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History: E316_MW_Exam_Fall_11

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- <h3>^-=FINAL EXAM GUIDE FOR E316 SHAKESPEARE MW, CSU FULLERTON FALL 2011 (07/18/11)=-^
+ <h3>^-=FINAL EXAM GUIDE FOR E316 SHAKESPEARE MW, CSU FULLERTON FALL 2011 (07/19/11)=-^


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- <b><i>SECTION 1: PASSAGE IDENTIFICATION.</i></b> Identifying author (where relevant) and title for substantive passages. The purpose of this section is <u>to test for <i>simple recall</i></u>: you just have to know which author wrote the passage and in which assigned reading. If this is a <i>single-author course,</i> I will ask for identification of the <i>speaker and text</i> rather than the author. This section calls for you to be familiar with an authors' stylistic habits and preferred forms (blank verse, heroic couplets, etc.), turns of thought, mannerisms, general orientation or outlook, and other distinguishing features; you must know the main events and characters of a novel or short story, the central subject/s and/or actions of a given poem, the key tenets held and concerns set forth in a given prose piece. I try to choose passages that are neither too easily identifiable (i.e. that serve up the names of main characters or contain the title) nor lacking in significance with regard to the author or work in question. <u>Examples</u>: if I want to see whether you've read Joyce's <i>A Portrait</i> closely, I might choose a passage of several lines from the fiery sermon that convinces young Stephen temporarily to give up his sinful ways. This is an important part of the novel, and the sermon is hard to forget. If I want to check your recall of Hopkins, I might choose high-impact lines that show off some features of that poet's style -- difficult, unusual words, references to theology (Hopkins was a Jesuit priest), and frequent alliteration and internal rhyme. If I want to test your recall of Wordsworth's poetical theory in his Preface to <i>Lyrical Ballads,</i> I might set down a passage that contains one of his noteworthy observations about the purpose of poetry and/or about how poetry is created. Wordsworth may write in a flowing eighteenth-century style, but he knows how to drive home a point with a memorable phrase. With regard to a Shakespeare play, say <i>Macbeth,</i> I might include a passage spoken by the witches when Macbeth returns to them a second time for further insight, or perhaps something memorable by Lady Macbeth when she convinces her husband to kill his unsuspecting guest King Duncan. The bottom line is that while "simple recall" is all that's required for this section, only reading texts with an eye for style and significance will lead to correct responses: "reading for information" or mere scanning without interest won't help much. A semester-long habit of <u>underlining</u> or <b>~~goldenrod:HIGHLIGHTING KEY PASSAGES~~</b> will help greatly, as will making concise margin-notes at important points in the texts.
+ <b><i>SECTION 1: PASSAGE IDENTIFICATION.</i></b> Identifying author (where relevant) and title for substantive passages. The purpose of this section is <u>to test for <i>simple recall</i></u>: you just have to know which author wrote the passage and in which assigned reading. If this is a <i>single-author course,</i> I will ask for identification of the <i>speaker and text</i> rather than the author. This section calls for you to be familiar with an authors' stylistic habits and preferred forms (blank verse, heroic couplets, etc.), turns of thought, mannerisms, general orientation or outlook, and other distinguishing features; you must know the main events and characters of a novel or short story, the central subject/s and/or actions of a given poem, the key tenets held and concerns set forth in a given prose piece. I try to choose passages that are neither too easily identifiable (i.e. that serve up the names of main characters or contain the title) nor lacking in significance with regard to the author or work in question. <u>Examples</u>: if I want to see whether you've read Joyce's <i>A Portrait</i> closely, I might choose a passage of several lines from the fiery sermon that convinces young Stephen temporarily to give up his sinful ways. This is an important part of the novel, and the sermon is hard to forget. If I want to check your recall of Hopkins, I might choose high-impact lines that show off some features of that poet's style -- difficult, unusual words, references to theology (Hopkins was a Jesuit priest), and frequent alliteration and internal rhyme. If I want to test your recall of Wordsworth's poetical theory in his Preface to <i>Lyrical Ballads,</i> I might set down a passage that contains one of his noteworthy observations about the purpose of poetry and/or about how poetry is created. Wordsworth may write in a flowing eighteenth-century style, but he knows how to drive home a point with a memorable phrase. With regard to a Shakespeare play, say <i>Macbeth,</i> I might include a passage spoken by the witches when Macbeth returns to them a second time for further insight, or perhaps something memorable by Lady Macbeth when she convinces her husband to kill his unsuspecting guest King Duncan. The bottom line is that while "simple recall" is all that's required for this section, only reading texts with an eye for style and significance will lead to correct responses: "reading for information" or mere scanning without interest won't help much. A semester-long habit of <u>underlining</u> or <b>HIGHLIGHTING KEY PASSAGES</b> will help greatly, as will making concise margin-notes at important points in the texts.


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In a course on earlier British literature, I might write in Column A, "What though the field be lost?" in the expectation that a careful reader of Milton's Paradise Lost would recognize this quotation's harmony with Column B's "Satan's specious logic in Paradise Lost leads him to say such things." Satan is always vainly supposing that God is a limited being who can be defeated on a battlefield, or frustrated by wiles.

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