*2023 Note.<\/strong> Links have been removed from this archival version of the syllabus.<\/p>\n\n\n\n COURSE INFORMATION.<\/strong> English 300, Course Code 16634, Section 80. Tuesday 7:00 \u2013 9:45 p.m., Irvine Campus (IRVC) 120. Instructor: Alfred J. Drake, Ph.D. Office hours: Tuesdays 6:00 \u2013 7:00 p.m. in IRVC Room 212. Email: e300_at_ajdrake.com. Catalog: \u201cMain literary forms\u2014prose fiction, poetry and drama\u2014are studied and analyzed. English majors should schedule this basic course as early as possible. Units: (3).\u201d 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.<\/p>\n\n\n\n Booth, Alison and Kelly J. Mays. The Norton Introduction to Literature.<\/em> Shorter Eleventh Edition. New York: Norton, 2012. Paperback. ISBN-13: 978-0393913392.<\/p>\n\n\n\n Appelbaum, Stanley, ed. English Romantic Poetry: an Anthology.<\/em> Dover, 1996. ISBN-13: 978-0486292823.<\/p>\n\n\n\n Dostoevsky, Fyodor. The Best Short Stories of Fyodor Dostoevsky.<\/em> Modern Library, 2001. ISBN-13: 978-0375756887.<\/p>\n\n\n\n Pirandello, Luigi. Six Characters in Search of an Author.<\/em> Signet Classics, 1998. ISBN-13: 978-0451526885.<\/p>\n\n\n\n Wilde, Oscar. The Importance of Being Earnest.<\/em> Dover, 1990. ISBN 13: 978-0486264783<\/p>\n\n\n\n FOCUS AND OBJECTIVES. <\/strong>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. The assigned works of fiction can teach us a great deal about plot, narration, character, setting, and other matters, while our poetry selections reveal much about the special properties of language when it is shaped into a poem. Poetry, we might say, is where language goes to be most fully itself, and least referential with respect to the world beyond it. As Hannah Arendt observes in The Human Condition,<\/em> \u201cPoetry, whose material is language, is perhaps the most human and least worldly of the arts, the one in which the end product remains closest to the thought that inspired it.\u201d Poetry, then, demands a certain kind of attentiveness to its status as highly compressed language and to its multiplicity of forms, both simple and complex. Finally, with drama we enter the realm of dynamic representation of something very particular, yet incredibly multifarious: action. Perhaps the stage seems limiting from one perspective, but it opens out into a world of motivations and deeds. Henry James wrote of his beloved genre, fiction, that \u201cThere is no impression of life, no manner of seeing it and feeling it, to which the plan of the novelist may not offer a place.\u201d There may be some justice in making the same assertion on behalf of playwrights: drama runs from the lightest to the weightiest of human affairs, from rollicking farce and elegant comedy of manners to stark realism and the deepest tragic dimensions, and everything in between. We will try to attend to that capaciousness in our exploration of the genre.<\/p>\n\n\n\n ACTIVITIES. <\/strong>In class, there will be a mix of lectures, whole-class and smaller-group discussion, occasional quizzes, an essay, and a final exam. I encourage questions and comments\u2014class sessions improve when students take an active part. Outside class, do the assigned readings before the relevant discussion dates, complete your journal sets as outlined below, and start planning and drafting your essay early. In literary studies, the aim is to read and discuss actively and thereby to develop your own voice in response to the texts you read. Insightful interpretation and the ability to make compelling connections are central goals. The essay, discussions, and journal-keeping should combine to help you work towards these goals.<\/p>\n\n\n\n COURSE POLICIES.<\/strong> 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 evaluative requirements outlined below must be substantially completed to pass the course. Since the assignments will be due by email, it is students\u2019 responsibility to contact me promptly if they do not get an email verifying receipt.<\/p>\n\n\n\n JOURNALS REQUIREMENT.<\/strong> 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 \u201cyes-or-no\u201d 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\u2019 specific language. (35% of course grade.)<\/p>\n\n\n\n PAPER REQUIREMENT.<\/strong> By the end of Week 13 (04\/22) 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\u2019s 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. 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 specific, arguable 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 course Writing Guides. (35% of course grade.)<\/p>\n\n\n\n FINAL EXAM REQUIREMENT.<\/strong> 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\u2019 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. (20-30% of course grade.)<\/p>\n\n\n\n IN-CLASS QUIZZES.<\/strong> No need for further instructions here: we may 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% of course grade max.)<\/p>\n\n\n\n EMAILING ASSIGNMENTS.<\/strong>\u00a0Email journals and the term paper as attachments. Don\u2019t send more than one document in the same email. Label subject lines appropriately: \u201cE300 Journal 1, John Doe\u201d etc. You can paste journal sets into a regular email or send them as an attachment. (Journal \u201csets\u201d 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.) Please contact me if you don\u2019t receive a prompt email confirmation.<\/p>\n\n\n\n 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 your own material for the journal sets: see questions page and journals page.<\/p>\n\n\n\n Tu. 01\/29. Course Introduction.<\/p>\n\n\n\n Tu. 02\/05. Norton Chapter 1: Plot. Read this chapter\u2019s introductory material (82-89). Guy de Maupassant. \u201cThe Jewelry\u201d (90-95). Edith Wharton. \u201cRoman Fever\u201d (118-28). Chapter 2. Narration and Point of View: read this chapter\u2019s introductory material (160-64). Edgar Allan Poe. \u201cThe Cask of Amontillado\u201d (164-70). Jamaica Kincaid. \u201cGirl\u201d (170-71).<\/p>\n\n\n\n Tu. 02\/12. Norton Chapter 3. Character: read this chapter\u2019s introductory material (180-87). David Foster Wallace\u2019s \u201cGood People\u201d (215-20); Toby Litt\u2019s \u201cThe Monster\u201d (241-43). Norton Chapter 4. Setting: read this chapter\u2019s introductory material (245-51). Anton Chekhov. \u201cThe Lady with the Dog\u201d (251-62). Norton Chapter 5. Symbol and Figurative Language: read this chapter\u2019s introductory material (285-90). Edwige Danticat. \u201cA Wall of Fire Rising\u201d (317-29).<\/p>\n\n\n\n Tu. 02\/19. 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<\/em> (Dover 95-215).<\/p>\n\n\n\n Tu. 02\/26. Special Focus, continued: Fyodor Dostoevsky. Notes from the Underground<\/em> (Dover 95-215) and \u201cThe Dream of a Ridiculous Man\u201d (Dover 263-86).<\/p>\n\n\n\n JOURNAL SET 1 DUE BY EMAIL SUNDAY 03\/03.<\/strong> (Reminder: this set includes journal entries on fiction. I will verify receipt by email within a few days.)<\/p>\n\n\n\n Tu. 03\/05. Norton Introductory Material on Poetry, Chapter 10 (618-36). Special Focus: English Romanticism. William Blake and Lord Byron. Read all Blake selections (Dover 1-22) and Byron\u2019s \u201cThe Prisoner of Chillon\u201d (Dover 116-27).<\/p>\n\n\n\n Tu. 03\/12. Special Focus: English Romanticism. Selections from Wordsworth\u2019s \u201cPreface\u201d to Lyrical Ballads, 1802.<\/em> (Brief excerpts originally available.) Read also in the Dover edition: \u201cWe Are Seven\u201d (23-25); \u201cLines Composed a Few Miles Above Tintern Abbey, on Revisiting the Banks of the Wye During a Tour. July 13, 1798\u201d (25-29); \u201cShe dwelt among the untrodden ways\u201d (31-32); \u201cA slumber did my spirit seal\u201d (32); \u201cI wandered lonely as a cloud\u201d (43-44); \u201cThe Solitary Reaper\u201d (42); \u201cMy heart leaps up when I behold\u201d (35); \u201cOde: Intimations of Immortality from Recollections of Early Childhood\u201d (51-57).<\/p>\n\n\n\n Tu. 03\/19. Special Focus: English Romanticism. From English Romantic Poetry: an Anthology (Dover):<\/em> Samuel Taylor Coleridge. \u201cThe Rime of the Ancient Mariner\u201d (63-81); \u201cFrost at Midnight\u201d (100-01); \u201cKubla Khan\u201d (105-06); \u201cDejection: An Ode\u201d (106-10). Percy Bysshe Shelley. \u201cOzymandias\u201d (147); \u201cOde to the West Wind\u201d (151-53); \u201cTo a Skylark\u201d (157-59). John Keats. \u201cOn first looking into Chapman\u2019s Homer\u201d (189); \u201cTo Autumn\u201d (222-23); \u201cOde to a Nightingale\u201d (216-18); \u201cOde on a Grecian Urn\u201d (218-20).<\/p>\n\n\n\n Tu. 03\/26. Special Focus: Modernist Poetry. W.B. Yeats. \u201cWilliam Butler Yeats: an Album\u201d (Norton 955-965); Ezra Pound, T.S. Eliot, Wallace Stevens. Ezra Pound\u2019s \u201cIn a Station of the Metro\u201d (1102). T.S. Eliot\u2019s \u201cThe Love Song of J. Alfred Prufrock\u201d (1087). Wallace Stevens\u2019 \u201cThe Emperor of Ice Cream\u201d (1103) and \u201cAnecdote of the Jar\u201d (1102).<\/p>\n\n\n\n Tu. 04\/02. Spring Recess, No Classes.<\/p>\n\n\n\n Tu. 04\/09. Poetry as Form and Foregrounded Language. Norton Chapters 13-16, etc. Emily Dickinson: \u201cBecause I could not stop for Death\u201d (807); Edgar Allan Poe: \u201cThe Raven\u201d (838); W.C. Williams: \u201cThe Red Wheelbarrow\u201d (796), \u201cThis is Just to Say\u201d (797); G.M. Hopkins: \u201cPied Beauty\u201d (798), \u201cGod\u2019s Grandeur\u201d (1094), \u201cThe Windhover\u201d (1095); E.E. Cummings: \u201cin Just\u201d (1081); \u201cThe Twenty-Third Psalm\u201d (810); Wilfred Owen: \u201cDulce et Decorum Est\u201d (1101); Robert Frost: \u201cDesign\u201d (898), \u201cStopping by Woods on a Snowy Evening\u201d (1091); Shakespeare: \u201cTh\u2019expense of spirit in a waste of shame\u201d (868); Dylan Thomas: \u201cDo Not Go Gentle into That Good Night\u201d (878); Elizabeth Bishop: \u201cSestina\u201d (879); Marianne Moore \u201cPoetry\u201d (703); Archibald MacLeish: \u201cArs Poetica\u201d (700); Alfred Tennyson: \u201cUlysses\u201d (990); Robert Browning: \u201cMy Last Duchess\u201d (1078).<\/p>\n\n\n\n JOURNAL SET 2 DUE BY EMAIL SUNDAY 04\/14.<\/strong> (Reminder: this set includes journal entries on a selection of poems from among the broader selection assigned; see more detailed instructions in the link.)<\/p>\n\n\n\n Tu. 04\/16. William Shakespeare. Hamlet<\/em> Acts 1-3 (Norton 1363-1424).<\/p>\n\n\n\n PARAGRAPH DESCRIBING TOPIC AND ARGUMENT FOR PAPER DUE BY EMAIL SUNDAY 04\/21.<\/strong><\/p>\n\n\n\n Tu. 04\/23. William Shakespeare. Hamlet<\/em> Acts 4-5 (Norton 1424-58).<\/p>\n\n\n\n Tu. 04\/30. Oscar Wilde. The Importance of Being Earnest<\/em> (Dover 1-54).<\/p>\n\n\n\n Tu. 05\/07. Oscar Wilde. The Importance of Being Earnest<\/em> (Dover 1-54).<\/p>\n\n\n\n Tu. 05\/14. Luigi Pirandello. Six Characters in Search of an Author<\/em> (Signet 2-74).<\/p>\n\n\n\n JOURNAL SET 3 DUE BY EMAIL EXAM DAY.<\/strong> (Reminder: this set includes journal entries on each assigned drama.)<\/p>\n\n\n\n Final Exam Date Tuesday, May 21 at 7:30 \u2013 9:20 p.m. You don\u2019t need to bring a bluebook; the exam is open-book and open-note, but no laptops and no sharing books or notes. Paper due by email by Friday, May 24, 2012. (I must turn in grades by Friday May 31, 2013.) For your other courses, check CSUF\u2019s Final Exam Schedule.<\/p>\n","protected":false},"excerpt":{"rendered":" SYLLABUS FOR E300 ANALYSIS OF LITERARY FORMSCSU FULLERTON, SPRING 2013 *2023 Note. Links have been removed from this archival version of the syllabus. COURSE INFORMATION. English 300, Course Code 16634, Section 80. Tuesday 7:00 \u2013 9:45 p.m., Irvine Campus (IRVC) 120. Instructor: Alfred J. Drake, Ph.D. Office hours: Tuesdays 6:00 \u2013 7:00 p.m. in IRVC Room […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_eb_attr":"","footnotes":""},"wf_page_folders":[49],"class_list":["post-1401","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1401","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/comments?post=1401"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1401\/revisions"}],"predecessor-version":[{"id":6108,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1401\/revisions\/6108"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=1401"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=1401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}REQUIRED TEXTS AT IRVINE CAMPUS BOOKSTORE<\/h2>\n\n\n\n
COURSE RATIONALE AND ACTIVITIES<\/h2>\n\n\n\n
HOW YOUR PERFORMANCE WILL BE EVALUATED<\/h2>\n\n\n\n
QUESTIONS FOR JOURNALS<\/h2>\n\n\n\n
SCHEDULE: WORKS DISCUSSED ON DATES INDICATED<\/h2>\n\n\n\n
WEEK 1 FICTION<\/h2>\n\n\n\n
WEEK 2 FICTION<\/h2>\n\n\n\n
WEEK 3 FICTION<\/h2>\n\n\n\n
WEEK 4 FICTION<\/h2>\n\n\n\n
WEEK 5 FICTION<\/h2>\n\n\n\n
WEEK 6 POETRY<\/h2>\n\n\n\n
WEEK 7 POETRY<\/h2>\n\n\n\n
WEEK 8 POETRY<\/h2>\n\n\n\n
WEEK 9 POETRY<\/h2>\n\n\n\n
WEEK 10 POETRY<\/h2>\n\n\n\n
WEEK 11 POETRY<\/h2>\n\n\n\n
WEEK 12 DRAMA<\/h2>\n\n\n\n
WEEK 13 DRAMA<\/h2>\n\n\n\n
WEEK 14 DRAMA<\/h2>\n\n\n\n
WEEK 15 DRAMA<\/h2>\n\n\n\n
WEEK 16 DRAMA<\/h2>\n\n\n\n
FINALS WEEK<\/h2>\n\n\n\n