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 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\u2019s Persuasion,<\/em> 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. Required:<\/em> 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 students on their rhetorical skills during the presentation, but rather on evidence of prior preparation and consultation as well as on the written draft. How to do well on this assignment: 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\u2019t rush things. (20% of course grade.)<\/p>\n\n\n\n It\u2019s 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>\n\n\n\n Please check the schedule below on this page to verify the current status of your in-class presentation. Within a few days after you\u2019ve completed both, next to your name should appear the notation (Presentation completed). If you see other notations as indicated below in \u201cHow I Evaluate Presentations,\u201d please contact me by email.<\/p>\n\n\n\n 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 \u201cA\u201d 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, if necessary<\/em>) follow up. I will indicate whether students have completed the requirements: (Presentation completed), (Presented in Class but no written version), (Missed Presentation), (Rescheduled Presentation).<\/p>\n\n\n\n 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 \u201cin-class\u201d portion of the presentation grade. If you haven\u2019t 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>\n\n\n\n STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/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 STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/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 STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/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 STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/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 STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/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 STUDENT NAME on Jane Austen\u2019s Persuasion<\/em>. (Presentation Completed.)<\/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.<\/strong> (Reminder: this set includes entries on three pieces of criticism about Austen\u2019s Persuasion.<\/em> I will verify receipt by email within a few days.)<\/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 STUDENT NAME on William Shakespeare\u2019s The Tempest<\/em>. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on William Shakespeare\u2019s The Tempest<\/em>. (Presentation Completed.)<\/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 STUDENT NAME on William Shakespeare\u2019s The Tempest<\/em>. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on William Shakespeare\u2019s The Tempest<\/em>. (Presentation Completed.)<\/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 STUDENT NAME on William Shakespeare\u2019s The Tempest<\/em>. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on William Shakespeare\u2019s The Tempest<\/em>. (Presentation Completed.)<\/p>\n\n\n\n JOURNAL SET 2 DUE BY EMAIL TUESDAY 11\/18.<\/strong> (Reminder: this set includes entries on three pieces of criticism about Shakespeare\u2019s The Tempest.<\/em> I will verify receipt by email within a few days.)<\/p>\n\n\n\n PARAGRAPH ON TOPIC AND ARGUMENT FOR PAPER DUE BY EMAIL THURSDAY 11\/20.<\/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 STUDENT NAME on William Blake. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on William Blake. (Presentation Completed.)<\/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 STUDENT NAME on Lord Byron. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on Lord Byron. (Presentation Completed.)<\/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 STUDENT NAME on William Wordsworth. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on William Wordsworth. (Presentation Completed.)<\/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 STUDENT NAME on Samuel Taylor Coleridge. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on Samuel Taylor Coleridge. (Presentation Completed.)<\/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 STUDENT NAME on Percy Bysshe Shelley. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on Percy Bysshe Shelley. (Presentation Completed.)<\/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\n STUDENT NAME on John Keats. (Presentation Completed.)<\/p>\n\n\n\n STUDENT NAME on John Keats. (Presentation Completed.)<\/p>\n\n\n\n JOURNAL SET 3 DUE BY EMAIL ON DAY OF FINAL EXAM.<\/strong> (Reminder: this set includes entries on three pieces of criticism about selected Romantic poems \u2013 each of the three entries should be on a different poet. I will verify receipt by email within a few days.)<\/p>\n\n\n\n Final Exam Date Tuesday, Dec. 15, 9:30-11:20 a.m. Due by email by Tuesday, Dec. 22: Paper. (I must turn in grades by Jan 2, 2016.) For your other courses, check CSUF\u2019s Final Exam Schedule.<\/p>\n","protected":false},"excerpt":{"rendered":" PRESENTATIONS FOR E307 ADV. COLLEGE WRITING IN ENGLISH STUDIESCSU FULLERTON, FALL 2015 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 […]<\/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":[23],"class_list":["post-2058","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/2058","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=2058"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/2058\/revisions"}],"predecessor-version":[{"id":4913,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/2058\/revisions\/4913"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=2058"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=2058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}HOW I EVALUATE PRESENTATIONS<\/h2>\n\n\n\n
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