong><font color="#FF0000">Thursday May 19, 12:00-1:50.</font></strong> Due by email by Sunday May 22: <strong>Term Paper</strong>. (I must turn in grades by Friday May 27, 2011.) For your other courses, check <strong>CSUF's Final Exam Schedule</strong>.</p>


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<h3><div align="center">
SYLLABUS FOR E212 BRITISH LITERATURE SINCE 1760, CSU FULLERTON SPRING 2011 (1/28/11)
</div></h3>

<p align="center">Image </p>

<p align="center"><b>Email | Home | Syllabus | Policies | Questions | Presentations | Journals | Paper | Final | Blogs<br />Audio | Guides | Links | CSUF Library | CSUF Catalog | CSUF Calendar | CSUF Exam Schedule</b></p>

<h3 align="center"><font color="#7800A7">BASIC INFORMATION</font></h3>

<p><b>COURSE INFORMATION.</b> English 212, Course Code 11668, Section 01. Tu/Th 11:30 a.m. - 12:45 p.m., SGMH-2301 (Mihaylo Hall). Instructor: Alfred J. Drake, Ph.D. Office hours: Tu/Th 10:30-11:25 a.m. in UH 329. <b>E212@ajdrake.com.</b> Catalog: "Major periods and movements, major authors and major forms from 1760 through modern times." Units (3). If students are not English majors, this course satisfies requirements for <b>General Education (GE) Category III.B.2 (Disciplinary Learning, Arts and Humanities, Intro to the Humanities)</b> with grade of C or better." I will use +/- grading. The English Dept. may be reached at (657) 278-2123. Students who need special accommodations should contact the <b>Disabled Student Services Office in UH 101</b> or call (657) 278-3117. One other required link: <b>Emergency Preparedness Guidelines</b>.</p>

<p><b>REQUIRED TEXTS AT LITTLE PROFESSOR BOOKSTORE</b></p>


The bookstore is located at 725 North Placentia Avenue, Fullerton, CA 92831 (714) 996-3133. <b>LittleProfessor.com</b> It is not far from the university or the 57 Freeway's northbound side, and the major cross street is Nutwood Ave.

<p>Greenblatt, Stephen, et al., eds. <i>The Norton Anthology of English Literature.</i> 8th ed. New York: Norton, 2006. ISBN Package 2 (Vols. DEF) ISBN 13: 978-0-393-92834-1.</p>

<p>Austen, Jane. <i>Persuasion.</i> Eds. Deidre Shauna Lynch and James Kinsley. 2nd. Edition. Oxford: Oxford UP, 2004. ISBN 0-192-80263-1.</p>

<h3 align="center"><font color="#7800A7">OPTIONAL RESOURCES TO HELP YOU DO WELL</font></h3>

<p><b>BROWSE INSTRUCTOR'S BLOG</b>. My thoughts on the assigned readings; separately, I will post a running blog.</p>

<p><b>LISTEN TO OUR CLASS SESSIONS IN MP3 AUDIO</b>. Audio becomes available a day or two after each session.</p>

<p><b>CHECK OUT RELEVANT ON-SITE STUDY GUIDES</b>.</p>

<p><b>BROWSE OFFSITE LINKS</b>.</p>

<h3 align="center"><font color="#7800A7">COURSE RATIONALE AND PLAN</font></h3>

<p><b>COURSE POLICIES.</b> Please review the <b>Course Policies Page</b> early in the semester. Key points easily stated here: missing more than 20% of sessions may affect course grade; academic dishonesty may result in course failure. The four evaluative requirements outlined below must be substantially completed to pass the course. Since most assignments will be due by email, it is students' responsibility to contact me promptly if they do not get an email verifying receipt of materials.</p>

<p><b>MAJOR STUDY UNITS AND COURSE OBJECTIVES.</b> The course will follow a roughly chronological order and will cover poetry, fiction, non-fiction, and drama from the beginning of the Romantic Period through Modernism. A survey should help you build your knowledge of the periods, authors, and movements studied. My comments will provide historical and thematic background, and the course will center on discussion of assigned texts.</p>

<p><b>CLASSROOM ACTIVITIES.</b> Lecture, student presentations, discussion, and in-class quizzes. I encourage questions and comments — student participation improves any course, broadening its scope and introducing a variety of opinion that challenges the instructor to explain key points well and make new connections.</i> My tasks are to lecture concisely, to listen well, to ask good questions, and to help you find out more about our texts. Your tasks are to listen, respond, and develop your own ideas. In humanities study, insightful interpretation and an ability to make interesting connections are central goals. To succeed, it's important to treat the subject matter with due regard for its nature; literature doesn't respond well to being treated mainly as test material.</p>

<h3 align="center"><font color="#7800A7">HOW YOUR PERFORMANCE WILL BE EVALUATED</font></h3>

<p><b>PRESENTATIONS REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> At the beginning of the course, students will sign up for one 5-7 minute in-class presentation on an author of their choosing (if possible). I will provide presenters with a specific question to address from among those on the questions page, and a few days after sign-up I will post a schedule on the Presentations page. Each session will feature one or more presentations. <u><i>Required:</i></u> One week in advance of your presentation, email me as full a draft as possible of what you intend to say in class. I will email you back with advice. If I suggest developing the remarks further, email me a revised version at least one day before your in-class presentation. I won't judge students on their rhetorical skills during the presentation, but rather on evidence of prior preparation and consultation as well as on the written draft. <b><u>How to do well on this assignment</u></b>: meet with/email me as required, and send a final written version; good critics challenge and pose questions, so craft your responses to invite discussion; aim for spontaneity and a personal touch: use the question as a springboard rather than a prescription; speak up, but don't rush things. (20% of course grade.)</p>

<p><b>JOURNALS REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> Responses to a choice of questions from the study questions page for each play. Four separate journal sets due by email as specified below in the session schedule. Electronic format required. I will not mark journal sets down unless they are late (maximum grade = B), incomplete, or so brief and derivative as to suggest evasion of intellectual labor: they should consist of honest responses to the assigned readings, not "yes-or-no" style answers, quotation of the assigned texts without further comment, or pasted secondary material from Internet sources. <b><u>How to do well on this assignment</u></b>: read instructions; complete entries as you go through each text; send sets on time, making sure I verify receipt; respond with a thoughtful paragraph on each chosen question--use your own words and refer to the texts' specific language. (30% of course grade.)</p>

<p><b>TERM PAPER REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> <i>By the end of Week 13 (04/24) a one-paragraph description addressing the general topic and specific argument of the projected paper will be due by email.</i> (Full rough drafts are also encouraged.) Not providing this description on time may affect the final draft grade. Please read the term paper instructions carefully since they contain the general prompt, suggested topics, and advance draft comments. I reserve the right to require proof of the final paper's authenticity, such as notes or an early draft. Final draft (5-7 pages) due as specified towards the bottom of the syllabus page. There is no need to consider this a research paper, though you are free to make it one. CSUF academic integrity policies apply (see <i>UPS 300.021</i>). See <b>CSUF Library</b>. <b><u>How to do well on this assignment</u></b>: send required advance paragraph on time and incorporate advice I send; allow time for revision; proofread and follow <b><a href="http://www.ajdrake.com/wiki/tiki-download_file.php?fileId=7">MLA formatting and style guidelines</a></b>; avoid exhaustive coverage and stale generalities: instead, develop a <i>specific, arguable</i> set of claims, demonstrating their strength by showing how they enhance our understanding of <i>specific language, structures, and themes</i>; document your online/print sources; read instructions and take advantage of Resources/Guides/Writing Guides: <b>MLA</b>, <b>Grammar</b>, <b>Deductive (see especially)</b>, <b>Citing</b>, <b>Analyzing</b>, and <b>Editing</b>. (30% of course grade.)</p>

<p><b>FINAL EXAM REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> The exam will consist of substantive id passages (30% of exam), mix-and-match questions (match phrase or concept x to speaker/play y; 30% of exam), and key lecture points paired with substantive quotations from the assigned texts (40% of exam). There will be more choices than required responses. Books and notes allowed for all sections, <i>but no laptops</i>. Students may not share books or notes during the exam. Exam date: see below. <b><u>How to do well on this assignment</u></b>: read the online prep. sheet; take good notes and ask questions/make comments; above all, enjoy the works rather than thinking of them only as "test material." If you take pleasure in the assigned texts' language, attend to the sophistication with which they have been structured, and reflect on the intellectual/moral/spiritual value you derive from them, you are likely to earn a good exam grade. (20% of course grade.)</p>

<p><b>EMAILING JOURNALS, TERM PAPER, PRESENTATION DRAFTS TO E212 at AJDRAKE.COM.</b> Email journals, presentations, and term paper as attachments. Don't send more than one document in the same email. Label subject lines appropriately: "E212 Journal 1, Jane Smith" etc. You can paste journal sets into a regular email or send them as an attachment. (Journal "sets" include responses to questions about several authors; do not send entries on each author in a given set separately — responses on the relevant authors should be combined into one document.) <i>Contact me if you don't receive an email confirmation within approximately three days.</i></p>

<h3 align="center"><font color="#7800A7">STUDY QUESTIONS FOR JOURNALS AND PRESENTATIONS</font></h3>

<p><b>Questions:</b> <b>Blake</b> | <b>Wordsworth, W.</b> | <b>Wordsworth, D.</b> | <b>Coleridge</b> | <b>Shelley</b> | <b>Keats</b> | <b>Lamb</b> | <b>Hazlitt</b> | <b>De Quincey</b> | <b>Austen</b> | <b>Tennyson</b> | <b>Carlyle</b> | <b>Mill</b> | <b>Ruskin</b> | <b>Arnold</b> | <b>Browning</b> | <b>Hopkins</b> | <b>D. G. Rossetti</b> | <b>C. Rossetti</b> | <b>Wilde</b> | <b>WWI</b> | <b>Yeats</b> | <b>Joyce</b> | <b>Eliot</b> | <b>Rhys</b> | <b>Auden</b> | <b>Stoppard</b></p>

<h3 align="center"><font color="#7800A7">SESSION SCHEDULE: WORKS DISCUSSED ON DATES INDICATED</font></h3>

<h3><font color="#7800A7">WEEK 1</font></h3>

<p>01/25. Tu. Course Introduction.</p>

<p>01/27. Th. William Blake. <i>Songs of Innocence and of Experience</i> (Norton Vol. D, 81-97); <i>The Marriage of Heaven and Hell,</i> Plates 2-5 (111-14).</p>

<h3><font color="#7800A7">WEEK 2</font></h3>

<p>02/01. Tu. William Wordsworth. "Preface to <i>Lyrical Ballads</i>" (Norton Vol. D, 262-74); "We Are Seven" (248-49); "Expostulation and Reply" (250-51); "The Tables Turned" (251-52).</p>

<p>02/03. Th. William and Dorothy Wordsworth. William's "Tintern Abbey" (Norton Vol. D, 258-62); "Three years she grew" (275-76); "I wandered lonely as a cloud" (305-06); "The Solitary Reaper" (314-15). Dorothy's <i>Alfoxden</i> and <i>Grasmere Journals</i> (389-402).</p>

<h3><font color="#7800A7">WEEK 3</font></h3>

<p>02/08. Tu. Samuel Taylor Coleridge. "The Eolian Harp" (Norton Vol. D, 426-28); "The Rime of the Ancient Mariner" (430-48); "Kubla Khan" (446-48); "Frost at Midnight" (464-66); "Dejection: an Ode" (466-69).</p>

<p>02/10. Th. Samuel Taylor Coleridge. <i>Biographia Literaria</i> (Norton Vol. D, 474-85); <i>Lectures on Shakespeare</i> (485-88); <i>The Statesman's Manual</i> (488-91).</p>

<h3><font color="#7800A7">WEEK 4</font></h3>

<p>02/15. Tu. Percy Bysshe Shelley. <i>Defense of Poetry</i> (Norton Vol. D, 837-50); "Mutability" (744); "To Wordsworth" (744-45); "Mont Blanc" (762-66).</p>

<p>02/17. Th. Percy Bysshe Shelley. "Ozymandias" (Norton Vol. D, 768); "Ode to the West Wind" (772-75); "To a Sky-Lark" (817-19).</p>

<p><b>JOURNAL SET 1 DUE BY EMAIL SUNDAY 02/20; SEE INSTRUCTIONS.</b> (Reminder: this set includes Blake through Shelley. Please expect an email from me verifying receipt of this and subsequent journal sets.)</p>

<h3><font color="#7800A7">WEEK 5</font></h3>

<p>02/22. Tu. John Keats. "Ode to a Nightingale" (Norton Vol. D, 903-05); "Ode on a Grecian Urn" (905-06); "Ode on Melancholy" (907-08), "To Autumn" (925-26); <i>Letters</i> (940-955).</p>

<p>02/24. Th. Charles Lamb. "Christ's Hospital Five-and-Thirty Years Ago (Norton Vol. D, 496-505). William Hazlitt. "On Gusto" (538-41). Thomas De Quincey. "On the Knocking at the Gate in Macbeth (569-72) and "The Literature of Knowledge and the Literature of Power" from <i>Alexander Pope</i> (572-76).</p>

<h3><font color="#7800A7">WEEK 6</font></h3>

<p>03/01. Tu. Jane Austen. <i>Persuasion.</i> (Film)</p>

<p>03/03. Th. Jane Austen. <i>Persuasion.</i> (Film) and <i>Persuasion,</i> Vol. 1. (Separate text.)</p>

<h3><font color="#7800A7">WEEK 7</font></h3>

<p>03/08. Tu. Jane Austen. <i>Persuasion,</i> Vols. 1-2. (Separate text.)</p>

<p>03/10. Th. Alfred Tennyson. "The Lady of Shalott" (Norton Vol. E, 1114-18); "The Lotos-Eaters" (1119-23); "Ulysses" (1123-25); from <i>In Memoriam A.H.H.</i>: Prologue (1138-39), 1-5 (1140-42), 54-56 (1157-59).</p>

<h3><font color="#7800A7">WEEK 8</font></h3>

<p>03/15. Tu. Thomas Carlyle. <i>Sartor Resartus</i> (Norton Vol. E, 1005-1024).</p>

<p>03/17. Th. John Stuart Mill. <i>On Liberty</i> (Norton Vol. E, 1050-61); <i>Autobiography</i> (1070-77); <i>The Subjection of Women</i> (1061-70).</p>

<p><b>JOURNAL SET 2 DUE BY EMAIL SUNDAY 03/20; SEE INSTRUCTIONS.</b> (Reminder: this set includes Keats through Mill.)</p>

<h3><font color="#7800A7">WEEK 9</font></h3>

<p>03/22. Tu. John Ruskin. <i>Modern Painters</i> (Norton Vol. E, 1320-24) and <i>The Stones of Venice</i> (1324-34).</p>

<p>03/24. Th. Matthew Arnold. "The Buried Life" (Norton Vol. E, 1356-58); "Dover Beach" (1368-69); "Stanzas from the Grande Chartreuse" (1369-74); "Preface to <i>Poems</i>" (1374-84).</p>

<h3><font color="#7800A7">WEEK 10</font></h3>

<p>03/29. Tu. Spring Recess. No classes all week.</p>

<p>03/31. Th. Spring Recess. No classes all week.</p>

<h3><font color="#7800A7">WEEK 11</font></h3>

<p>04/05. Tu. Robert Browning and Gerard Manley Hopkins. Browning's "The Bishop Orders His Tomb. . ." (Norton Vol. E, 1259-62). Hopkins' "God's Grandeur" (1516); "As Kingfishers Catch Fire" (1517); "The Windhover" (1518); "Pied Beauty" (1518); "Binsey Poplars" (1519); "Duns Scotus's Oxford" (1520); "Felix Randal" (1520-21); "I wake and feel . . ." (1522-23); "No worst, there is none" (1522); "That Nature Is a Heraclitean Fire . . ." (1523); from <i>Journal</i> (1524-26).</p>

<p>04/07. Th. Dante Gabriel and Christina Rossetti. Dante Gabriel's "The Blessed Damozel" (Norton Vol. E, 1443-47). Christina's "Song — She sat and sang alway" (1460-61); "Song — When I am dead . . ." (1461); "In an Artist's Studio" (1463); "An Apple-Gathering" (1464); "Winter My Secret" (1464-65); "No Thank You, John" (1478).</p>

<h3><font color="#7800A7">WEEK 12</font></h3>

<p>04/12. Tu. Oscar Wilde. <i>The Importance of Being Earnest</i> (Film + text Act 1. Norton Vol. E, 1698-1740).</p>

<p>04/14. Th. Oscar Wilde. <i>The Importance of Being Earnest</i> (Film + text Acts 2-3. Norton Vol. E, 1698-1740).</p>

<p><b>JOURNAL SET 3 DUE BY EMAIL SUNDAY 04/17; SEE INSTRUCTIONS.</b> (Reminder: this set includes Ruskin through Wilde.)</p>

<h3><font color="#7800A7">WEEK 13</font></h3>

<p>04/19. Tu. WWI Writing. Voices of World War I Section — Sassoon (Norton Vol. F, 1960-64); Gurney (1965-66); Rosenberg (1966-70); Owen (1971-80); Cannan (1981-84); Graves (1984-87).</p>

<p>04/21. Th. W. B. Yeats. "The Lake Isle of Innisfree" (Norton Vol. F, 2025); "The Second Coming" (2036-37); "Leda and the Swan" (2039); "Sailing to Byzantium" (2040); "Among School Children" (2041-42); "Byzantium" (2044-45); "Crazy Jane Talks with the Bishop" (2045-46); "Under Ben Bulben" (2047-50); "The Circus Animals' Desertion" (2051-52).</p>

<p><b>PARAGRAPH DESCRIBING GENERAL TOPIC AND SPECIFIC ARGUMENT FOR TERM PAPER DUE BY EMAIL SUNDAY 04/24; SEE INSTRUCTIONS.</b></p>

<h3><font color="#7800A7">WEEK 14</font></h3>

<p>04/26. Tu. James Joyce. "The Dead" (Film).</p>

<p>04/28. Th. James Joyce. "The Dead" (Norton Vol. F, 2172-99).</p>

<h3><font color="#7800A7">WEEK 15</font></h3>

<p>05/03. Tu. T. S. Eliot. "The Love Song of J. Alfred Prufrock" (Norton Vol. F, 2289-93); "Tradition and the Individual Talent" (2319-25).</p>

<p>05/05. Th. Jean Rhys. "The Day They Burned the Books" (Norton Vol. F, 2356-61); "Let Them Call It Jazz" (2361-72). W.H. Auden. "In Praise of Limestone" (2435-36); "The Shield of Achilles" (2437-38); "Poetry as Memorable Speech" (2438-41).</p>

<h3><font color="#7800A7">WEEK 16</font></h3>

<p>05/10. Tu. Tom Stoppard. <i>Arcadia</i> (Act 1, Norton Vol. F, 2752-89).</p>

<p>05/12. Th. Tom Stoppard. <i>Arcadia</i> (Act 2, Norton Vol. F, 2789-2820).</p>

<p><b>JOURNAL SET 4 DUE BY EMAIL EXAM DAY; SEE INSTRUCTIONS.</b> (Reminder: this set includes WWI Voices through Stoppard.)</p>

<h3><font color="#7800A7">FINALS WEEK</font></h3>

<p>Final Exam Date Thursday May 19, 12:00-1:50. Due by email by Sunday May 22: <b>Term Paper</b>. (I must turn in grades by Friday May 27, 2011.) For your other courses, check <b>CSUF's Final Exam Schedule</b>.</p>


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