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SYLLABUS FOR E300 ANALYSIS OF LITERARY FORMS, CSU FULLERTON FALL 2011 (8/21/11)
COURSE INFORMATION. English 300, Course Code 20639, Section 80. M/W 4:00-5:15 p.m., IRVC 203. Irvine Campus website and map. Instructor: Alfred J. Drake, Ph.D. Office hours: Wednesday 3:00-4:00 in IRVC Room 261. firstname.lastname@example.org. Catalog: "Main literary forms -- prose fiction, poetry and drama-are studied and analyzed. English majors should schedule this basic course as early as possible. 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 NEW IRVINE CAMPUS BOOKSTORE
Booth, Alison and Kelly J. Mays. The Norton Introduction to Literature. Shorter Tenth Edition. New York: Norton, 2010. Paperback. ISBN-13: 978-0393935141.
OPTIONAL RESOURCES TO HELP YOU DO WELL
BROWSE INSTRUCTOR'S BLOG. My thoughts on the assigned readings; separately, I will post a running blog.
LISTEN TO OUR CLASS SESSIONS IN MP3 AUDIO. Audio becomes available a day or two after each session.
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 broad selection of mostly British and American literary texts, but our main purpose is to consider the major genres -- fiction, poetry, and drama -- in a way that will help students move forward with their studies in English and World literature. The course will center on discussion of assigned texts.
CLASSROOM ACTIVITIES. Lecture, 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. 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.
HOW YOUR PERFORMANCE WILL BE EVALUATED
JOURNALS REQUIREMENT: LINK TO FULL INSTRUCTIONS. Three 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 the assigned readings; send sets on time, making sure I verify receipt; respond thoughtfully--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 (11/20) 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 (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, 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.)
IN-CLASS QUIZZES. No need for further instructions here: we will have a number of brief in-class quizzes (usually 5-10 minutes) that will explore your readiness to participate in discussions about our assigned texts; both basic plot and structure considerations and genre/thematic issues that require some independent thought are possible question material. (10-15% of course grade.)
EMAILING JOURNALS AND TERM PAPER TO E300 at AJDRAKE.COM. Email journals and the term paper as attachments. Don't send more than one document in the same email. Label subject lines appropriately: "E300 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
I am offering a general set of optional questions that should help students develop specific responses to the assigned texts by individual authors, but you are free to develop you own material for the journal sets: Questions Listed in Journal Instructions Page
SESSION SCHEDULE: WORKS DISCUSSED ON DATES INDICATED
WEEK 1 FICTION
M. 08/22. Course Introduction.
W. 08/24. Chapter 1: Plot. Read this chapter's introductory material (50-58). Edith Wharton. "Roman Fever" (85-95).
WEEK 2 FICTION
M. 08/29. Chapter 2. Narration and Point of View: read this chapter's introductory material (96-100). Edgar Allan Poe. "The Cask of Amontillado" (101-05). Jamaica Kincaid. "Girl" (116-17).
W. 08/31. Chapter 3. Character (119-26). Toni Morrison. "Recitatif" (139-52).
WEEK 3 FICTION
M. 09/05. No classes: Labor Day holiday, campus closed.
W. 09/07. Chapter 4. Setting: read this chapter's introductory material (163-69). Anton Chekhov. "The Lady with the Dog" (169-80).
WEEK 4 FICTION
M. 09/12. Chapter 5. Symbol and Figurative Language: read this chapter's introductory material (208-13). Edwige Danticat. "A Wall of Fire Rising" (239-49).
W. 09/14. Chapter 6. Theme: read this chapter's introductory material (251-54). Stephen Crane. "The Open Boat" (255-71). Gabriel Garcia Marquez. "A Very Old Man with Enormous Wings" (271-76).
WEEK 5 FICTION
M. 09/19. Chapter 7. Exploring Contexts -- The Author's Work: Flannery O'Connor (294-99). Flannery O'Connor. "Good Country People" (310-23). Mary Gordon. From "Flannery's Kiss" (337-39). Eileen Pollack. From "Flannery O'Connor and the New Criticism" (343-45).
W. 09/21. Chapter 8. Cultural and Historical Contexts -- Women in Turn-of-the-Century America (347-52). Charlotte Perkins Gilman. "The Yellow Wallpaper" (354-65).
WEEK 6 FICTION
M. 09/26. Chapter 9. Critical Contexts: William Faulkner's "A Rose for Emily" (389-91). William Faulkner. "A Rose for Emily" (391-97).
W. 09/28. Critical Contexts on the Faulkner Story (398-425).
JOURNAL SET 1 DUE BY EMAIL SUNDAY 10/02; SEE INSTRUCTIONS. (Reminder: this set includes journal entries on fiction. I will verify receipt by email within a few days.)
WEEK 7 POETRY
M. 10/03. Chapter 10. Poetry: Reading, Responding, Writing (618-42). Read also from "Romantic Love: an Album" (643-50).
W. 10/05. Love poetry, continued: Matthew Arnold's "Dover Beach" (704-05) and Walt Whitman's "When Lilacs Last in the Dooryard Bloom'd" (Internet Source: Bartleby). I may bring in and read aloud a few separate love poems by the ancient Greek poetess Sappho; these are not in the anthology.
WEEK 8 POETRY
M. 10/10. Chapters 13-16, etc. A Mix: Poetry as Form and Foregrounded Language. Emily Dickinson: "I dwell in Possibility" (739), "Because I could not stop for Death" (886-87); W.C. Williams: "The Red Wheelbarrow" (739-40), "This is Just to Say" (740); G.M. Hopkins: "Pied Beauty" (742), "Spring and Fall" (789-90), "God's Grandeur" (1030), "The Windhover" (1030-31); E.E. Cummings: "in Just" (742-43); "The Twenty-Third Psalm" (756); Wilfred Owen: "Dulce et Decorum Est" (759-60); Robert Frost: "Fireflies in the Garden" (768-69), "Range Finding" (838), "Design" (838), "Stopping by Woods on a Snowy Evening" (1019-20); Edgar Allan Poe: "The Raven" (785-88).
W. 10/12. Chapters 13-16, etc. A Mix: Poetry as Form and Foregrounded Language. Shakespeare: "Th'expense of spirit in a waste of shame" (814-15); Dylan Thomas: "Do Not Go Gentle into That Good Night" (827-28); Elizabeth Bishop: "Sestina" (829-30); Marianne Moore "Poetry" (828-29); Archibald MacLeish: "Ars Poetica" (830-31); George Herbert: "Easter Wings" (847); Christopher Marlowe and Sir Walter Raleigh: "The Passionate Shepherd to His Love" and "The Nymph's Reply to the Shepherd" (913-15); Alfred Tennyson: "Ulysses" (928-30); Robert Browning: "My Last Duchess" (1009-10). Time permitting, I may bring in a few extra samples of poetic types, so read "Poetic Kinds" (919-20).
WEEK 9 POETRY
M. 10/17. Romanticism: Poetry of Nature and Self-Consciousness. William Blake, William Wordsworth. Blake's "The Chimney Sweeper" (1008-09, both versions from Songs of Innocence and Songs of Experience); "London" (658), "The Sick Rose" (767), "The Tyger" (1007-08). Wordsworth's "She Dwelt among the Untrodden Ways" (681), "Tintern Abbey" (1048-51).
W. 10/19. Romanticism: Poetry of Nature and Self-Consciousness, continued. Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Walt Whitman. Coleridge's "Kubla Khan" (1010-11). Shelley's "Ode to the West Wind" (817-20). Keats' "On the Sonnet" (835-36), "On Seeing the Elgin Marbles" (836-37), "Ode to a Nightingale" (1031-33),"Ode on a Grecian Urn" (1033-34), "To Autumn" (1034-35). Whitman's "I celebrate myself, and sing myself" (686).
WEEK 10 POETRY
M. 10/24. Modernist Poetry: W.B. Yeats. William Butler Yeats: an Album (895-908).
W. 10/26. Modernist Poetry, continued: Ezra Pound, T.S. Eliot, Wallace Stevens. Ezra Pound. "In a Station of the Metro" (1041). T.S. Eliot. "The Love Song of J. Alfred Prufrock" (1015-19). Wallace Stevens. "The Emperor of Ice Cream" (1042-43), "Anecdote of the Jar" (1043). I may also give and comment on short readings from other poems to be specified.
WEEK 11 POETRY
M. 10/31. Chapter 19. Cultural and Historical Contexts: the Harlem Renaissance (947-56). Poetry of the Harlem Renaissance (956-64).
W. 11/02. Chapter 19. Cultural and Historical Contexts: the Harlem Renaissance (947-56). Essay excerpts on Harlem Renaissance (966-81). Read also W.E.B. DuBois' The Souls of Black Folk, Ch. 1. Of Our Spiritual Strivings.
JOURNAL SET 2 DUE BY EMAIL SUNDAY 11/06; SEE INSTRUCTIONS?. (Reminder: this set includes journal entries on poetry.)
WEEK 12 DRAMA
M. 11/07. Read "Elements of Drama" introduction (1125-34). Chapter 24. Critical Contexts. Sophocles. Antigone (1490-1523).
W. 11/09. Sophocles. Antigone, continued (1490-1523). Critical Excerpts (1524-39).
WEEK 13 DRAMA
M. 11/14. Anton Chekhov. The Cherry Orchard (1547-83).
W. 11/16. Anton Chekhov. The Cherry Orchard, continued (1547-83).
WEEK 14 DRAMA
M. 11/21. Wed. Fall Recess. No classes.
W. 11/23. Wed. Fall Recess. No classes.
WEEK 15 DRAMA
M. 11/28. Lorraine Hansberry. A Raisin in the Sun (1583-1645).
W. 11/30. Lorraine Hansberry. A Raisin in the Sun, continued (1583-1645).
WEEK 16 DRAMA
M. 12/05. Arthur Miller. Death of a Salesman (1646-1711).
W. 12/07. Arthur Miller. Death of a Salesman, continued (1646-1711).
JOURNAL SET 3 DUE BY EMAIL EXAM DAY; SEE INSTRUCTIONS. (Reminder: this set includes journal entries on drama.)