*2023 Note:<\/strong> Links and most procedural information have been removed from this archival copy, leaving mainly the assigned editions and the reading schedule.<\/p>\n\n\n\n COURSE INFORMATION<\/strong>. English 300, Course Code 19504, Section 80. Wed. 4:00 \u2013 6:45 p.m., Irvine Campus (IRVC) 217. Instructor: Alfred J. Drake, Ph.D. Office hours: Wed. 3:00 \u2013 4:00 p.m. in IRVC 236. 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<\/p>\n\n\n\n Booth, Alison and Kelly J. Mays. The Norton Introduction to Literature.<\/em> Shorter Tenth Edition. New York: Norton, 2010. Paperback. ISBN-13: 978-0393935141.<\/p>\n\n\n\n Giraldi, Joseph et al., eds. MLA Handbook for Writers of Research Papers.<\/em> 7th Edition. New York: Modern Language Association of America (MLA), 2009. ISBN-13: 978-1603290241.<\/p>\n\n\n\n 01\/26. Wed. Course Introduction.<\/p>\n\n\n\n 02\/02. Wed. Chapter 1: Plot. Read this chapter\u2019s introductory material (50-58). Edith Wharton. \u201cRoman Fever\u201d (85-95). Chapter 2. Narration and Point of View: read this chapter\u2019s introductory material (96-100). Edgar Allan Poe. \u201cThe Cask of Amontillado\u201d (101-05). Jamaica Kincaid. \u201cGirl\u201d (116-17).<\/p>\n\n\n\n 02\/09. Wed. Chapter 3. Character. Read this chapter\u2019s introductory material (119-26). Toni Morrison. \u201cRecitatif\u201d (139-52). Chapter 4. Setting: read this chapter\u2019s introductory material (163-69). Anton Chekhov. \u201cThe Lady with the Dog\u201d (169-80).<\/p>\n\n\n\n 02\/16. Wed. Chapter 5. Symbol and Figurative Language. Read this chapter\u2019s introductory material (208-13). Edwige Danticat. \u201cA Wall of Fire Rising\u201d (239-49). Chapter 6. Theme: read this chapter\u2019s introductory material (251-54). Stephen Crane. \u201cThe Open Boat\u201d (255-71). Gabriel Garc\u00eda Marquez. \u201cA Very Old Man with Enormous Wings\u201d (271-76).<\/p>\n\n\n\n 02\/23. Wed. Chapter 7. Exploring Contexts \u2014 The Author\u2019s Work: Flannery O\u2019Connor (294-99). Flannery O\u2019Connor. \u201cGood Country People\u201d (310-23). Mary Gordon. From \u201cFlannery\u2019s Kiss\u201d (337-39). Eileen Pollack. From \u201cFlannery O\u2019Connor and the New Criticism\u201d (343-45). Chapter 8. Cultural and Historical Contexts \u2014 Women in Turn-of-the-Century America\u201d (347-52). Charlotte Perkins Gilman. \u201cThe Yellow Wallpaper\u201d (354-65).<\/p>\n\n\n\n 03\/02. Wed. Chapter 9. Critical Contexts: William Faulkner\u2019s \u201cA Rose for Emily\u201d (389-91). William Faulkner. \u201cA Rose for Emily\u201d (391-97). Critical Contexts on the Faulkner Story (398-425).<\/p>\n\n\n\n JOURNAL SET 1 DUE BY EMAIL SUNDAY 03\/06<\/strong>. (Includes entries on fiction. Please expect an email from me verifying receipt of this and subsequent sets.)<\/p>\n\n\n\n 03\/09. Wed. Chapter 10. Poetry: Reading, Responding, Writing. Read intro (618-42). Read also \u201cRomantic Love: an Album\u201d (643-50). Read also Matthew Arnold\u2019s \u201cDover Beach\u201d (704-05) and Walt Whitman\u2019s \u201cWhen Lilacs Last in the Dooryard Bloom\u2019d\u201d (Internet Source: Bartleby). I may bring in and read aloud a few separate love poems by the ancient Greek poetess Sappho; these are not in the anthology.<\/p>\n\n\n\n 03\/16. Wed. Chapters 13-16, etc. A Mix: Poetry as Form and Foregrounded Language. Emily Dickinson: \u201cI dwell in Possibility\u201d (739), \u201cBecause I could not stop for Death\u201d (886-87); W.C. Williams: \u201cThe Red Wheelbarrow\u201d (739-40), \u201cThis is Just to Say\u201d (740); G.M. Hopkins: \u201cPied Beauty\u201d (742), \u201cSpring and Fall\u201d (789-90), \u201cGod\u2019s Grandeur\u201d (1030), \u201cThe Windhover\u201d (1030-31); E.E. Cummings: \u201cin Just\u201d (742-43); \u201cThe Twenty-Third Psalm\u201d (756); Wilfred Owen: \u201cDulce et Decorum Est\u201d (759-60); Robert Frost: \u201cFireflies in the Garden\u201d (768-69), \u201cRange Finding\u201d (838), \u201cDesign\u201d (838), \u201cStopping by Woods on a Snowy Evening\u201d (1019-20); Edgar Allan Poe: \u201cThe Raven\u201d (785-88); Shakespeare: \u201cTh\u2019expense of spirit in a waste of shame\u201d (814-15); Dylan Thomas: \u201cDo Not Go Gentle into That Good Night\u201d (827-28); Elizabeth Bishop: \u201cSestina\u201d (829-30); Marianne Moore \u201cPoetry\u201d (828-29); Archibald MacLeish: \u201cArs Poetica\u201d (830-31); George Herbert: \u201cEaster Wings\u201d (847); Christopher Marlowe and Sir Walter Raleigh: \u201cThe Passionate Shepherd to His Love\u201d and \u201cThe Nymph\u2019s Reply to the Shepherd\u201d (913-15); Alfred Tennyson: \u201cUlysses\u201d (928-30); Robert Browning: \u201cMy Last Duchess\u201d (1009-10). Time permitting, I may bring in a few extra samples of poetic types, so read \u201cPoetic Kinds\u201d (919-20).<\/p>\n\n\n\n 03\/23. Wed. Romanticism: Poetry of Nature and Self-Consciousness. William Blake, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Walt Whitman. Blake\u2019s \u201cThe Chimney Sweeper\u201d (1008-09, both versions from Songs of Innocence <\/em>and Songs of Experience<\/em>); \u201cLondon\u201d (658), \u201cThe Sick Rose\u201d (767), \u201cThe Tyger\u201d (1007-08). Wordsworth\u2019s \u201cShe Dwelt among the Untrodden Ways\u201d (681), \u201cTintern Abbey\u201d (1048-51). Coleridge\u2019s \u201cKubla Khan\u201d (1010-11). Shelley\u2019s \u201cOde to the West Wind\u201d (817-20). Keats\u2019 \u201cOn the Sonnet\u201d (835-36), \u201cOn Seeing the Elgin Marbles\u201d (836-37), \u201cOde to a Nightingale\u201d (1031-33),\u201dOde on a Grecian Urn\u201d (1033-34), \u201cTo Autumn\u201d (1034-35). Whitman\u2019s \u201cI celebrate myself, and sing myself\u201d (686).<\/p>\n\n\n\n 03\/30. Wed. Spring Recess. No classes all week.<\/p>\n\n\n\n 04\/06. Wed. Modernist Poetry: W.B. Yeats, Ezra Pound, T.S. Eliot, Wallace Stevens. William Butler Yeats: an Album (895-908). Ezra Pound. \u201cIn a Station of the Metro\u201d (1041). T.S. Eliot. \u201cThe Love Song of J. Alfred Prufrock\u201d (1015-19). Wallace Stevens. \u201cThe Emperor of Ice Cream\u201d (1042-43), \u201cAnecdote of the Jar\u201d (1043). I may also give and comment on short readings from other poems to be specified.<\/p>\n\n\n\n 04\/13. Wed. Chapter 19. Cultural and Historical Contexts: the Harlem Renaissance (947-56). Poetry of the Harlem Renaissance (956-64). Essay excerpts on Harlem Renaissance (966-81).<\/p>\n\n\n\n JOURNAL SET 2 DUE BY EMAIL SUNDAY 04\/17<\/strong>. (Includes entries on poetry.)<\/p>\n\n\n\n 04\/20. Wed. Read \u201cElements of Drama\u201d introduction (1125-34). Chapter 24. Critical Contexts. Sophocles. Antigone <\/em>(1490-1523). Critical Excerpts (1524-39).<\/p>\n\n\n\n PARAGRAPH DESCRIBING PAPER TOPIC\/ARGUMENT DUE BY EMAIL SUNDAY 04\/24<\/strong>.<\/p>\n\n\n\n 04\/27. Wed. Anton Chekhov. The Cherry Orchard <\/em>(1547-83).<\/p>\n\n\n\n 05\/04. Wed. Lorraine Hansberry. A Raisin in the Sun <\/em>(1583-1645).<\/p>\n\n\n\n 05\/11. Wed. Arthur Miller. Death of a Salesman <\/em>(1646-1711).<\/p>\n\n\n\n JOURNAL SET 3 DUE BY EMAIL EXAM DAY<\/strong>. (includes entries on drama.)<\/p>\n\n\n\n Final exam date: Wed. May 18, 5:00 \u2013 6:50 p.m. Paper due by email by Sunday, May 22. I must turn in grades by May 27, 2011. For your other courses, check CSUF\u2019s Final Exam Schedule.<\/p>\n","protected":false},"excerpt":{"rendered":" READING SCHEDULE FOR E300 ANALYSIS OF LITERARY FORMSCSU FULLERTON, SPRING 2011 *2023 Note: Links and most procedural information have been removed from this archival copy, leaving mainly the assigned editions and the reading schedule. COURSE INFORMATION. English 300, Course Code 19504, Section 80. Wed. 4:00 \u2013 6:45 p.m., Irvine Campus (IRVC) 217. Instructor: Alfred J. Drake, […]<\/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":[57],"class_list":["post-5464","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/5464","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=5464"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/5464\/revisions"}],"predecessor-version":[{"id":6104,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/5464\/revisions\/6104"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=5464"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=5464"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}REQUIRED TEXTS AT IRVINE CAMPUS BOOKSTORE<\/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 FICTION<\/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