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SYLLABUS FOR E300 ANALYSIS OF LITERARY FORMS, CSU FULLERTON FALL 2014 (8/25/14)

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BASIC INFORMATION

COURSE INFORMATION. English 300, Course Code 16446, Section 80. M/W 4:00-5:15 p.m., IRVC 120. Irvine Campus website and map. Instructor: Alfred J. Drake, Ph.D. Office hours: M/W 3:00-4:00 in IRVC Room TBD. e300@ajdrake.com. 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 Disability Support Services Office in UH 101 or call (657) 278-3117; for the Irvine Campus, see Student Affairs, IRVC-159, phone (657) 278-3117 for the main campus or (657) 278-3112 for the Irvine campus. One other required link: Emergency Preparedness Guidelines.

REQUIRED TEXTS AT IRVINE CAMPUS BOOKSTORE

Booth, Alison and Kelly J. Mays. The Norton Introduction to Literature. Shorter Eleventh Edition. New York: Norton, 2012. Paperback. ISBN-13: 978-0393913392.

Appelbaum, Stanley, ed. English Romantic Poetry: an Anthology. Dover, 1996. ISBN-13: 978-0486292823.

Dostoevsky, Fyodor. The Best Short Stories of Fyodor Dostoevsky. Modern Library, 2001. ISBN-13: 978-0375756887.

Wilde, Oscar. The Importance of Being Earnest. Dover, 1990. ISBN 13: 978-0486264783

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.

BROWSE OFFSITE 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 on any assignment (journals, presentation, paper, exam) may result in course failure. The four evaluative requirements outlined below must be substantially completed to pass the course. Since the assignments will be due by email, it is students' responsibility to contact me promptly if they do not get an email verifying receipt.

MAJOR STUDY UNITS AND COURSE OBJECTIVES. This course will cover a broad selection of 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, small-group discussion that is then partly shared with the class, individual presentations, and possibly in-class quizzes. I encourage questions and comments; participation improves any course, broadening its scope and introducing a variety of opinion. 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.

HOW YOUR PERFORMANCE WILL BE EVALUATED

PRESENTATIONS REQUIREMENT: LINK TO FULL INSTRUCTIONS. At the beginning of the course, students will sign up for two or three (depending on class size) 5-7 minute in-class presentations on assigned texts of their choosing (if possible). Students will choose one question from among a range that I indicate on the questions page for the relevant author, and a few days after sign-up I will post a schedule on the Presentations page. Most sessions 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 me or email me as required, and send a final written version before you present. 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. Don't bother with biography, and don't base what you say mainly on Internet note sites or similar material. If you use any sources, give due credit. (20% of course grade.)

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 questions about 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, using your own words and referring to the texts' specific language. (30% of course grade.)

TERM PAPER REQUIREMENT: LINK TO FULL INSTRUCTIONS. By Friday, November 21 (as specified in the schedule below), 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. (20% 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

Questions on Fiction: De Maupassant through O'Connor | Questions on Poetry: Romantics through "Poetry as Form" selections | Questions on Drama: Sophocles | Questions on Drama: Shakespeare | Questions on Drama: Wilde | Questions on Drama: Hansberry

SESSION SCHEDULE: WORKS DISCUSSED ON DATES INDICATED

WEEK 1 FICTION

M. 08/25. Course Introduction.

W. 08/27. Norton Chapter 1: Plot. Read this chapter's introductory material (82-89). Guy de Maupassant. "The Jewelry" (90-95). Edith Wharton. "Roman Fever" (118-28).

WEEK 2 FICTION

M. 09/01. Labor Day Holiday, No Classes.

W. 09/03. Chapter 2. Narration and Point of View: read this chapter's introductory material (160-64). Edgar Allan Poe. "The Cask of Amontillado" (164-70). Jamaica Kincaid. "Girl" (170-71).

WEEK 3 FICTION

M. 09/08. Norton Chapter 3. Character: read this chapter's introductory material (180-87). David Foster Wallace's "Good People" (215-20); Toby Litt's "The Monster" (241-43). Norton Chapter 4. Setting: read this chapter's introductory material (245-51). Anton Chekhov. "The Lady with the Dog" (251-62).

W. 09/10. Norton Chapter 5. Symbol and Figurative Language: read this chapter's introductory material (285-90). Edwige Danticat. "A Wall of Fire Rising" (317-29).

WEEK 4 FICTION

M. 09/15. Special Focus on Fyodor Dostoevsky. Read Norton Introductory material on Theme (Ch. 6, 334-38). We will in part discuss this aspect of literary texts though Fyodor Dostoevsky. Read Notes from the Underground (Modern Library 95-215).

W. 09/17. Special Focus on Fyodor Dostoevsky. Read Norton Introductory material on Theme (Ch. 6, 334-38). We will in part discuss this aspect of literary texts though Fyodor Dostoevsky. Read Notes from the Underground (Modern Library 95-215).

WEEK 5 FICTION

M. 09/22. Special Focus, continued: Fyodor Dostoevsky. "The Dream of a Ridiculous Man" (Modern Library 263-86).

W. 09/24. "The Author's Work as Context: Flannery O'Connor" (Norton 419-22). "Good Country People" (Norton 433-47).

JOURNAL SET 1 DUE BY EMAIL MONDAY 09/29; SEE INSTRUCTIONS. (Reminder: this set includes journal entries on fiction. I will verify receipt by email within a few days.)

WEEK 6 POETRY

M. 09/29. Norton Introductory Material on Poetry, Chapter 10 (618-36). Special Focus: English Romanticism. William Blake. Read Blake selections from Songs of Innocence & of Experience and The Marriage of Heaven and Hell (Dover 1-22, also see question set for links to the two extra Innocence & Experience poems not available in Dover).

W. 10/01. Special Focus: English Romanticism. From Wordsworth's "Preface to Lyrical Ballads, 1802: read only these brief excerpts. Read also in the Dover edition: "We Are Seven" (23-25); "She dwelt among the untrodden ways" (31-32); "A slumber did my spirit seal" (32); "I wandered lonely as a cloud" (43-44); "The Solitary Reaper" (42); "My heart leaps up when I behold" (35).

WEEK 7 POETRY

M. 10/06. Special Focus: English Romanticism. Read in the Dover edition: "Lines Composed a Few Miles Above Tintern Abbey, on Revisiting the Banks of the Wye During a Tour. July 13, 1798" (25-29); "Ode: Intimations of Immortality from Recollections of Early Childhood" (51-57).

W. 10/08. Special Focus: English Romanticism. From English Romantic Poetry: an Anthology (Dover): Samuel Taylor Coleridge. "The Rime of the Ancient Mariner" (63-81); "Frost at Midnight" (100-01); "Kubla Khan" (105-06); "Dejection: An Ode" (106-10).

WEEK 8 POETRY

M. 10/13. Special Focus: English Romanticism. From English Romantic Poetry: an Anthology (Dover): Percy Bysshe Shelley. "Ozymandias" (147); "Ode to the West Wind" (151-53); "To a Skylark" (157-59).

W. 10/15. Special Focus: English Romanticism. From English Romantic Poetry: an Anthology (Dover): John Keats. "On first looking into Chapman's Homer" (189); "To Autumn" (222-23); "Ode to a Nightingale" (216-18); "Ode on a Grecian Urn" (218-20).

WEEK 9 POETRY

M. 10/20. Special Focus: Modernist Poetry. W.B. Yeats. William Butler Yeats: an Album (Norton 955-965).

W. 10/22. Special Focus: Modernist Poetry. Ezra Pound, T.S. Eliot. Ezra Pound's "In a Station of the Metro" (Norton 1102), "The River Merchant's Wife: a Letter" (Norton 753). T.S. Eliot's "The Love Song of J. Alfred Prufrock" (Norton 1087-90).

WEEK 10 POETRY

M. 10/27. Poetry as Form and Foregrounded Language. Norton Chapters 13-16, etc. Emily Dickinson: "Because I could not stop for Death" (Norton 807); Edgar Allan Poe: "The Raven" (Norton 838); W.C. Williams: "The Red Wheelbarrow" (Norton 796), "This is Just to Say" (Norton 797); Gerard Manley Hopkins: "Pied Beauty" (Norton 798), "God's Grandeur" (Norton 1094), "The Windhover" (Norton 1095); E.E. Cummings: "in Just" (Norton 1081); "The Twenty-Third Psalm" (Norton 810).

W. 10/29. Poetry as Form and Foregrounded Language. Norton Chapters 13-16, etc. Wilfred Owen: "Dulce et Decorum Est" (Norton 1101); Robert Frost: "Design" (Norton 898), "Stopping by Woods on a Snowy Evening" (Norton 1091); Shakespeare: "Th'expense of spirit in a waste of shame" (Norton 868); Archibald MacLeish: "Ars Poetica" (Norton 700); Alfred Tennyson: "Ulysses" (Norton 990); Robert Browning: "My Last Duchess" (Norton 1078).

JOURNAL SET 2 DUE BY EMAIL MONDAY 11/03; SEE INSTRUCTIONS. (Reminder: this set includes journal entries on a selection of poems from among the broader selection assigned; see more detailed instructions in the link.)

WEEK 11 DRAMA

M. 11/03. Sophocles. Antigone (Norton – read "Elements of Drama" 1180-89 and as much of the play from 1563-97 as possible). Today we will watch a film production.

W. 11/05. Sophocles. Antigone (Norton 1563-97). Discussion of the text.

WEEK 12 DRAMA

M. 11/10. William Shakespeare. Introduction to Shakespeare’s life, times, language and craft as a playwright. No assigned reading -- I may bring in a few sonnets and other brief texts as examples. In the following meetings, I will also show brief clips of selected scenes from the play.

W. 11/12. William Shakespeare. Hamlet Act 1 (Norton 1363-85).

PARAGRAPH DESCRIBING GENERAL TOPIC AND SPECIFIC ARGUMENT FOR TERM PAPER DUE BY EMAIL FRIDAY 11/21; SEE INSTRUCTIONS.

WEEK 13 DRAMA

M. 11/17. William Shakespeare. Hamlet Acts 2-3 (Norton 1385-1424).

W. 11/19. William Shakespeare. Hamlet Acts 4-5 (Norton 1424-58).

WEEK 14 DRAMA

M. 11/24. Thanksgiving Holiday, No Classes.

W. 11/26. Thanksgiving Holiday, No Classes.

WEEK 15 DRAMA

M. 12/01. Oscar Wilde. The Importance of Being Earnest (Dover 1-54). Today we will watch a film production.

W. 12/03. Oscar Wilde. The Importance of Being Earnest (Dover 1-54). Discussion of the text.

WEEK 16 DRAMA

M. 12/08. Lorraine Hansberry. A Raisin in the Sun (Norton). Today we will watch part of a film production.

W. 12/10. Lorraine Hansberry. A Raisin in the Sun (Norton Cultural and Historical Context" Intro 1460-70; Acts 1-3, Norton 1470-1534). Discussion of the text.

JOURNAL SET 3 DUE BY EMAIL EXAM DAY; SEE INSTRUCTIONS. (Reminder: this set includes journal entries on each assigned drama.)

FINALS WEEK

Final Exam Date Wednesday December 17 from 5:00-6:50 p.m. You don’t need to bring a bluebook; the exam is open-book and open-note, but no laptops and no sharing books or notes. Due by email by Monday, Dec. 22 or earlier: Term Paper. (I must turn in grades by Friday January 02, 2015.) For your other courses, check CSUF's Final Exam Schedule.


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