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SYLLABUS FOR E222 AMERICAN LITERATURE, CSU FULLERTON SPRING 2012 (12/20/11)

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BASIC INFORMATION

COURSE INFORMATION. English 222, Course Code 20799, Section 4. Tuesdays and Thursdays 11:30 a.m.-12:45 p.m., Clayes Performing Arts Center. (CPAC) 116. Instructor: Alfred J. Drake, Ph.D. Office hours: Tuesday 10:30-11:25 in University Hall (UH) 329. Email: e222@ajdrake.com. Catalog: "Major writers such as Twain, James, Crane, Hemingway, Faulkner, O’Neill, Frost and Elliot. Units: (3)." . I will use +/- grading. The English Dept. may be reached at (657) 278-3163. Students who need special accommodations at the main campus should contact the Disabled Student Services Office in UH 101 or call (657) 278-3117; for the Irvine Campus, see Student Affairs, IRVC-159, phone (657) 278-3112. One other required link: Emergency Preparedness Guidelines.

REQUIRED TEXTS AT MAIN CAMPUS BOOKSTORE

Nina Baym, et al. The Norton Anthology of American Literature. Eighth Edition. Paperback. Package 2: Vols. C, D, E. ISBN-13: 978-0-393-91310-1.

London, Jack. Tales of the Pacific. New York: Penguin, 1989. ISBN-13: 978-0-140-18358-0.

OPTIONAL RESOURCES TO HELP YOU DO WELL

BROWSE INSTRUCTOR'S BLOG. My thoughts on the assigned readings.

LISTEN TO OUR CLASS SESSIONS IN MP3 AUDIO. Audio becomes available a day or two after each session.

CHECK OUT RELEVANT ON-SITE STUDY GUIDES. For this class, best are C17-C16 GUIDES and the WRITING GUIDES.

FILM RECOMMENDATIONS. The CSUF Library stocks the BBC collection and additional productions; selected DVD's from my own collection will be on library reserve at the Main Campus.

VIEW SUPPLEMENTARY BOOK RECOMMENDATIONS. Brief list of recent and older studies on Shakespeare.

VIEW SHAKESPEARE RESOURCE CENTER'S GUIDE TO ELIZABETHAN GRAMMAR. This excellent offsite guide covers syntax (word order), key rhetorical devices such as antithesis, and usage shifts aside from offering a limited, searchable glossary.

VISIT ALEXANDER SCHMIDT'S ONLINE 1902 SHAKESPEARE LEXICON. Good supplement to the Norton notes.

BROWSE OFFSITE LINKS. For this course, most appropriate would be C17-C16 BRITISH LITERATURE LINKS.

COURSE RATIONALE AND PLAN

COURSE POLICIES. Please review the Course Policies Page 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.

MAJOR STUDY UNITS AND COURSE OBJECTIVES. This course will cover a selection of Shakespeare's comedies, histories, tragedies and romance plays; the reading list follows that structure. We will pay special attention to Shakespeare's linguistic and rhetorical excellence and to the structure of his plays, but due attention will also be given to cultural and historical background, biography, stage history, acting methods, and other topics as appropriate. Brief segments of film productions may be shown to illustrate key scenes on occasion. Please view a good production of as many of the plays as you can; see FILM RECOMMENDATIONS.

CLASSROOM ACTIVITIES. Lecture, student presentations, discussion, and a limited number of in-class quizzes, which I may decide to factor in as 5% of the course grade. I encourage questions and comments -- student participation improves any course, broadening its scope and introducing a variety of opinion that wouldn't be available otherwise. We may also do some small-group work. Class sessions improve significantly when students take an active part: I become more spontaneous, remembering to mention things I might have forgotten to say and making new connections. 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, your own "voice," as a reader of literary works. In humanities study, insightful interpretation and an ability to make interesting connections are central goals.

HOW YOUR PERFORMANCE WILL BE EVALUATED

PRESENTATIONS REQUIREMENT: LINK TO FULL INSTRUCTIONS. At the beginning of the course, students will sign up for one 5-7 minute in-class presentation on a play 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. Required: 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. How to do well on this assignment: 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. (15% of course grade.)

JOURNALS REQUIREMENT: LINK TO FULL INSTRUCTIONS. 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. How to do well on this assignment: 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.)

TERM PAPER REQUIREMENT: LINK TO FULL INSTRUCTIONS. By the end of Week 13 (Sunday 04/22) a one-paragraph description addressing the general topic and specific argument of the projected paper will be due by email. (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 UPS 300.021). See CSUF Library. How to do well on this assignment: send required advance paragraph on time and incorporate advice I send; allow time for revision; proofread and follow MLA formatting and style guidelines; avoid exhaustive coverage and stale generalities: instead, develop a specific, arguable set of claims, demonstrating their strength by showing how they enhance our understanding of specific language, structures, and themes; document your online/print sources; read instructions and take advantage of Resources/Guides/Writing Guides: MLA, Grammar, Deductive (see especially), Citing, Analyzing, and Editing. (30% of course grade.)

FINAL EXAM REQUIREMENT: LINK TO FULL INSTRUCTIONS. The exam will consist of substantive id passages (33% of exam), mix-and-match questions (match phrase or concept x to speaker/play y; 33% of exam), and key lecture points paired with substantive quotations from the assigned texts (33% of exam). There will be more choices than required responses. Books and notes allowed for all sections, but no laptops. Students may not share books or notes during the exam. Exam date: see below. How to do well on this assignment: 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. (25% of course grade.)

EMAILING JOURNALS, TERM PAPER, PRESENTATION DRAFTS TO E222 at AJDRAKE.COM. Email journals, presentations, and term paper as attachments. Don't send more than one document in the same email. Label subject lines appropriately: "E222 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.) Contact me if you don't receive an email confirmation within approximately three days.

STUDY QUESTIONS FOR JOURNALS AND PRESENTATIONS

Whitman | Dickinson | Twain | James | Chopin | London | Frost | Sandburg | W.C. Williams | Eliot | Marinetti? | Pound? | Doolittle? | Moore? | Stevens | Cummings | Fitzgerald? | Hemingway | Faulkner | Hughes | Hurston? | T. Williams | Cheever | O’Connor? | Ginsberg | Pynchon? | Turner | Shepard

SESSION SCHEDULE: FOLLOWING WORKS DISCUSSED ON DATES INDICATED

WEEK 1

Note:

Tu. 01/24. Course Introduction.

Th. 01/26. Walt Whitman and Emily Dickinson. Whitman’s “When Lilacs Last in the Dooryard Bloom’d” (79-85). Dickinson’s “320” (97); “340” (99); “448” (102); “479” (102-03); “591” (103-04); “598” (104); “620” (104); “764” (107); “1263” (108); “1668” (108).

WEEK 2

130-309, 42 chapters 4 meetings = approx. 180/4 45 pages 60 30 60 30

Tu. 01/31. Mark Twain. Huckleberry Finn (Chapters 1-16, 131-88).

Th. 02/02. Mark Twain. Huckleberry Finn (Chapters 17-21, 188-219).

WEEK 3

Tu. 02/07. Mark Twain. Huckleberry Finn (Chapters 22-35, 220-81).

Th. 02/09. Mark Twain. Huckleberry Finn (Chapters 36-42, 281-309).

WEEK 4

Tu. 02/14. Henry James. “Daisy Miller” (421-59).

Th. 02/16. Henry James. “The Beast in the Jungle” (477-506).

JOURNAL SET 1 DUE BY EMAIL SUNDAY 02/19; SEE INSTRUCTIONS. (Reminder: this set includes Whitman through James. I will verify receipt by email within a few days.)

WEEK 5

Tu. 02/21. Kate Chopin. The Awakening (Chapters 1-24, 561-619).

Th. 02/23. Kate Chopin. The Awakening (Chapters 25-39, 619-52).

WEEK 6

Tu. 02/28. Jack London. From “What Life Means to Me” (Norton 917-20). From Tales of the Pacific (Separate text): "The House of Mapuhi" (31-53); "Mauki (64-79)

Th. 03/01. Jack London. From Tales of the Pacific (Separate text): "The Sheriff of Kona" (121-34); "Koolau the Leper" (135-50); "The Bones of Kehekili" (151-73)

WEEK 7

Tu. 03/06. Robert Frost. “The Figure a Poem Makes” (250-52); “Mowing” (231-32); “Mending Wall” (232-33); “The Death of the Hired Man” (233-37); “The Wood-Pile” (241); “The Road Not Taken” (241-42); “Birches” (242-44); “Out, Out—” (244); “Fire and Ice” (245); “Nothing Gold Can Stay” (245); “Stopping by Woods on a Snowy Evening” (245); “Desert Places” (246); “Design” (246); “The Gift Outright” (248).

Th. 03/08. Carl Sandburg and William Carlos Williams. Sandburg’s “Chicago” (279-80); “Fog” (280); “Cool Tombs” (280-81); “Grass” (281). From Williams’ Spring and All (346-47); Poems: “Queen-Anne’s Lace” (305); “Spring and All” (306-07); “To Elsie” (307-09); “The Red Wheelbarrow” (309); “The Dead Baby” (309-10); “This Is Just to Say” (310); “A Sort of a Song” (310); “Landscape with the Fall of Icarus” (313).

WEEK 8

Tu. 03/13. T. S. Eliot. From “Tradition and the Individual Talent” (372-75); “The Waste Land” (378-91).

Th. 03/15. F.T. Marinetti, Ezra Pound, H.D., Marianne Moore, Wallace Stevens, E.E. Cummings. From Marinetti’s “Manifesto of Futurism” (337). From Pound’s “A Retrospect”(341-43). H.D.’s “Leda” (353); “Fragment 113” (354); “Helen” (355). Moore’s “Poetry” (359-60); “To a Snail” (360). Stevens’ “Anecdote of the Jar” (288); “Thirteen Ways of Looking at a Blackbird” (291-92); “The Idea of Order at Key West” (293-94); “Of Modern Poetry” (294). E.E. Cummings’ “in Just-” (638); “the Cambridge ladies …” (640); “next to of course god america i” (641); “i sing of Olaf glad and big” (641-42); “anyone lived in a pretty how town” (643-44).

JOURNAL SET 2 DUE BY EMAIL SUNDAY 03/18; SEE INSTRUCTIONS. (Reminder: this set includes Chopin through Cummings.)

WEEK 9

Tu. 03/20. F. Scott Fitzgerald. “Winter Dreams” (659-75); "Babylon Revisited" (675-89).

Th. 03/22. Ernest Hemingway. "The Snows of Kilimanjaro" (826-42).

WEEK 10

Tu. 03/27. Spring Recess: no classes all week, but campus is open except on Friday, March 30.

Th. 03/29. Spring Recess: no classes all week, but campus is open except on Friday, March 30.

WEEK 11

Tu. 04/03. William Faulkner. As I Lay Dying (698-762, i.e. first 2/3).

Th. 04/05. William Faulkner. As I Lay Dying (762-793, last 1/3).

WEEK 12

Tu. 04/10. Langston Hughes. From “The Negro Artist and the Racial Mountain” (348-50); All Poems (871-80): “The Negro Speaks of Rivers” (871); “Mother to Son” (871-72); “I, Too” (872); “The Weary Blues” (872-73); “Mulatto” (873-74); “Song for a Dark Girl” (874-75); “Genius Child” (875); “Visitors to the Black Belt” (875-76); “Note on Commercial Theatre” (876); “Vagabonds” (876-77); “Words Like Freedom” (877); “Madam and Her Madam” (877-78); “Freedom {1}” (878); “Madam’s Calling Cards” (878-79); “Silhouette” (879); “Theme for English B” (880).

Th. 04/12. Zora Neale Hurston. “The Eatonville Anthology” (530-38); “How It Feels to Be Colored Me” (538-41); “The Gilded Six-Bits” (541-49).

JOURNAL SET 3 DUE BY EMAIL SUNDAY 04/15; SEE INSTRUCTIONS. (Reminder: this set includes Fitzgerald through Hurston.)

WEEK 13

Tu. 04/17. Tennessee Williams. A Streetcar Named Desire (93-133, Scenes 1-6).

Th. 04/19. Tennessee Williams. A Streetcar Named Desire (133-55, Scenes 7-11).

PARAGRAPH DESCRIBING GENERAL TOPIC AND SPECIFIC ARGUMENT FOR TERM PAPER DUE BY EMAIL SUNDAY 04/22; SEE INSTRUCTIONS.

WEEK 14

Tu. 04/24. John Cheever. “The Swimmer” (157-65).

Th. 04/26. Allen Ginsberg. “Howl” (492-500); “Footnote to Howl” (500); “A Supermarket in California” (500); “Sunflower Sutra” (501); “To Aunt Rose” (503); “On Burroughs’ Work (504); “Ego Confession” (505).

WEEK 15

Tu. 05/01. Flannery O’Connor. “The Life You Save May Be Your Own” (437-44); “Good Country People” (445-58).

Th. 05/03. Thomas Pynchon. “Entropy” (725-36).

WEEK 16

Tu. 05/08. Frederick Jackson Turner. From “The Significance of the Frontier in American History” (1133-37). Sam Shepard. True West (Act 1, 870-887).

Th. 05/10. Sam Shepard. True West (Act 2, 887-909).

JOURNAL SET 4 DUE BY EMAIL EXAM DAY; SEE INSTRUCTIONS. (Reminder: this set includes Tennessee Williams through Shepard.)

FINALS WEEK

Final Exam Date TBD. Due by email by TBD: Term Paper. (I must turn in grades by May 25, 2011.) For your other courses, check CSUF's Final Exam Schedule.


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