EMAIL<\/a>\u00a0|\u00a0SYLLABUS<\/a>\u00a0|\u00a0POLICIES<\/a>\u00a0|\u00a0PRESENTATIONS<\/a>\u00a0|\u00a0JOURNALS<\/a>\u00a0|\u00a0PAPER<\/a>\u00a0|\u00a0FINAL<\/a><\/p>\n\n\n\n COURSE INFORMATION.<\/strong> English 307: Advanced College Writing in English Studies, Course Code 19807, Section 3. Tu\/Th 10:00 a.m. \u2013 11:15 a.m., McCarthy Hall (MH) 049. Instructor: Alfred J. Drake, Ph.D. Office hours: Tu\/Th 9:00 \u2013 9:55 a.m. in University Hall (UH) 329. Email: e307_at_ajdrake.com. Catalog: \u201cPrerequisite: ENGL\/CPLT majors who have completed their lower-division writing requirements. Interpretive frameworks of communities within the discipline of English Studies (literary studies, creative writing, English education, composition, cultural criticism). Uses discursive conventions of these communities to produce formal and informal texts of various genres.\u201d 3 Units. I will use +\/- grading.<\/p>\n\n\n\n Austen, Jane. Persuasion. <\/em>Norton Critical Editions, 2012. 2nd edition. ISBN-13: 978-0393911534.<\/p>\n\n\n\n Graff, Gerald and Cathy Birkenstein. They Say, I Say: The Moves That Matter in Academic Writing.<\/em> 2nd. ed. Norton, 2009. ISBN-13: 978-0393933611.<\/p>\n\n\n\n Kane, Thomas S. The New Oxford Guide to Writing.<\/em> Oxford University Press, USA: Reprint edition, 1994. ISBN-13: 978-0195090598.<\/p>\n\n\n\n Shakespeare, William. The Tempest.<\/em> Norton Critical Editions, 2003. ISBN-13: ISBN-13: 978-0393978193.<\/p>\n\n\n\n Wordsworth, Jonathan and Jessica Wordsworth, eds. The Penguin Book of Romantic Poetry.<\/em> Penguin Classics, 2006. ISBN-13: 978-0140435689.<\/p>\n\n\n\n FOCUS AND OBJECTIVES. <\/strong>This course will cover the rhetoric of academic writing as well as key points about style and grammar. We will also be reading and viewing Jane Austen\u2019s Persuasion and Shakespeare\u2019s The Tempest, along with reading selected British romantic poetry as a means of furthering students\u2019 ability to analyze, discuss, and write about literary texts in a clear and compelling way.<\/p>\n\n\n\n ACTIVITIES. <\/strong>In class, there will be a mix of lectures, student presentations, 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, start planning and drafting your essay early, and work on your presentation drafts. 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, presentations, and journal-keeping should combine to help you work towards these goals.<\/p>\n\n\n\n COURSE POLICIES<\/a><\/strong>. <\/strong>Please review the course policies page early in the semester. Key points: 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, contact me promptly if you do not get an email verifying receipt.<\/p>\n\n\n\n PRESENTATIONS REQUIREMENT<\/strong><\/a>. <\/strong>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 engagement with a scholarly article or other critical text dealing with the literary work on which you have chosen to present. So if you have opted to present on Jane Austen\u2019s Persuasion,<\/em> you will be categorizing, summarizing and constructively criticizing\/building on what some other critic has written about some aspect of that novel. As your listeners, we will get a sense of what sort of criticism we are dealing with, what specific claims the author advances, and whether you find it valuable as something that furthers your own critical efforts. Several days after sign-up, I will post a schedule on the Presentations page. Once we arrive at the literature portion of the course, each session should feature several presentations. Required: 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\u2019t judge presenters on their rhetorical skills, but rather on evidence of prior preparation and consultation as well as on the written draft. How to do well: Read instructions. Moreover, good critics challenge listeners and pose open-ended questions that invite discussion; aim for spontaneity and a personal touch; speak up; don\u2019t rush. (20% of course grade.)<\/p>\n\n\n\n JOURNALS REQUIREMENT<\/a>. <\/strong>Keep a running journal on your thoughts about criticism pertaining to the assigned readings. Three separate journal sets (one for criticism on Austen, one for criticism on Shakespeare, and one for criticism on Romantic poems) will be due by email as specified below in the session schedule. At base, the journal entries (which should run to about 1 \u00bd or 2 pages single-spaced per article that you include, which would make each completed set run 5-6 pages) should be much like the content of the single presentation you will be giving: for each of three scholarly articles, you will want to categorize the type of criticism involved, summarize the argument, explain its strengths and weaknesses and, ultimately, how it fits in with your own view of the literary text being covered. Using commercial online notes is not acceptable: you must use scholarly sources from journals or books. 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, not \u201cyes-or-no\u201d style answers, quotation of the assigned texts without further comment, or secondary material pasted from Internet sources. How to do well: read the instructions; complete entries as you go through each text; send sets on time, making sure I verify receipt; respond thoughtfully to the readings: use your own words and refer to the texts\u2019 and critics\u2019 specific language. (30%.)<\/p>\n\n\n\n 8-10 PAGE ESSAY REQUIREMENT<\/a>. <\/strong>By the beginning of Week 13 (Friday 11\/20) a one-paragraph description addressing the general topic and specific argument of the projected paper, along with a brief description of at least one of the sources you think you will be referring to, 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 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 (8-10 pages) due as specified towards the bottom of the syllabus page. The point of the essay will be to incorporate and work with at least three scholarly secondary sources on the assigned text of your choosing (these sources CANNOT consist of material from professional notes obtained online but must instead be journal articles or book-chapter-length critical studies), identifying the strengths and weaknesses of those sources while also establishing and presenting your own perspective. CSUF academic integrity policies apply (see UPS 300.021). See CSUF Library. How to do well: 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 our online guides. (30-35%.)<\/p>\n\n\n\n FINAL EXAM REQUIREMENT<\/a>. <\/strong>The exam will consist of mix-and-match questions about some of the rhetorical concepts and style points we will have covered in the Graff and Kane texts as well as my own Grammar Guide (print out a copy); you will also be asked to identify the basic type of criticism represented in given passages from scholarly articles or other critical material; and finally, you will match key lecture points about the literary works we cover with substantive quotations from the assigned texts. No books or notes will be allowed during any portion of the exam. Exam date: see below. How to do well: 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, and be willing to \u201ctalk back\u201d to the criticism you read rather than just accepting its premises. (15-20%.)<\/p>\n\n\n\n EMAILING ASSIGNMENTS TO E307_AT_AJDRAKE.COM. <\/strong>Email journals, presentations, and term paper as attachments. Don\u2019t send more than one document in the same email. Label subject lines appropriately: \u201cE307 Journal 1, Jane Rodriguez\u201d etc. You can paste journal sets into a regular email and\/or send them as an attachment. (Journal \u201csets\u201d include responses to several critical studies. Do not send entries on each critic separately; entries for the set should be combined into one document.) Contact me if you don\u2019t receive prompt email confirmation.<\/p>\n\n\n\n Tu. 08\/25. Course Introduction.<\/p>\n\n\n\n Th. 08\/27. Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 1, \u201cThey Say.\u201d Ch. One, \u201cThey Say: Starting with What Others Are Saying\u201d (19-29).<\/p>\n\n\n\n Tu. 09\/01. Kane\u2019s New Oxford Guide to Writing,<\/em> Part II: The Essay, Ch. 8 \u201cBeginning\u201d (37-46).<\/p>\n\n\n\n Th. 09\/03. Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 1, \u201cThey Say.\u201d Ch. Two, \u201cHer Point Is: The Art of Summarizing\u201d (30-41).<\/p>\n\n\n\n Tu. 09\/08. Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 1, \u201cThey Say.\u201d Ch. 3, \u201cAs He Himself Puts It: The Art of Quoting\u201d (42-51).<\/p>\n\n\n\n Th. 09\/10. Kane\u2019s New Oxford Guide to Writing,<\/em> Part III: The Expository Paragraph, Ch. 12 \u201cBasic Structure\u201d (67-70) and Ch. 13 \u201cParagraph Unity\u201d (71-78).<\/p>\n\n\n\n Tu. 09\/15. Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 2, \u201cI Say.\u201d Ch. Four, \u201cYes\/No\/Okay, But: Three Ways to Respond\u201d (55-67) and Ch. Five, \u201cAnd Yet: Distinguishing What They Say from What You Say\u201d (68-77). Kane\u2019s New Oxford Guide to Writing,<\/em> Part III: The Expository Paragraph, Ch. 14 \u201cParagraph Development: (1) Illustration and Restatement\u201d (79-84) and Ch. 15 \u201cParagraph Development: (2) Comparison, Contrast, and Analogy\u201d (85-92).<\/p>\n\n\n\n Th. 09\/17. Kane\u2019s New Oxford Guide to Writing,<\/em> Part III: The Expository Paragraph, Ch. 14 \u201cParagraph Development: (1) Illustration and Restatement\u201d (79-84) and Ch. 15 \u201cParagraph Development: (2) Comparison, Contrast, and Analogy\u201d (85-92).<\/p>\n\n\n\n Tu. 09\/22. Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 2, \u201cI Say.\u201d Ch. Six, \u201cSkeptics May Object: Planting a Naysayer in Your Text\u201d (78-91).<\/p>\n\n\n\n Th. 09\/24. Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 2, \u201cI Say.\u201d Ch. Seven, \u201cSo What? Who Cares?: Saying Why It Matters\u201d (92-101). Kane\u2019s New Oxford Guide to Writing,<\/em> Part III: The Expository Paragraph, Ch. 16 \u201cParagraph Development: (3) Cause and Effect\u201d (93-97).<\/p>\n\n\n\n Tu. 09\/29. Film of Jane Austen\u2019s novel Persuasion.<\/em> (BBC Production starring Amanda Root and Ciaran Hinds; entire film is approx. 1 hour 45 min, so we will watch approx. first half today.) I suggest that you start reading the novel now since we will begin discussing it next week.<\/p>\n\n\n\n Th. 10\/01. Film of Jane Austen\u2019s novel Persuasion.<\/em> (BBC Production starring Amanda Root and Ciaran Hinds, today we will watch the remainder of the film.)<\/p>\n\n\n\n Tu. 10\/06. Jane Austen\u2019s Persuasion,<\/em> Chs. I-IX (Norton 3-58). Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 3, \u201cTying It All Together.\u201d Ch. Eight, \u201cAs a Result: Connecting the Parts\u201d (105-20) and Ch. Nine, \u201cAin\u2019t So\/Is Not: Academic Writing Doesn\u2019t Always Mean Setting Aside Your Own Voice\u201d (121-28).<\/p>\n\n\n\n Th. 10\/08. Jane Austen\u2019s Persuasion,<\/em> Chs. I-IX (Norton 3-58). Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 3, \u201cTying It All Together.\u201d Kane\u2019s New Oxford Guide to Writing,<\/em> Part III: The Expository Paragraph, Ch. 17 \u201cParagraph Development: \u201cParagraph Development: (4) \u201cDefinition, Analysis, and Qualification\u201d (98-108).<\/p>\n\n\n\n Tu. 10\/13. Jane Austen\u2019s Persuasion,<\/em> Chs. X-XVIII (Norton 59-122). Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 3, \u201cTying It All Together.\u201d Ch. Ten, \u201cBut Don\u2019t Get Me Wrong: The Art of Metacommentary\u201d (129-38). Kane\u2019s New Oxford Guide to Writing,<\/em> Part IV: The Sentence, Ch. 18 \u201cA Definition\u201d (109-18).<\/p>\n\n\n\n Th. 10\/15. Jane Austen\u2019s Persuasion,<\/em> Chs. X-XVIII (Norton 59-122). Kane\u2019s New Oxford Guide to Writing,<\/em> Part IV: The Sentence, Ch. 18 \u201cA Definition\u201d (109-18).<\/p>\n\n\n\n Tu. 10\/20. Jane Austen\u2019s Persuasion,<\/em> Chs. XIX-XXIV plus Original Ending (Norton 122-88). Graff\/Birkenstein\u2019s They Say, I Say<\/em> Part 4, \u201cIn Specific Academic Settings.\u201d Ch. Eleven, \u201cI Take Your Point: Entering Class Discussions\u201d (141-44) and Ch. Twelve, \u201cWhat\u2019s Motivating This Writer?: Reading for the Conversation\u201d (145-55).<\/p>\n\n\n\n Th. 10\/22. Jane Austen\u2019s Persuasion,<\/em> Chs. XIX-XXIV plus Original Ending (Norton 122-88). Kane\u2019s New Oxford Guide to Writing,<\/em> Part IV: The Sentence, Ch. 19 \u201cSentence Styles\u201d (119-39).<\/p>\n\n\n\n JOURNAL SET 1 DUE BY EMAIL TUESDAY 10\/27<\/a>.<\/strong> (Includes entries on three pieces of criticism about Austen\u2019s Persuasion.<\/em> I will verify receipt by email.)<\/p>\n\n\n\n Tu. 10\/27. Film of Shakespeare\u2019s The Tempest.<\/em> (Julie Taymor production starring Helen Mirren, approx. 1 hr. and 50 mins; today we will watch the first half.)<\/p>\n\n\n\n Th. 10\/29. Film of Shakespeare\u2019s The Tempest.<\/em> (Julie Taymor production starring Helen Mirren, approx. 1 hr. and 50 mins; today we will watch the remainder.)<\/p>\n\n\n\n Tu. 11\/03. Shakespeare\u2019s The Tempest,<\/em> Acts 1-2 (Norton 3-41). Kane\u2019s New Oxford Guide to Writing,<\/em> Part IV: The Sentence, Ch. 20 \u201cThe Well-Written Sentence: (1) Concision\u201d (140-46).<\/p>\n\n\n\n Th. 11\/05. Shakespeare\u2019s The Tempest,<\/em> Acts 1-2 (Norton 3-41). Kane\u2019s New Oxford Guide to Writing,<\/em> Part IV: Ch. 21 \u201cThe Well-Written Sentence: (2) Emphasis\u201d (147-62).<\/p>\n\n\n\n Tu. 11\/10. Shakespeare\u2019s The Tempest,<\/em> Acts 3-5 (Norton 42-77). Kane\u2019s New Oxford Guide to Writing,<\/em> Part IV: The Sentence, Ch. 22 \u201cThe Well-Written Sentence: (3) Rhythm\u201d (163-70).<\/p>\n\n\n\n Th. 11\/12. Shakespeare\u2019s The Tempest,<\/em> Acts 3-5 (Norton 42-77). Kane\u2019s New Oxford Guide to Writing,<\/em> Part IV: Ch. 23 \u201cThe Well-Written Sentence: (4) Variety\u201d (171-74).<\/p>\n\n\n\n JOURNAL SET 2 DUE BY EMAIL FRIDAY 11\/20.<\/strong> (Includes entries on three pieces of criticism about Shakespeare\u2019s The Tempest.<\/em> I will verify receipt.)<\/p>\n\n\n\n PARAGRAPH ON TOPIC AND ARGUMENT FOR PAPER DUE BY EMAIL 11\/20<\/a><\/strong>.<\/p>\n\n\n\n Tu. 11\/17. Selected British Romantic Poems: William Blake. Read Blake\u2019s \u201cChimney Sweeper\u201d (362 and 371), \u201cHoly Thursday\u201d (361 and 371),\u201dLondon\u201d (368), \u201cNurse\u2019s Song\u201d (360 and 369),\u201dThe Tyger\u201d (369).<\/p>\n\n\n\n Th. 11\/19. Selected British Romantic Poems: Lord Byron. Byron\u2019s \u201cPrisoner of Chillon\u201d (202-12). Kane\u2019s New Oxford Guide to Writing,<\/em> Part V: Diction, Ch. 24 \u201cMeaning\u201d (177-89).<\/p>\n\n\n\n Tu. 11\/24. Fall Recess. No classes.<\/p>\n\n\n\n Th. 11\/26. Fall Recess. No classes.<\/p>\n\n\n\n Tu. 12\/01. Selected British Romantic Poems: William Wordsworth. \u201cThe Solitary Reaper\u201d (387), \u201cThree Years She Grew\u201d (15), \u201cTintern Abbey\u201d (264) and your choice of two other Wordsworth poems. Kane\u2019s New Oxford Guide to Writing,<\/em> Part V: Diction, Ch. 25 \u201cClarity and Simplicity\u201d (190-202).<\/p>\n\n\n\n Th. 12\/03. Selected British Romantic Poems: Samuel Taylor Coleridge. Coleridge\u2019s \u201cDejection: an Ode\u201d (332), \u201cFrost at Midnight\u201d (259), \u201cKubla Khan\u201d (8) and your choice of two other Coleridge poems.<\/p>\n\n\n\n Tu. 12\/08. Selected British Romantic Poems: Percy Bysshe Shelley. Shelley\u2019s \u201cMont Blanc\u201d (310), \u201cOde to the West Wind\u201d (347), \u201cOzymandias\u201d (441), \u201cTo a Skylark\u201d (26), and your choice of one other Shelley poem. Kane\u2019s New Oxford Guide to Writing,<\/em> Part V: Diction, Ch. 26 \u201cConcision\u201d (203-12).<\/p>\n\n\n\n Th. 12\/10. Selected British Romantic Poems: John Keats. \u201cOn First Looking Into Chapman\u2019s Homer\u201d (438), \u201cTo Autumn\u201d (25), \u201cOde on a Grecian Urn\u201d (343), \u201cOde to a Nightingale\u201d (341) and your choice of one other Keats poem. Kane\u2019s New Oxford Guide to Writing,<\/em> Part V: Diction, Ch. 26 \u201cConcision\u201d (203-12).<\/p>\n\n\n\nREQUIRED TEXTS AT TITAN 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
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