EMAIL<\/strong><\/a> | SYLLABUS<\/strong><\/a> | POLICIES<\/strong><\/a> | PRESENTATIONS<\/strong><\/a> | JOURNALS<\/strong><\/a> | QUESTIONS<\/a><\/strong> | PAPER<\/strong><\/a> | EXAM<\/strong><\/a> <\/p>\n\n\n\n COURSE INFORMATION.<\/strong> English 212, Course Code 11668, Section 01. Tu\/Th 11:30 a.m. \u2013 12:45 p.m., SGMH-2301 (Mihaylo Hall) as of Tuesday, Feb. 1. Instructor: Alfred J. Drake, Ph.D. Office hours: Tu\/Th 10:30-11:25 a.m. in UH 329. Email: e212_at_ajdrake.com. Catalog: \u201cMajor periods and movements, major authors and major forms from 1760 through modern times.\u201d Units (3). If students are not English majors, this course satisfies requirements for General Education (GE) Category III.B.2 (Disciplinary Learning, Arts and Humanities, Intro to the Humanities) with grade of C or better.\u201d I will use +\/- grading. Students who need special accommodations should contact the Disabled Student Services Office in UH 101 or call (657) 278-3117.<\/p>\n\n\n\n Greenblatt, Stephen, et al., eds. The Norton Anthology of English Literature.<\/em> 8th ed. New York: Norton, 2006. ISBN Package 2 (Vols. DEF) ISBN 13: 978-0-393-92834-1.<\/p>\n\n\n\n Austen, Jane. Persuasion.<\/em> Eds. Deidre Shauna Lynch and James Kinsley. 2nd. ed. Oxford: Oxford UP, 2004. ISBN 0-192-80263-1.<\/p>\n\n\n\n FOCUS AND OBJECTIVES<\/strong>. This course will follow a roughly chronological order and will cover poetry, fiction, non-fiction, and drama from the beginning of the Romantic Period through Modernism and, in some variations of the syllabus, beyond. The aims of a broad survey are to acquaint you with a variety of excellent work from the periods and movements studied and to point you towards further exploration of the areas that most interest you. My comments will provide historical and thematic background, but the course will center on discussion of the specific qualities and language of assigned texts. In surveys, my method is never to impose ambitious claims of universal coherence, thematic unity, etc. on the material, but instead to follow a roughly chronological order, noting themes and issues as they arise and connecting them when appropriate.<\/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>. 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 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\u2019 responsibility to contact me promptly if they do not get an email verifying receipt of materials.<\/p>\n\n\n\n PRESENTATIONS REQUIREMENT<\/a>.<\/strong> At the beginning of the course, students will sign up for one 5-7 minute in-class presentation on an author of their choosing (if possible). I will provide presenters with a specific question to address from among those on the questions page, and a few days after sign-up I will post a schedule on the Presentations page. Each session will feature one or more presentations. Required:<\/em> One week 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\/email me as required, and send a final written version; good critics challenge and pose questions, so craft your responses to invite discussion; aim for spontaneity and a personal touch: use the question as a springboard rather than a prescription; speak up, but don\u2019t rush things. (20% of course grade.)<\/p>\n\n\n\n JOURNALS REQUIREMENT<\/a>.<\/strong> Responses to a choice of questions from the study questions page for each play. 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 \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 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\u2019 specific language. (30% of course grade.)<\/p>\n\n\n\n TERM PAPER REQUIREMENT<\/a>.<\/strong> By the end of Week 13 (04\/24) a one-paragraph description addressing the general topic and<\/em> 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 a specific, arguable<\/em> set of claims, demonstrating their strength by showing how they enhance our understanding of specific language, structures, and themes.<\/em> (30% of course grade.)<\/p>\n\n\n\n FINAL EXAM REQUIREMENT<\/a>.<\/strong> The exam will consist of substantive id passages (30% of exam), mix-and-match questions (match phrase or concept x to speaker\/play y; 30% of exam), and key lecture points paired with substantive quotations from the assigned texts (40% of exam). There will be more choices than required responses. Books and notes allowed for all sections, but no laptops<\/em>. 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 \u201ctest material.\u201d 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% of course grade.)<\/p>\n\n\n\n EMAILING ASSIGNMENTS<\/strong>. Email journals, presentations, and term paper as attachments. Don\u2019t send more than one document in the same email. Label subject lines appropriately: \u201cE212 Journal 1, Jane 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\u2014<\/strong>responses on the relevant authors should be combined into one document.) Contact me if you don\u2019t receive a prompt email confirmation.<\/p>\n\n\n\n Blake<\/a> | W. Wordsworth<\/a> | D. Wordsworth<\/a> | Coleridge<\/a> | Shelley<\/a> | Keats<\/a> | Lamb<\/a> | Hazlitt<\/a> | De Quincey<\/a> | Austen<\/a> | Tennyson<\/a> | Carlyle<\/a> | Mill<\/a> | Ruskin<\/a> | Arnold<\/a> | R. Browning<\/a> | Hopkins<\/a> | D. G. Rossetti<\/a> | C. Rossetti<\/a> | Wilde<\/a> | WWI<\/a> | Yeats<\/a> | Joyce<\/a> | T. S. Eliot<\/a> | Rhys<\/a> | Auden<\/a> | Stoppard<\/a><\/b><\/p>\n\n\n\n 01\/25. Tu. Course Introduction.<\/p>\n\n\n\n 01\/27. Th. William Blake. Songs of Innocence and of Experience<\/em> (Norton Vol. D, 81-97); The Marriage of Heaven and Hell,<\/em> Plates 2-5 (111-14).<\/p>\n\n\n\n 02\/01. Tu. William Wordsworth. \u201cPreface to Lyrical Ballads<\/em>\u201c (Norton Vol. D, 262-74); \u201cWe Are Seven\u201d (248-49); \u201cExpostulation and Reply\u201d (250-51); \u201cThe Tables Turned\u201d (251-52).<\/p>\n\n\n\n 02\/03. Th. William and Dorothy Wordsworth. William\u2019s \u201cTintern Abbey\u201d (Norton Vol. D, 258-62); \u201cThree years she grew\u201d (275-76); \u201cI wandered lonely as a cloud\u201d (305-06); \u201cThe Solitary Reaper\u201d (314-15). Dorothy\u2019s Alfoxden<\/em> and Grasmere Journals<\/em> (389-402).<\/p>\n\n\n\n 02\/08. Tu. Samuel Taylor Coleridge. \u201cThe Eolian Harp\u201d (Norton Vol. D, 426-28); \u201cThe Rime of the Ancient Mariner\u201d (430-48); \u201cKubla Khan\u201d (446-48); \u201cFrost at Midnight\u201d (464-66); \u201cDejection: an Ode\u201d (466-69).<\/p>\n\n\n\n 02\/10. Th. Samuel Taylor Coleridge. Biographia Literaria<\/em> (Norton Vol. D, 474-85); Lectures on Shakespeare<\/em> (485-88); The Statesman\u2019s Manual<\/em> (488-91).<\/p>\n\n\n\n 02\/15. Tu. Percy Bysshe Shelley. Defense of Poetry<\/em> (Norton Vol. D, 837-50); \u201cMutability\u201d (744); \u201cTo Wordsworth\u201d (744-45); \u201cMont Blanc\u201d (762-66).<\/p>\n\n\n\n 02\/17. Th. Percy Bysshe Shelley. \u201cOzymandias\u201d (Norton Vol. D, 768); \u201cOde to the West Wind\u201d (772-75); \u201cTo a Sky-Lark\u201d (817-19).<\/p>\n\n\n\n JOURNAL SET 1 DUE BY EMAIL SUNDAY 02\/20<\/a>.<\/strong> (Reminder: this set includes Blake through Shelley. Please expect an email from me verifying receipt of this and subsequent journal sets.)<\/p>\n\n\n\n 02\/22. Tu. John Keats. \u201cOde to a Nightingale\u201d (Norton Vol. D, 903-05); \u201cOde on a Grecian Urn\u201d (905-06); \u201cOde on Melancholy\u201d (907-08), \u201cTo Autumn\u201d (925-26); Letters<\/em> (940-955).<\/p>\n\n\n\n 02\/24. Th. Charles Lamb. \u201cChrist\u2019s Hospital Five-and-Thirty Years Ago (Norton Vol. D, 496-505). William Hazlitt. \u201cOn Gusto\u201d (538-41). Thomas De Quincey. \u201cOn the Knocking at the Gate in Macbeth (569-72) and \u201cThe Literature of Knowledge and the Literature of Power\u201d from Alexander Pope<\/em> (572-76).<\/p>\n\n\n\n 03\/01. Tu. Jane Austen. Persuasion.<\/em> (Film)<\/p>\n\n\n\n 03\/03. Th. Jane Austen. Persuasion.<\/em> (Film) and Persuasion,<\/em> Vol. 1. (Separate text.)<\/p>\n\n\n\n 03\/08. Tu. Jane Austen. Persuasion,<\/em> Vols. 1-2. (Separate text.)<\/p>\n\n\n\n 03\/10. Th. Alfred Tennyson. \u201cThe Lady of Shalott\u201d (Norton Vol. E, 1114-18); \u201cThe Lotos-Eaters\u201d (1119-23); \u201cUlysses\u201d (1123-25); from In Memoriam A.H.H.<\/em>: Prologue (1138-39), 1-5 (1140-42), 54-56 (1157-59).<\/p>\n\n\n\n 03\/15. Tu. Thomas Carlyle. Sartor Resartus<\/em> (Norton Vol. E, 1005-1024).<\/p>\n\n\n\n 03\/17. Th. John Stuart Mill. On Liberty<\/em> (Norton Vol. E, 1050-61); Autobiography<\/em> (1070-77); The Subjection of Women<\/em> (1061-70).<\/p>\n\n\n\n JOURNAL SET 2 DUE BY EMAIL SUNDAY 03\/20<\/a>.<\/strong> (Reminder: this set includes Keats through Mill.)<\/p>\n\n\n\n 03\/22. Tu. John Ruskin. Modern Painters<\/em> (Norton Vol. E, 1320-24) and The Stones of Venice<\/em> (1324-34).<\/p>\n\n\n\n 03\/24. Th. Matthew Arnold. \u201cThe Buried Life\u201d (Norton Vol. E, 1356-58); \u201cDover Beach\u201d (1368-69); \u201cStanzas from the Grande Chartreuse\u201d (1369-74); \u201cPreface to Poems<\/em>\u201c (1374-84).<\/p>\n\n\n\n 03\/29. Tu. Spring Recess. No classes all week.<\/p>\n\n\n\n 03\/31. Th. Spring Recess. No classes all week.<\/p>\n\n\n\n 04\/05. Tu. Robert Browning and Gerard Manley Hopkins. Browning\u2019s \u201cThe Bishop Orders His Tomb. . .\u201d (Norton Vol. E, 1259-62). Hopkins\u2019 \u201cGod\u2019s Grandeur\u201d (1516); \u201cAs Kingfishers Catch Fire\u201d (1517); \u201cThe Windhover\u201d (1518); \u201cPied Beauty\u201d (1518); \u201cBinsey Poplars\u201d (1519); \u201cDuns Scotus\u2019s Oxford\u201d (1520); \u201cFelix Randal\u201d (1520-21); \u201cI wake and feel . . .\u201d (1522-23); \u201cNo worst, there is none\u201d (1522); \u201cThat Nature Is a Heraclitean Fire . . .\u201d (1523); from Journal<\/em> (1524-26).<\/p>\n\n\n\n 04\/07. Th. Dante Gabriel and Christina Rossetti. Dante Gabriel\u2019s \u201cThe Blessed Damozel\u201d (Norton Vol. E, 1443-47). Christina\u2019s \u201cSong\u2014She sat and sang alway\u201d (1460-61); \u201cSong\u2014When I am dead . . .\u201d (1461); \u201cIn an Artist\u2019s Studio\u201d (1463); \u201cAn Apple-Gathering\u201d (1464); \u201cWinter My Secret\u201d (1464-65); \u201cNo Thank You, John\u201d (1478).<\/p>\n\n\n\n 04\/12. Tu. Oscar Wilde. The Importance of Being Earnest<\/em> (Film + text Act 1. Norton Vol. E, 1698-1740).<\/p>\n\n\n\n 04\/14. Th. Oscar Wilde. The Importance of Being Earnest<\/em> (Film + text Acts 2-3. Norton Vol. E, 1698-1740).<\/p>\n\n\n\n JOURNAL SET 3 DUE BY EMAIL SUNDAY 04\/17<\/a>.<\/strong> (Reminder: this set includes Ruskin through Wilde.)<\/p>\n\n\n\n 04\/19. Tu. WWI Writing. Voices of World War I Section — Sassoon (Norton Vol. F, 1960-64); Gurney (1965-66); Rosenberg (1966-70); Owen (1971-80); Cannan (1981-84); Graves (1984-87).<\/p>\n\n\n\n 04\/21. Th. W. B. Yeats. \u201cThe Lake Isle of Innisfree\u201d (Norton Vol. F, 2025); \u201cThe Second Coming\u201d (2036-37); \u201cLeda and the Swan\u201d (2039); \u201cSailing to Byzantium\u201d (2040); \u201cAmong School Children\u201d (2041-42); \u201cByzantium\u201d (2044-45); \u201cCrazy Jane Talks with the Bishop\u201d (2045-46); \u201cUnder Ben Bulben\u201d (2047-50); \u201cThe Circus Animals\u2019 Desertion\u201d (2051-52).<\/p>\n\n\n\n PARAGRAPH DESCRIBING PAPER TOPIC AND ARGUMENT DUE BY EMAIL SUNDAY 04\/24<\/a>.<\/strong><\/p>\n\n\n\n 04\/26. Tu. James Joyce. \u201cThe Dead\u201d (Film).<\/p>\n\n\n\n 04\/28. Th. James Joyce. \u201cThe Dead\u201d (Norton Vol. F, 2172-99).<\/p>\n\n\n\n 05\/03. Tu. T. S. Eliot. \u201cThe Love Song of J. Alfred Prufrock\u201d (Norton Vol. F, 2289-93); \u201cTradition and the Individual Talent\u201d (2319-25).<\/p>\n\n\n\n 05\/05. Th. Jean Rhys. \u201cThe Day They Burned the Books\u201d (Norton Vol. F, 2356-61); \u201cLet Them Call It Jazz\u201d (2361-72). W.H. Auden. \u201cIn Praise of Limestone\u201d (2435-36); \u201cThe Shield of Achilles\u201d (2437-38).<\/p>\n\n\n\n 05\/10. Tu. Tom Stoppard. Arcadia<\/em> (Act 1, Norton Vol. F, 2752-89).<\/p>\n\n\n\n 05\/12. Th. Tom Stoppard. Arcadia<\/em> (Act 2, Norton Vol. F, 2789-2820).<\/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
STUDY QUESTIONS FOR JOURNALS AND PRESENTATIONS<\/h2>\n\n\n\n
SCHEDULE: WORKS DISCUSSED ON DATES INDICATED<\/h2>\n\n\n\n
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