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History: E307_Presentations_Fall_15

Comparing version 17 with version 18

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<h3><div align="center">
PRESENTATIONS FOR E307 WRITING, CSU FULLERTON FALL 2015 (12/5/15)
</div></h3>

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

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

<h3><font color="#7800A7">INSTRUCTIONS FOR THE PRESENTATIONS REQUIREMENT</font></h3>

<p>At the beginning of the course, students will sign up to give a brief presentation on one assigned text of their choosing (if possible). The presentation will consist mainly in your engagement with a single scholarly article or other critical text dealing with the literary work you chose to present on. In other words, if you chose Jane Austen's <i>Persuasion,</i> you will be categorizing, summarizing and constructively criticizing/building on what some other critic has written about some aspect of that Jane Austen novel. As your listeners, we will get a sense of what sort of criticism we are dealing with, what specifically the author is claiming, and whether and to what extent you find it valuable as something to build on in your own right. <u><i>Required:</i></u> At least five days 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 me or email me as required, and send a final written version; good critics challenge their listeners and pose thoughtful questions, so develop your presentation to invite discussion; aim for spontaneity and a personal touch; speak up, but don't rush things. (20% of course grade.)</p>

<p>It's easy to do well if you prepare in advance and make a good effort, and your colleagues will be supportive. Completing the in-class component is 70% of the grade for your presentation, and sending me an advance draft of your remarks is 30%.</p>

<p><u>Please check the schedule below on this page to verify the current status of your in-class presentation.</u> Within a few days after you've completed both, next to your name should appear the notation <b>(Presentation completed)</b>. If you see other notations as indicated below in "How I Evaluate Presentations," please contact me by email.</p>

<h3><font color="#7800A7">HOW I EVALUATE PRESENTATIONS</font></h3>

<p>I will judge presentations on the following grounds: did the student 1) meet with me or email me a timely advance final draft so that I can offer advice and determine the course of my own comments? and 2) seem to have put genuine effort into preparing. Students who do those two things will receive an "A" for the presentations requirement. I am not going to grade presentations so much on in-class factors as on how well students prepare and (again, <i>if necessary</i>) follow up. I will indicate whether students have completed the requirements: <b>(Presentation completed),</b> <b>(Presented in Class but no written version),</b> <b>(Missed Presentation),</b> <b>(Rescheduled Presentation)</b>.</p>

<h3><font color="#7800A7">MISSED PRESENTATIONS / RESCHEDULING PRESENTATIONS</font></h3>

<p>If you find that you will be unable to make it to class for your scheduled presentation, please let me know in advance if possible. So long as you have provided me with a timely advance draft of your remarks (I usually print them out and bring them to class), I will read the presentation for you and give you partial credit for the "in-class" portion of the presentation grade. If you haven't provided me with a final advance draft, I will not read the presentation in class. In such cases, rescheduling on a new author or text may be possible at my discretion and if the schedule allows.</p>

<h3 align="center"><font color="#7800A7">PRESENTATIONS/READING SCHEDULE</font></h3>

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

<p>Tu. 10/06. Jane Austen's <i>Persuasion,</i> Chs. I-IX (Norton 3-58). Graff/Birkenstein's <i>They Say, I Say</i> Part 3, "Tying It All Together." Ch. Eight, "As a Result: Connecting the Parts" (105-20) and Ch. Nine, "Ain't So/Is Not: Academic Writing Doesn't Always Mean Setting Aside Your Own Voice" (121-28).</p>

<p>Th. 10/08. Jane Austen's <i>Persuasion,</i> Chs. I-IX (Norton 3-58). Graff/Birkenstein's <i>They Say, I Say</i> Part 3, "Tying It All Together." Kane's <i>New Oxford Guide to Writing,</i> Part III: The Expository Paragraph, Ch. 17 "Paragraph Development: "Paragraph Development: (4) "Definition, Analysis, and Qualification" (98-108).</p>

<p><b><u>ARIEL CASTANEDA</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>MARIANNE NASEIRO</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

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

<p>Tu. 10/13. Jane Austen's <i>Persuasion,</i> Chs. X-XVIII (Norton 59-122). Graff/Birkenstein's <i>They Say, I Say</i> Part 3, "Tying It All Together." Ch. Ten, "But Don't Get Me Wrong: The Art of Metacommentary" (129-38). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 18 "A Definition" (109-18).</p>

<p><b><u>ISABELLA TRAN</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>DANIELLE TURNER</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p>Th. 10/15. Jane Austen's <i>Persuasion,</i> Chs. X-XVIII (Norton 59-122). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 18 "A Definition" (109-18).</p>

<p><b><u>MEAGHAN BERRY</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>GRACE GLASGOW</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

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

<p>Tu. 10/20. Jane Austen's <i>Persuasion,</i> Chs. XIX-XXIV plus Original Ending (Norton 122-88). Graff/Birkenstein's <i>They Say, I Say</i> Part 4, "In Specific Academic Settings." Ch. Eleven, "I Take Your Point: Entering Class Discussions" (141-44) and Ch. Twelve, "What's Motivating This Writer?: Reading for the Conversation" (145-55).</p>

<p><b><u>ALEXANDER RUBIO</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation to be Rescheduled.</b></p>

<p>Th. 10/22. Jane Austen's <i>Persuasion,</i> Chs. XIX-XXIV plus Original Ending (Norton 122-88). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 19 "Sentence Styles" (119-39).</p>

<p><b><u>ROBIN SUAREZ</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p><b>JOURNAL SET 1 DUE BY EMAIL FRIDAY 10/30; SEE INSTRUCTIONS.</b> (Reminder: this set includes entries on three pieces of criticism about Austen's <i>Persuasion.</i> I will verify receipt by email within a few days.)</p>

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

<p>Tu. 10/27. Film of Shakespeare's <i>The Tempest.</i> (Julie Taymor production starring Helen Mirren, approx. 1 hr. and 50 mins; today we will watch the first half.)</p>

<p>Th. 10/29. Film of Shakespeare's <i>The Tempest.</i> (Julie Taymor production starring Helen Mirren, approx. 1 hr. and 50 mins; today we will watch the remainder.)</p>

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

<p>Tu. 11/03. Shakespeare's <i>The Tempest,</i> Acts 1-2 (Norton 3-41). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 20 "The Well-Written Sentence: (1) Concision" (140-46).</p>

<p><b><u>KRISHNA LAY</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>CATHERINE CIAVARELLA</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.</b></p>

<p>Th. 11/05. Shakespeare's <i>The Tempest,</i> Acts 1-2 (Norton 3-41). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 20 "The Well-Written Sentence: (2) Emphasis" (147-62).</p>

<p><b><u>THOMAS NICHOLS</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.</b></p>

<p><b><u>LONG NGUYEN </u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>AUSTRIA SILK </u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.</b></p>

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

<p>Tu. 11/10. Shakespeare's <i>The Tempest,</i> Acts 3-5 (Norton 42-77). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 22 "The Well-Written Sentence: (3) Rhythm" (163-70).</p>

<p><b><u>ALEXIS PIERCE</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.</b></p>

<p><b><u>OSCAR RODRIGUEZ</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Partly Completed.)</b></p>

<p><b><u>STEVEN SOK</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Not Done.)</b></p>

<p>Th. 11/12. Shakespeare's <i>The Tempest,</i> Acts 3-5 (Norton 42-77). Kane's <i>New Oxford Guide to Writing,</i> Part IV: Ch. 23 "The Well-Written Sentence: (4) Variety" (171-74).</p>

<p><b><u>SOHEIL TABATABAI</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>BENJAMIN MABRY</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.)</b></p>

<p><b>JOURNAL SET 2 DUE BY EMAIL FRIDAY 11/20; SEE INSTRUCTIONS.</b> (Reminder: this set includes entries on three pieces of criticism about Shakespeare's <i>The Tempest.</i> I will verify receipt by email within a few days.)</p>

<p><b>PARAGRAPH DESCRIBING GENERAL TOPIC AND SPECIFIC ARGUMENT FOR TERM PAPER DUE BY EMAIL FRIDAY 11/20; SEE INSTRUCTIONS.</b></p>

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

<p>Tu. 11/17. Selected British Romantic Poems: William Blake. Read Blake's "Chimney Sweeper" (362 and 371), "Holy Thursday" (361 and 371),"London" (368), "Nurse's Song" (360 and 369),"The Tyger" (369).</p>

<p><b><u>AUSTRIA SILK</u> on William Blake's "London"</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>KELSEY PURYEAR</u> on William Blake's "The Tyger"</b>. <b>(Presentation Not Done.)</b></p>

<p>Th. 11/19. Selected British Romantic Poems: Lord Byron. Byron's "Prisoner of Chillon" (202-12). Kane's <i>New Oxford Guide to Writing,</i> Part V: Diction, Ch. 24 "Meaning" (177-89).</p>

<p><b><u>KATELYNN WAHLSTEEN</u> on Lord Byron's "Prisoner of Chillon"</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>ALEXANDER RUBIO</u> on Lord Byron's "Prisoner of Chillon"</b>. <b>(Presentation Completed.)</b></p>

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

<p>Tu. 11/24. <b>Fall Recess. No classes.</b></p>

<p>Th. 11/26. <b>Fall Recess. No classes.</b></p>

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

<p>Tu. 12/01. Selected British Romantic Poems: William Wordsworth. "The Solitary Reaper" (387), "Three Years She Grew" (15), "Tintern Abbey" (264) and your choice of two other Wordsworth poems. Kane's <i>New Oxford Guide to Writing,</i> Part V: Diction, Ch. 25 "Clarity and Simplicity" (190-202).</p>

<p><b><u>MELODY SASIS</u> on William Wordsworth</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>ANGIE PEREZ</u> on William Wordsworth</b>. <b>(Presentation Not Done.)</b></p>

<p>Th. 12/03. Selected British Romantic Poems: Samuel Taylor Coleridge. Coleridge's "Dejection: an Ode" (332), "Frost at Midnight" (259), "Kubla Khan" (8) and your choice of two other Coleridge poems.</p>

<p><b><u>HANNAH KIM</u> on Samuel Taylor Coleridge's "Dejection: an Ode."</b> <b>(Presentation Completed</b></p>

<p><b><u>ROBIN SUAREZ</u> on Samuel Taylor Coleridge's "Frost at Midnight."</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>SARAH VITUG</u> on Samuel Taylor Coleridge's "The Solitary Reaper."</b> <b>(Presentation Completed</b></p>

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

<p>Tu. 12/08. Selected British Romantic Poems: Percy Bysshe Shelley. Shelley's "Mont Blanc" (310), "Ode to the West Wind" (347), "Ozymandias" (441), "To a Skylark" (26), and your choice of one other Shelley poem. Kane's <i>New Oxford Guide to Writing,</i> Part V: Diction, Ch. 26 "Concision" (203-12).</p>

<p><b><u>JUAN FERMIN</u> on Percy Bysshe Shelley's "Ozymandias"</b>. <b><font color="white">(Presentation Completed.)</font></b></p>

<p><b><u>TEMREN WROGE</u> on Percy Bysshe Shelley's "To a Skylark"</b>. <b><font color="white">(Presentation Completed.)</font></b></p>

<p>Th. 12/10. Selected British Romantic Poems: John Keats. "On First Looking Into Chapman's Homer" (438), "To Autumn" (25), "Ode on a Grecian Urn" (343), "Ode to a Nightingale" (341) and your choice of one other Keats poem. Kane's <i>New Oxford Guide to Writing,</i> Part V: Diction, Ch. 26 "Concision" (203-12).</p>

<p><b><u>KATELYNN WAHLSTEEN</u> on John Keats' "To a Nightingale"</b>. <b><font color="white">(Presentation Completed.)</font></b></p>

<p><b><u>JESSICA SHAW</u> on John Keats' "Ode on a Grecian Urn"</b>. <b><font color="white">(Presentation Completed.)</font></b></p>

<p><b><u>JUAN FERMIN</u> on John Keats' "To Autumn"</b>. <b><font color="white">(Presentation Completed.)</font></b></p>

<p><b>JOURNAL SET 3 DUE BY EMAIL ON DAY OF FINAL EXAM; SEE INSTRUCTIONS.</b> (Reminder: this set includes entries on three pieces of criticism about selected Romantic poems – each of the three entries should be on a different poet. I will verify receipt by email within a few days.)</p>

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

<p>Final Exam Date <b><font color="#666">Tuesday, Dec. 15, 9:30-11:20 a.m.</font></b> Due by email by Tuesday, Dec. 22: <b>Term Paper</b>. (I must turn in grades by Dec. 28, 2015.) For your other courses, check <b>CSUF's Final Exam Schedule</b>.</p>


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<h3><div align="center">
PRESENTATIONS FOR E307 WRITING, CSU FULLERTON FALL 2015 (12/11/15)
</div></h3>

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

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

<h3><font color="#7800A7">INSTRUCTIONS FOR THE PRESENTATIONS REQUIREMENT</font></h3>

<p>At the beginning of the course, students will sign up to give a brief presentation on one assigned text of their choosing (if possible). The presentation will consist mainly in your engagement with a single scholarly article or other critical text dealing with the literary work you chose to present on. In other words, if you chose Jane Austen's <i>Persuasion,</i> you will be categorizing, summarizing and constructively criticizing/building on what some other critic has written about some aspect of that Jane Austen novel. As your listeners, we will get a sense of what sort of criticism we are dealing with, what specifically the author is claiming, and whether and to what extent you find it valuable as something to build on in your own right. <u><i>Required:</i></u> At least five days 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 me or email me as required, and send a final written version; good critics challenge their listeners and pose thoughtful questions, so develop your presentation to invite discussion; aim for spontaneity and a personal touch; speak up, but don't rush things. (20% of course grade.)</p>

<p>It's easy to do well if you prepare in advance and make a good effort, and your colleagues will be supportive. Completing the in-class component is 70% of the grade for your presentation, and sending me an advance draft of your remarks is 30%.</p>

<p><u>Please check the schedule below on this page to verify the current status of your in-class presentation.</u> Within a few days after you've completed both, next to your name should appear the notation <b>(Presentation completed)</b>. If you see other notations as indicated below in "How I Evaluate Presentations," please contact me by email.</p>

<h3><font color="#7800A7">HOW I EVALUATE PRESENTATIONS</font></h3>

<p>I will judge presentations on the following grounds: did the student 1) meet with me or email me a timely advance final draft so that I can offer advice and determine the course of my own comments? and 2) seem to have put genuine effort into preparing. Students who do those two things will receive an "A" for the presentations requirement. I am not going to grade presentations so much on in-class factors as on how well students prepare and (again, <i>if necessary</i>) follow up. I will indicate whether students have completed the requirements: <b>(Presentation completed),</b> <b>(Presented in Class but no written version),</b> <b>(Missed Presentation),</b> <b>(Rescheduled Presentation)</b>.</p>

<h3><font color="#7800A7">MISSED PRESENTATIONS / RESCHEDULING PRESENTATIONS</font></h3>

<p>If you find that you will be unable to make it to class for your scheduled presentation, please let me know in advance if possible. So long as you have provided me with a timely advance draft of your remarks (I usually print them out and bring them to class), I will read the presentation for you and give you partial credit for the "in-class" portion of the presentation grade. If you haven't provided me with a final advance draft, I will not read the presentation in class. In such cases, rescheduling on a new author or text may be possible at my discretion and if the schedule allows.</p>

<h3 align="center"><font color="#7800A7">PRESENTATIONS/READING SCHEDULE</font></h3>

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

<p>Tu. 10/06. Jane Austen's <i>Persuasion,</i> Chs. I-IX (Norton 3-58). Graff/Birkenstein's <i>They Say, I Say</i> Part 3, "Tying It All Together." Ch. Eight, "As a Result: Connecting the Parts" (105-20) and Ch. Nine, "Ain't So/Is Not: Academic Writing Doesn't Always Mean Setting Aside Your Own Voice" (121-28).</p>

<p>Th. 10/08. Jane Austen's <i>Persuasion,</i> Chs. I-IX (Norton 3-58). Graff/Birkenstein's <i>They Say, I Say</i> Part 3, "Tying It All Together." Kane's <i>New Oxford Guide to Writing,</i> Part III: The Expository Paragraph, Ch. 17 "Paragraph Development: "Paragraph Development: (4) "Definition, Analysis, and Qualification" (98-108).</p>

<p><b><u>ARIEL CASTANEDA</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>MARIANNE NASEIRO</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

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

<p>Tu. 10/13. Jane Austen's <i>Persuasion,</i> Chs. X-XVIII (Norton 59-122). Graff/Birkenstein's <i>They Say, I Say</i> Part 3, "Tying It All Together." Ch. Ten, "But Don't Get Me Wrong: The Art of Metacommentary" (129-38). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 18 "A Definition" (109-18).</p>

<p><b><u>ISABELLA TRAN</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>DANIELLE TURNER</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p>Th. 10/15. Jane Austen's <i>Persuasion,</i> Chs. X-XVIII (Norton 59-122). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 18 "A Definition" (109-18).</p>

<p><b><u>MEAGHAN BERRY</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>GRACE GLASGOW</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

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

<p>Tu. 10/20. Jane Austen's <i>Persuasion,</i> Chs. XIX-XXIV plus Original Ending (Norton 122-88). Graff/Birkenstein's <i>They Say, I Say</i> Part 4, "In Specific Academic Settings." Ch. Eleven, "I Take Your Point: Entering Class Discussions" (141-44) and Ch. Twelve, "What's Motivating This Writer?: Reading for the Conversation" (145-55).</p>

<p><b><u>ALEXANDER RUBIO</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation to be Rescheduled.</b></p>

<p>Th. 10/22. Jane Austen's <i>Persuasion,</i> Chs. XIX-XXIV plus Original Ending (Norton 122-88). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 19 "Sentence Styles" (119-39).</p>

<p><b><u>ROBIN SUAREZ</u> on Jane Austen's <i>Persuasion</i></b>. <b>(Presentation Completed.)</b></p>

<p><b>JOURNAL SET 1 DUE BY EMAIL FRIDAY 10/30; SEE INSTRUCTIONS.</b> (Reminder: this set includes entries on three pieces of criticism about Austen's <i>Persuasion.</i> I will verify receipt by email within a few days.)</p>

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

<p>Tu. 10/27. Film of Shakespeare's <i>The Tempest.</i> (Julie Taymor production starring Helen Mirren, approx. 1 hr. and 50 mins; today we will watch the first half.)</p>

<p>Th. 10/29. Film of Shakespeare's <i>The Tempest.</i> (Julie Taymor production starring Helen Mirren, approx. 1 hr. and 50 mins; today we will watch the remainder.)</p>

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

<p>Tu. 11/03. Shakespeare's <i>The Tempest,</i> Acts 1-2 (Norton 3-41). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 20 "The Well-Written Sentence: (1) Concision" (140-46).</p>

<p><b><u>KRISHNA LAY</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>CATHERINE CIAVARELLA</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.</b></p>

<p>Th. 11/05. Shakespeare's <i>The Tempest,</i> Acts 1-2 (Norton 3-41). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 20 "The Well-Written Sentence: (2) Emphasis" (147-62).</p>

<p><b><u>THOMAS NICHOLS</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.</b></p>

<p><b><u>LONG NGUYEN </u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>AUSTRIA SILK </u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.</b></p>

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

<p>Tu. 11/10. Shakespeare's <i>The Tempest,</i> Acts 3-5 (Norton 42-77). Kane's <i>New Oxford Guide to Writing,</i> Part IV: The Sentence, Ch. 22 "The Well-Written Sentence: (3) Rhythm" (163-70).</p>

<p><b><u>ALEXIS PIERCE</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.</b></p>

<p><b><u>OSCAR RODRIGUEZ</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Partly Completed.)</b></p>

<p><b><u>STEVEN SOK</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Not Done.)</b></p>

<p>Th. 11/12. Shakespeare's <i>The Tempest,</i> Acts 3-5 (Norton 42-77). Kane's <i>New Oxford Guide to Writing,</i> Part IV: Ch. 23 "The Well-Written Sentence: (4) Variety" (171-74).</p>

<p><b><u>SOHEIL TABATABAI</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.)</b></p>

<p><b><u>BENJAMIN MABRY</u> on William Shakespeare's <i>The Tempest</i></b>. <b>(Presentation Completed.)</b></p>

<p><b>JOURNAL SET 2 DUE BY EMAIL FRIDAY 11/20; SEE INSTRUCTIONS.</b> (Reminder: this set includes entries on three pieces of criticism about Shakespeare's <i>The Tempest.</i> I will verify receipt by email within a few days.)</p>

<p><b>PARAGRAPH DESCRIBING GENERAL TOPIC AND SPECIFIC ARGUMENT FOR TERM PAPER DUE BY EMAIL FRIDAY 11/20; SEE INSTRUCTIONS.</b></p>

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

<p>Tu. 11/17. Selected British Romantic Poems: William Blake. Read Blake's "Chimney Sweeper" (362 and 371), "Holy Thursday" (361 and 371),"London" (368), "Nurse's Song" (360 and 369),"The Tyger" (369).</p>

<p><b><u>AUSTRIA SILK</u> on William Blake's "London"</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>KELSEY PURYEAR</u> on William Blake's "The Tyger"</b>. <b>(Presentation Not Done.)</b></p>

<p>Th. 11/19. Selected British Romantic Poems: Lord Byron. Byron's "Prisoner of Chillon" (202-12). Kane's <i>New Oxford Guide to Writing,</i> Part V: Diction, Ch. 24 "Meaning" (177-89).</p>

<p><b><u>KATELYNN WAHLSTEEN</u> on Lord Byron's "Prisoner of Chillon"</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>ALEXANDER RUBIO</u> on Lord Byron's "Prisoner of Chillon"</b>. <b>(Presentation Completed.)</b></p>

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

<p>Tu. 11/24. <b>Fall Recess. No classes.</b></p>

<p>Th. 11/26. <b>Fall Recess. No classes.</b></p>

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

<p>Tu. 12/01. Selected British Romantic Poems: William Wordsworth. "The Solitary Reaper" (387), "Three Years She Grew" (15), "Tintern Abbey" (264) and your choice of two other Wordsworth poems. Kane's <i>New Oxford Guide to Writing,</i> Part V: Diction, Ch. 25 "Clarity and Simplicity" (190-202).</p>

<p><b><u>MELODY SASIS</u> on William Wordsworth</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>ANGIE PEREZ</u> on William Wordsworth</b>. <b>(Presentation Not Done.)</b></p>

<p>Th. 12/03. Selected British Romantic Poems: Samuel Taylor Coleridge. Coleridge's "Dejection: an Ode" (332), "Frost at Midnight" (259), "Kubla Khan" (8) and your choice of two other Coleridge poems.</p>

<p><b><u>HANNAH KIM</u> on Samuel Taylor Coleridge's "Dejection: an Ode."</b> <b>(Presentation Completed</b></p>

<p><b><u>ROBIN SUAREZ</u> on Samuel Taylor Coleridge's "Frost at Midnight."</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>SARAH VITUG</u> on Samuel Taylor Coleridge's "The Solitary Reaper."</b> <b>(Presentation Completed</b></p>

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

<p>Tu. 12/08. Selected British Romantic Poems: Percy Bysshe Shelley. Shelley's "Mont Blanc" (310), "Ode to the West Wind" (347), "Ozymandias" (441), "To a Skylark" (26), and your choice of one other Shelley poem. Kane's <i>New Oxford Guide to Writing,</i> Part V: Diction, Ch. 26 "Concision" (203-12).</p>

<p><b><u>JUAN FERMIN</u> on Percy Bysshe Shelley's "Ozymandias"</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>TEMREN WROGE</u> on Percy Bysshe Shelley's "To a Skylark"</b>. <b>(Presentation Completed.)</b></p>

<p>Th. 12/10. Selected British Romantic Poems: John Keats. "On First Looking Into Chapman's Homer" (438), "To Autumn" (25), "Ode on a Grecian Urn" (343), "Ode to a Nightingale" (341) and your choice of one other Keats poem. Kane's <i>New Oxford Guide to Writing,</i> Part V: Diction, Ch. 26 "Concision" (203-12).</p>

<p><b><u>KATELYNN WAHLSTEEN</u> on John Keats' "To a Nightingale"</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>JESSICA SHAW</u> on John Keats' "Ode on a Grecian Urn"</b>. <b>(Presentation Completed.)</b></p>

<p><b><u>JUAN FERMIN</u> on John Keats' "To Autumn"</b>. <b>(Presentation Completed.)</b></p>

<p><b>JOURNAL SET 3 DUE BY EMAIL ON DAY OF FINAL EXAM; SEE INSTRUCTIONS.</b> (Reminder: this set includes entries on three pieces of criticism about selected Romantic poems – each of the three entries should be on a different poet. I will verify receipt by email within a few days.)</p>

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

<p>Final Exam Date <b><font color="#666">Tuesday, Dec. 15, 9:30-11:20 a.m.</font></b> Due by email by Tuesday, Dec. 22: <b>Term Paper</b>. (I must turn in grades by Dec. 28, 2015.) For your other courses, check <b>CSUF's Final Exam Schedule</b>.</p>


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