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History: E492_Syllabus_Fall_15

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<h3><div align="center">
SYLLABUS FOR ENGLISH 492 THEORY, CSU FULLERTON FALL 2015 (10/27/15)
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<p align="center">Image </p>

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

<h3 align="center"><font color="#7800A7">BASIC INFORMATION</font></h3>

<p><b>COURSE INFORMATION.</b> English 492, Course Code 21003, Section 01. M/W 2:30-3:45 p.m., University Hall 208. Instructor: Alfred J. Drake, Ph.D. Office hours: Tu/Th 9:00-9:55 a.m. in University Hall (UH) 329. <b>e492@ajdrake.com.</b> Catalog: "Prerequisites: survey of English, American or world literature; an upper-division literature course; or equivalent. Poetry in English from the 1960s to the present. Units: (3)." I will use +/- grading. The English Dept. may be reached at (657) 278-3253. Students who need special accommodations should contact the <b><a href="http://www.fullerton.edu/DSS/" target="blank">Disabled Student Services Office in UH 101</a></b> or call (657) 278-3117; for the Irvine Campus, see <b><a href="http://www.fullerton.edu/irvinecampus/student/resources/dss.php" target="_blank">Student Affairs, IRVC-159</a></b> phone (657) 278-3112. One other required link: <b><a href="http://prepare.fullerton.edu/" target="_blank">Emergency Preparedness Guidelines</a></b>.</p>

<p><b>REQUIRED TEXTS AT THE MAIN CAMPUS BOOKSTORE</b></p>

<p>Leitch, Vincent B. and William E. Cain. <i>The Norton Anthology of Theory and Criticism</i> 2nd edition. Norton, 2010. ISBN-13: 978-0393932928.</p>

<h3 align="center"><font color="#7800A7">OPTIONAL RESOURCES TO HELP YOU DO WELL</font></h3>

<p><b><a href="http://www.theoryocracy.com" target="_blank">Theoryocracy.com</a></b>. My thoughts on the assigned authors.</p>

<p><b>LISTEN TO OUR CLASS SESSIONS IN MP3 AUDIO</b>. Audio becomes available a day or two after each session.</p>

<p><b>CHECK OUT RELEVANT ON-SITE STUDY GUIDES</b>.</p>

<p><b>BROWSE OFFSITE LINKS</b>.</p>

<h3 align="center"><font color="#7800A7">COURSE RATIONALE AND PLAN</font></h3>

<p><b>COURSE POLICIES.</b> Please review the <b>Course Policies Page</b> 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.</p>

<p><b>MAJOR STUDY UNITS AND COURSE OBJECTIVES.</b> This course will cover a selection of texts by authors concerned with literary theory, cultural theory and philosophy as it pertains to the study of literature. This is a course in modern theory, but because it's difficult to engage with that field without understanding what prepared the way for it, the first several weeks will be dedicated to a small number of key predecessor authors. A survey should help you build your knowledge of the periods, authors, and movements studied. My comments will provide historical and thematic background, and the course will center on discussion of assigned texts.</p>

<p><b>CLASSROOM ACTIVITIES.</b> Lecture, student presentations, discussion, and possibly 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 — class sessions improve when students take an active part. 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. </p>

<h3 align="center"><font color="#7800A7">HOW YOUR PERFORMANCE WILL BE EVALUATED</font></h3>

<p><b>PRESENTATIONS REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> At the beginning of the course, students will sign up for one to three (depending on class size) 5-7 minute in-class presentations on an author/text of their choosing (if possible). <u><i>How to Proceed:</i></u> I will provide presenters with a range of journal questions from which they need choose only one, and a few days after sign-up I will post a schedule on the Presentations page. Each session will feature one or more presentations. <u><em>Required:</em></u> Around 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>: email me as required, and send a final written version; craft your responses to invite discussion; aim for spontaneity and a personal touch: use the question as a springboard rather than a prescription. (15-20% of course grade.).</p> <p><b>JOURNALS REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> Responses to a choice of questions from the study questions page for each author. 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. <b><u>How to do well on this assignment</u></b>: 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.)</p>

<p><b>TERM PAPER REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> <i>As a preliminary step, a one-paragraph description addressing the general topic and specific argument of the projected paper will be due by email on the date listed below in the syllabus.</i> (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, possibly some 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 if that's how you learn best. CSUF academic integrity policies apply. See <b><a href="http://www.fullerton.edu/senate/documents/PDF/300/UPS300-021.pdf" target="_blank">UPS 300-021</a></b>. See also <b><a href="http://www.library.fullerton.edu/" target="_blank">CSUF Library</a></b>. <b><u>How to do well on this assignment</u></b>: send required advance paragraph on time and incorporate advice I send; allow time for revision; proofread and follow <b><a href="http://www.ajdrake.com/wiki/tiki-download_file.php?fileId=7">MLA formatting and style guidelines</a></b>; avoid exhaustive coverage and stale generalities: instead, develop a <i>specific, arguable</i> set of claims, demonstrating their strength by showing how they enhance our understanding of <i>specific language, structures, and themes</i>; document your online/print sources; read instructions and take advantage of Resources/Guides/Writing Guides: <b>MLA</b>, <b>Grammar</b>, <b>Deductive (see especially)</b>, <b>Citing</b>, <b>Analyzing</b>, and <b>Editing</b>. (30% of course grade.)</p>

<p><b>FINAL EXAM REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> 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). Books and notes allowed for all sections, <i>but no laptops</i>. Students may not share books or notes during the exam. Exam date: see below. <b><u>How to do well on this assignment</u></b>: 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." (20-25% of course grade.)</p>

<p><b>EMAILING JOURNALS, TERM PAPER TO E492 at AJDRAKE.COM.</b> Email journals and term paper as attachments. Don't send more than one document in the same email. Label subject lines appropriately: " 492 Journal 1, Jane Smith" etc. You can paste journal sets into a regular email and/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.) <i>Contact me if you don't receive an email confirmation within approximately three days. Before you do that, please check your SPAM folder.</i></p>

<h3 align="center"><font color="#7800A7">QUESTIONS FOR JOURNAL SETS AND PRESENTATIONS</font></h3>

<p align="center"> <b>Plato</b> | <b>Aristotle</b> | <b>Kant</b> | <b>Hegel</b> | <b>Marx and Engels</b> | <b>Nietzsche</b> | <b>Freud</b> | <b>de Saussure</b> | <b>Eliot</b> | <b>Brooks</b> | <b>Horkheimer and Adorno</b> | <b>Benjamin</b> | <b>Du Bois</b> | <b>Hughes</b> | <b>Fanon</b> | <b>Gates, Jr.</b> | <b>de Beauvoir</b> | <b>Gilbert and Gubar</b> | <b>Barthes</b> | <b>Foucault</b> | <b>Levi-Strauss</b> | <b>Derrida</b> | <b>Bourdieu</b> | <b>Zehou Li</b> | <b>Austin</b> | <b>Butler</b> | <b>Gilroy</b> | <b>Ross</b> | <b>Hardt and Negri</b>.</p>

<h3 align="center"><font color="#7800A7">SESSION SCHEDULE: WORKS DISCUSSED ON DATES INDICATED</font></h3>

<h3><font color="#7800A7">WEEK 1</font></h3>

<p>M. 08/24. Course Introduction.</p>

<p>W. 08/26. Plato. From <i>The Republic,</i> Books II, III, VII (45-63).</p>

<h3><font color="#7800A7">WEEK 2</font></h3>

<p>M. 08/31. Plato. From <i>The Republic,</i> Book X (64-77) and Phaedrus (77-83).</p>

<p>W. 09/02. Aristotle. From Aristotle's <i>Poetics</i> (88-115).</p>

<h3><font color="#7800A7">WEEK 3</font></h3>

<p>M. 09/07. Labor Day Holiday, No Classes.</p>

<p>W. 09/09. Immanuel Kant. From <i>Critique of the Power of Judgment,</i> "Introduction" and First Book: "Analytic of the Beautiful" (411-30). I will also spend a short time discussing Kant's ideas about the sublime, but that section isn't assigned.</p>

<h3><font color="#7800A7">WEEK 4</font></h3>

<p>M. 09/14. Georg W. F. Hegel. From <i>Phenomenology of Spirit,</i> "The Master-Slave Dialectic" (541-47) and from <i>Lectures on Fine Art</i> (547-555).</p>

<p>W. 09/16. Karl Marx and Friedrich Engels. From <i>Economic and Philosophic Manuscripts of 1844</i> (651-55); from <i>The German Ideology</i> (655-56); from <i>The Communist Manifesto</i> (657-60); from <i>Grundrisse</i> (661-62); from "Preface" to <i>A Contribution...</i> (662-63); from <i>Capital, </i> Vol. 1, Ch. 1 "Commodities" (663-71).</p>

<h3><font color="#7800A7">WEEK 5</font></h3>

<p>M. 09/21. Friedrich Nietzsche. "On Truth and Lying in a Non-Moral Sense" (764-74).</p>

<p> W. 09/23. Sigmund Freud. From <i>The Interpretation of Dreams,</i> Chapters V-VI (814-24).</p>

<p><b>JOURNAL SET 1 DUE BY EMAIL MONDAY 09/28; SEE INSTRUCTIONS.</b> (Reminder: this set includes Plato through and including Freud. Please expect an email from me verifying receipt of this and subsequent journal sets.)</p>

<h3><font color="#7800A7">WEEK 6</font></h3>

<p>M. 09/28. Ferdinand de Saussure. From <i>Course in General Linguistics</i> (850-66).</p>

<p>W. 09/30. T.S. Eliot and Cleanth Brooks. Eliot's "Tradition and the Individual Talent" (955-61) and, from Brooks' <i>The Well Wrought Urn,</i>: "The Heresy of Paraphrase" (1217-29).</p>

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

<p>M. 10/05. Max Horkheimer and Theodor Adorno. From <i>Dialectic of Enlightenment</i> (1110-27).</p>

<p>W. 10/07. Walter Benjamin. "The Work of Art in the Age of Its Technological Reproducibility" (1051-71).</p>

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

<p>M. 10/12. W.E.B. DuBois and Langston Hughes. DuBois' "Criteria of Negro Art" (870-77) and Hughes' "The Negro Artist and the Racial Mountain" (1192-96).</p>

<p>W. 10/14. Frantz Fanon and Henry Louis Gates, Jr. From Fanon's <i>The Wretched of the Earth:</i> "On National Culture" (1440-46). Gates' "Talking Black: Critical Signs of the Times" (2430-38).</p>

<p><b>JOURNAL SET 2 DUE BY EMAIL MONDAY 10/19; SEE INSTRUCTIONS.</b> (De Saussure through and including Henry Louis Gates, Jr.)</p>

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

<p>M. 10/19. Simone de Beauvoir. From <i>The Second Sex</i> (1265-73).</p>

<p>W. 10/21. Sandra M. Gilbert and Susan Gubar. From <i>The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination:</i> from Chapter 2: "Infection in the Sentence …" (1926-37).</p>

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

<p>M. 10/26. Roland Barthes. From <i>Mythologies:</i> "Photography and Electoral Appeal" (1320-21). Read also "The Death of the Author" (1322-26) and "From Work to Text" (1326-31).</p>

<p>W. 10/28. Michel Foucault. "What is an Author?" (1475-90). The following is not assigned, but read if your time permits: from <i>Discipline and Punish: The Birth of the Prison</i> " The Carceral " (1490-1502).</p>

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

<p>M. 11/02. Claude Lévi-Strauss. From <i>Tristes Tropiques</i> (1273-86).</p>

<p>W. 11/04. Jacques Derrida. From <i>Specters of Marx</i> (1734-43).</p>

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

<p>M. 11/09. Pierre Bourdieu. From <i>Distinction: a Social Critique of the Judgement of Taste:</i> "Introduction" (1664-70) and from <i>Rules of Art: Genesis and Structure of the Literary Field:</i> Part I, from Chapter 2 and Part III, from Chapter 1 (1664-80).</p>

<p>W. 11/11. Veterans Day Holiday, No Classes.</p>

<p><b>JOURNAL SET 3 DUE BY EMAIL MONDAY 11/16; SEE INSTRUCTIONS.</b> (Simone de Beauvoir through and including Pierre Bourdieu.)</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>M. 11/16. Zehou Li. From <i>Four Essays on Aesthetics: Toward a Global View:</i> Chapter 8. The Stratification of Form and Primitive Sedimentation" (1748-60).</p>

<p>W. 11/18. Bruno Latour. "Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern" (2282-2302).</p>

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

<p>M. 11/23. Fall Recess, No Classes.</p>

<p>W. 11/25. Fall Recess, No Classes.</p>

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

<p>M. 11/30. J. L. Austin and Judith Butler. Austin's "Performative Utterances" (1289-1301). From Butler's <i>Gender Trouble:</i> from "Preface" and Chapter 3: "Subversive Bodily Acts" (2540-53).</p>

<p>W. 12/02. Paul Gilroy. From <i>The Black Atlantic: Modernity and Double Consciousness</i> (2556-75).</p>

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

<p>M. 12/07. Ross, Andrew. From "The Mental Labor Problem" (2578-97).</p>

<p>W. 12/09. Michael Hardt and Antonio Negri. From <i>Empire,</i> Part 2, Section 4: "Symptoms of Passage"(2621-35).</p>

<p><b>JOURNAL SET 4 DUE BY EMAIL EXAM DAY; SEE INSTRUCTIONS.</b> (Zehou Li through and including Hardt/Negri.)</p>

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

<p>Final Exam Date Wed. Dec 16, 2:30-4:20 p.m. Due by email by Wednesday, Dec 23: <b>Term Paper</b>. (I must turn in grades by Jan. 2, 2016.) For your other courses, check <b>CSUF's Final Exam Schedule</b>.</p>


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<h3><div align="center">
SYLLABUS FOR ENGLISH 492 THEORY, CSU FULLERTON FALL 2015 (11/30/15)
</div></h3>

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

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

<h3 align="center"><font color="#7800A7">BASIC INFORMATION</font></h3>

<p><b>COURSE INFORMATION.</b> English 492, Course Code 21003, Section 01. M/W 2:30-3:45 p.m., University Hall 208. Instructor: Alfred J. Drake, Ph.D. Office hours: Tu/Th 9:00-9:55 a.m. in University Hall (UH) 329. <b>e492@ajdrake.com.</b> Catalog: "Prerequisites: survey of English, American or world literature; an upper-division literature course; or equivalent. Poetry in English from the 1960s to the present. Units: (3)." I will use +/- grading. The English Dept. may be reached at (657) 278-3253. Students who need special accommodations should contact the <b><a href="http://www.fullerton.edu/DSS/" target="blank">Disabled Student Services Office in UH 101</a></b> or call (657) 278-3117; for the Irvine Campus, see <b><a href="http://www.fullerton.edu/irvinecampus/student/resources/dss.php" target="_blank">Student Affairs, IRVC-159</a></b> phone (657) 278-3112. One other required link: <b><a href="http://prepare.fullerton.edu/" target="_blank">Emergency Preparedness Guidelines</a></b>.</p>

<p><b>REQUIRED TEXTS AT THE MAIN CAMPUS BOOKSTORE</b></p>

<p>Leitch, Vincent B. and William E. Cain. <i>The Norton Anthology of Theory and Criticism</i> 2nd edition. Norton, 2010. ISBN-13: 978-0393932928.</p>

<h3 align="center"><font color="#7800A7">OPTIONAL RESOURCES TO HELP YOU DO WELL</font></h3>

<p><b><a href="http://www.theoryocracy.com" target="_blank">Theoryocracy.com</a></b>. My thoughts on the assigned authors.</p>

<p><b>LISTEN TO OUR CLASS SESSIONS IN MP3 AUDIO</b>. Audio becomes available a day or two after each session.</p>

<p><b>CHECK OUT RELEVANT ON-SITE STUDY GUIDES</b>.</p>

<p><b>BROWSE OFFSITE LINKS</b>.</p>

<h3 align="center"><font color="#7800A7">COURSE RATIONALE AND PLAN</font></h3>

<p><b>COURSE POLICIES.</b> Please review the <b>Course Policies Page</b> 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.</p>

<p><b>MAJOR STUDY UNITS AND COURSE OBJECTIVES.</b> This course will cover a selection of texts by authors concerned with literary theory, cultural theory and philosophy as it pertains to the study of literature. This is a course in modern theory, but because it's difficult to engage with that field without understanding what prepared the way for it, the first several weeks will be dedicated to a small number of key predecessor authors. A survey should help you build your knowledge of the periods, authors, and movements studied. My comments will provide historical and thematic background, and the course will center on discussion of assigned texts.</p>

<p><b>CLASSROOM ACTIVITIES.</b> Lecture, student presentations, discussion, and possibly 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 — class sessions improve when students take an active part. 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. </p>

<h3 align="center"><font color="#7800A7">HOW YOUR PERFORMANCE WILL BE EVALUATED</font></h3>

<p><b>PRESENTATIONS REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> At the beginning of the course, students will sign up for one to three (depending on class size) 5-7 minute in-class presentations on an author/text of their choosing (if possible). <u><i>How to Proceed:</i></u> I will provide presenters with a range of journal questions from which they need choose only one, and a few days after sign-up I will post a schedule on the Presentations page. Each session will feature one or more presentations. <u><em>Required:</em></u> Around 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>: email me as required, and send a final written version; craft your responses to invite discussion; aim for spontaneity and a personal touch: use the question as a springboard rather than a prescription. (15-20% of course grade.).</p> <p><b>JOURNALS REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> Responses to a choice of questions from the study questions page for each author. 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. <b><u>How to do well on this assignment</u></b>: 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.)</p>

<p><b>TERM PAPER REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> <i>As a preliminary step, a one-paragraph description addressing the general topic and specific argument of the projected paper will be due by email on the date listed below in the syllabus.</i> (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, possibly some 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 if that's how you learn best. CSUF academic integrity policies apply. See <b><a href="http://www.fullerton.edu/senate/documents/PDF/300/UPS300-021.pdf" target="_blank">UPS 300-021</a></b>. See also <b><a href="http://www.library.fullerton.edu/" target="_blank">CSUF Library</a></b>. <b><u>How to do well on this assignment</u></b>: send required advance paragraph on time and incorporate advice I send; allow time for revision; proofread and follow <b><a href="http://www.ajdrake.com/wiki/tiki-download_file.php?fileId=7">MLA formatting and style guidelines</a></b>; avoid exhaustive coverage and stale generalities: instead, develop a <i>specific, arguable</i> set of claims, demonstrating their strength by showing how they enhance our understanding of <i>specific language, structures, and themes</i>; document your online/print sources; read instructions and take advantage of Resources/Guides/Writing Guides: <b>MLA</b>, <b>Grammar</b>, <b>Deductive (see especially)</b>, <b>Citing</b>, <b>Analyzing</b>, and <b>Editing</b>. (30% of course grade.)</p>

<p><b>FINAL EXAM REQUIREMENT: LINK TO FULL INSTRUCTIONS.</b> 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). Books and notes allowed for all sections, <i>but no laptops</i>. Students may not share books or notes during the exam. Exam date: see below. <b><u>How to do well on this assignment</u></b>: 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." (20-25% of course grade.)</p>

<p><b>EMAILING JOURNALS, TERM PAPER TO E492 at AJDRAKE.COM.</b> Email journals and term paper as attachments. Don't send more than one document in the same email. Label subject lines appropriately: " 492 Journal 1, Jane Smith" etc. You can paste journal sets into a regular email and/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.) <i>Contact me if you don't receive an email confirmation within approximately three days. Before you do that, please check your SPAM folder.</i></p>

<h3 align="center"><font color="#7800A7">QUESTIONS FOR JOURNAL SETS AND PRESENTATIONS</font></h3>

<p align="center"> <b>Plato</b> | <b>Aristotle</b> | <b>Kant</b> | <b>Hegel</b> | <b>Marx and Engels</b> | <b>Nietzsche</b> | <b>Freud</b> | <b>de Saussure</b> | <b>Eliot</b> | <b>Brooks</b> | <b>Horkheimer and Adorno</b> | <b>Benjamin</b> | <b>Du Bois</b> | <b>Hughes</b> | <b>Fanon</b> | <b>Gates, Jr.</b> | <b>de Beauvoir</b> | <b>Gilbert and Gubar</b> | <b>Barthes</b> | <b>Foucault</b> | <b>Levi-Strauss</b> | <b>Derrida</b> | <b>Bourdieu</b> | <b>Zehou Li</b> | <b>Austin</b> | <b>Butler</b> | <b>Gilroy</b> | <b>Ross</b> | <b>Hardt and Negri</b>.</p>

<h3 align="center"><font color="#7800A7">SESSION SCHEDULE: WORKS DISCUSSED ON DATES INDICATED</font></h3>

<h3><font color="#7800A7">WEEK 1</font></h3>

<p>M. 08/24. Course Introduction.</p>

<p>W. 08/26. Plato. From <i>The Republic,</i> Books II, III, VII (45-63).</p>

<h3><font color="#7800A7">WEEK 2</font></h3>

<p>M. 08/31. Plato. From <i>The Republic,</i> Book X (64-77) and Phaedrus (77-83).</p>

<p>W. 09/02. Aristotle. From Aristotle's <i>Poetics</i> (88-115).</p>

<h3><font color="#7800A7">WEEK 3</font></h3>

<p>M. 09/07. Labor Day Holiday, No Classes.</p>

<p>W. 09/09. Immanuel Kant. From <i>Critique of the Power of Judgment,</i> "Introduction" and First Book: "Analytic of the Beautiful" (411-30). I will also spend a short time discussing Kant's ideas about the sublime, but that section isn't assigned.</p>

<h3><font color="#7800A7">WEEK 4</font></h3>

<p>M. 09/14. Georg W. F. Hegel. From <i>Phenomenology of Spirit,</i> "The Master-Slave Dialectic" (541-47) and from <i>Lectures on Fine Art</i> (547-555).</p>

<p>W. 09/16. Karl Marx and Friedrich Engels. From <i>Economic and Philosophic Manuscripts of 1844</i> (651-55); from <i>The German Ideology</i> (655-56); from <i>The Communist Manifesto</i> (657-60); from <i>Grundrisse</i> (661-62); from "Preface" to <i>A Contribution...</i> (662-63); from <i>Capital, </i> Vol. 1, Ch. 1 "Commodities" (663-71).</p>

<h3><font color="#7800A7">WEEK 5</font></h3>

<p>M. 09/21. Friedrich Nietzsche. "On Truth and Lying in a Non-Moral Sense" (764-74).</p>

<p> W. 09/23. Sigmund Freud. From <i>The Interpretation of Dreams,</i> Chapters V-VI (814-24).</p>

<p><b>JOURNAL SET 1 DUE BY EMAIL MONDAY 09/28; SEE INSTRUCTIONS.</b> (Reminder: this set includes Plato through and including Freud. Please expect an email from me verifying receipt of this and subsequent journal sets.)</p>

<h3><font color="#7800A7">WEEK 6</font></h3>

<p>M. 09/28. Ferdinand de Saussure. From <i>Course in General Linguistics</i> (850-66).</p>

<p>W. 09/30. T.S. Eliot and Cleanth Brooks. Eliot's "Tradition and the Individual Talent" (955-61) and, from Brooks' <i>The Well Wrought Urn,</i>: "The Heresy of Paraphrase" (1217-29).</p>

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

<p>M. 10/05. Max Horkheimer and Theodor Adorno. From <i>Dialectic of Enlightenment</i> (1110-27).</p>

<p>W. 10/07. Walter Benjamin. "The Work of Art in the Age of Its Technological Reproducibility" (1051-71).</p>

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

<p>M. 10/12. W.E.B. DuBois and Langston Hughes. DuBois' "Criteria of Negro Art" (870-77) and Hughes' "The Negro Artist and the Racial Mountain" (1192-96).</p>

<p>W. 10/14. Frantz Fanon and Henry Louis Gates, Jr. From Fanon's <i>The Wretched of the Earth:</i> "On National Culture" (1440-46). Gates' "Talking Black: Critical Signs of the Times" (2430-38).</p>

<p><b>JOURNAL SET 2 DUE BY EMAIL MONDAY 10/19; SEE INSTRUCTIONS.</b> (De Saussure through and including Henry Louis Gates, Jr.)</p>

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

<p>M. 10/19. Simone de Beauvoir. From <i>The Second Sex</i> (1265-73).</p>

<p>W. 10/21. Sandra M. Gilbert and Susan Gubar. From <i>The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination:</i> from Chapter 2: "Infection in the Sentence …" (1926-37).</p>

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

<p>M. 10/26. Roland Barthes. From <i>Mythologies:</i> "Photography and Electoral Appeal" (1320-21). Read also "The Death of the Author" (1322-26) and "From Work to Text" (1326-31).</p>

<p>W. 10/28. Michel Foucault. "What is an Author?" (1475-90). The following is not assigned, but read if your time permits: from <i>Discipline and Punish: The Birth of the Prison</i> " The Carceral " (1490-1502).</p>

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

<p>M. 11/02. Claude Lévi-Strauss. From <i>Tristes Tropiques</i> (1273-86).</p>

<p>W. 11/04. Jacques Derrida. From <i>Specters of Marx</i> (1734-43).</p>

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

<p>M. 11/09. Pierre Bourdieu. From <i>Distinction: a Social Critique of the Judgement of Taste:</i> "Introduction" (1664-70) and from <i>Rules of Art: Genesis and Structure of the Literary Field:</i> Part I, from Chapter 2 and Part III, from Chapter 1 (1664-80).</p>

<p>W. 11/11. Veterans Day Holiday, No Classes.</p>

<p><b>JOURNAL SET 3 DUE BY EMAIL FRIDAY 11/20; SEE INSTRUCTIONS.</b> (Simone de Beauvoir through and including Pierre Bourdieu.)</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>M. 11/16. Li Zehou. From <i>Four Essays on Aesthetics: Toward a Global View:</i> Chapter 8. The Stratification of Form and Primitive Sedimentation" (1748-60).</p>

<p>W. 11/18. Bruno Latour. "Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern" (2282-2302).</p>

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

<p>M. 11/23. Fall Recess, No Classes.</p>

<p>W. 11/25. Fall Recess, No Classes.</p>

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

<p>M. 11/30. J. L. Austin and Judith Butler. Austin's "Performative Utterances" (1289-1301). From Butler's <i>Gender Trouble:</i> from "Preface" and Chapter 3: "Subversive Bodily Acts" (2540-53).</p>

<p>W. 12/02. Paul Gilroy. From <i>The Black Atlantic: Modernity and Double Consciousness</i> (2556-75).</p>

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

<p>M. 12/07. Ross, Andrew. From "The Mental Labor Problem" (2578-97).</p>

<p>W. 12/09. Michael Hardt and Antonio Negri. From <i>Empire,</i> Part 2, Section 4: "Symptoms of Passage"(2621-35).</p>

<p><b>JOURNAL SET 4 DUE BY EMAIL EXAM DAY; SEE INSTRUCTIONS.</b> (Zehou Li through and including Hardt/Negri.)</p>

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

<p>Final Exam Date Wed. Dec 16, 2:30-4:20 p.m. Due by email by Wednesday, Dec 23: <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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