|
ENG 102: Writing through Literature |
LaGuardia Community College |
 |
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DESCRIPTION:
This course is a continuation of
English 101.
Students will reinforce and extend their abilities to write correct,
well-organized essays using various rhetorical strategies and stylistic
techniques. Poetry and at least one other literary genre from among fiction,
drama and the nonfiction essay will be studied. Students will be introduced to a
variety of writing strategies used in composing interpretive and analytical
essays. Writing assignments will include a critical research paper..
See the Introduction
to English 102 Sheet (pdf) for
additional information.
Prerequisite:
English 101.
It is assumed that students have successfully completed the prerequisite for this course, English 101 (or the equivalent). Therefore, students are expected to have the necessary background and experience in analyzing, discussing, and responding to written works, as well as the ability to conduct independent research and to write correctly documented research essays using MLA format.
Students are cautioned that this course requires extensive reading, writing, and discussions; students not prepared to read and to write on a regular basis and to take an active part in class discussions should not consider taking this course.
OBJECTIVES: Students will
1. Enhance their
ability to understand, appreciate and discuss works of literature through extensive reading and discussion.
2. Analyze short stories for
plot,
setting,
character,
theme, and
point of view.
3. Carefully examine poetry for
imagery,
diction,
tone, speaker, language, and structure.
4. Examine plays, focusing on character development, dramatic structure, and performance.
5. Compose essays, analyzing and/or responding to works of
short fiction,
poetry, and
drama (see
Topics).
6. Complete a critical research essay using
MLA format.
TEXTS:
Required:
Gardner, Janet E., et al., eds. Literature: A Portable Anthology, 2 ed. Boston: Bedford/St. Martin’s, 2009 (Available used starting at $20.25 at Amazon.com***).
Hacker, Diana.
Rules
for Writers, 6 ed. Boston: Bedford/St. Martin’s, 2009,
or another current college-level handbook including 2009 MLA updates.
(Available used starting at $5.48 at Amazon.com
(see also Additional Textbook Options, below)
A good college-level
(paperback) dictionary (Available
used starting at $0.01 at Amazon.com
Recommended additional texts:**
Bloom, Harold. Hamlet: Poem Unlimited. New York: Riverhead, 2003.†
---. How to Read and Why. New York: Scribner, 2000. (Available starting at $1.00 at Amazon.com***)
Boose, Lynda E. and Richard Burt. “Totally Clueless? Shakespeare Goes Hollywood in the 1990s” from Shakespeare, The Movie: Popularizing the Plays on Film, TV, and Video. London and New York: Routledge, 1997. 8-21. (Available starting at $4.00 at Amazon.com***); reprinted in Corrigan.
Casagrande, June. Grammar Snobs are Great Big Meanies: A Guide to Language for Fun and Spite. New York: Penguin, 2006. (Available starting at $3.94 at Amazon.com***)
---. Mortal Syntax: 101 Language Choices That Will Get You Clobbered by the Grammar Snobs—Even If You’re Right. New York: Penguin, 2008 (Available used starting at $6.61 at Amazon.com***).
Cathcart, Thomas and Daniel Klein. "Logic.” Plato and a Platypus Walk into a Bar...: Understanding Philosophy Through Jokes. New York: Abrams Image, 2006. 27-49. (Available used starting at $6.73 at Amazon.com**)
---. Aristotle and an Aardvark Go to Washington: Understanding Political Doublespeak through Through Philosophy and Jokes. New York: Abrams Image, 2007. 27-49 (Available used starting at $10.85 at Amazon.com***).
Cohen, Paula Marantz. “Shakespeare Goes to the Movies.” DOJ: The Drexel Online Journal.
Corrigan, Timothy, ed. Film and Literature: An Introduction and Reader. Upper Saddle River, NJ: Prentice Hall, 1999. 340-356. (Available starting at $11.00 at Amazon.com***)
Crystal, David. Words, Words, Words. New York: Oxford U P, 2006 (Available used starting at $9.28 at Amazon.com***).
Denby, David. Great Books: My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World. New York: Simon & Schuster, 1996. (Available starting at $0.29 at Amazon.com***).
Dirda, Michael. Classics for Pleasure. Orlando, FL: Harcourt, 2007. (Available starting at $1.49 at Amazon.com***)
Feldman, Gail M. “Adapting Shakespeare to Film.” Inside Film Magazine Online.
Foster, Thomas C. How to Read Literature Like a Professor. [New York: Harper, 2008 ?].†
---. How to Read Novels Like a Professor. New York: Harper, 2008.
Giannetti, Louis. Understanding Movies, 10 ed. Upper Saddle River, NJ: Prentice Hall, 2005. (Available starting at $54.00 at Amazon.com***)
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New York: W. W. Norton, 2004. (Available used starting at $1.91 at Amazon.com***).
Haig, Matt. The Dead Father’s Club: A Novel. New York: Viking, 2006. (Available starting at $0.59 at Amazon.com***)
Kliman, Bernice W. Hamlet: Film, Television, and Audio Performance. Rutherford, NJ: 1988. (Available starting at $40.00 at Amazon.com***)†
Kozol, Jonathan. Letters to a Young Teacher. New York: Crown, 2007 (Available starting at $12.15 at Amazon.com***).
---. The Shame of the Nation: The Restoration of Apartheid Schooling in America. New York: Crown, 2005 (Available starting at $10.17 at Amazon.com***).
Lederer, Richard. Anguished English: An Anthology of Accidental Assaults Upon Our Language. Charleston, SC: Wyrick & Company, 1987 (Available used starting at $0.01 at Amazon.com***).
---. More Anguished English: An Expose of Embarrassing Excruciating, and Egregious Errors in English. New York: Dell, 1994 (Available used starting at $0.01 at Amazon.com***).
Ray, Michelle. Falling for Hamlet.
New York, Boston: Little Brown, 2011. (Available
used starting at $3.51 at Amazon.com
Truss, Lynne. Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation. New York: Gotham Books, 2004 (Available used starting at $2.70 at Amazon.com***).
*Note: All of the individual stories, poems and plays to be read and discussed are available online; these are indicated on the schedule (below) as hyperlinks. However, students are still strongly cautioned that they must purchase the textbook for class use, as well as for the supplemental materials included. Two additional poems (
Cummings, “l(a” and Raleigh, “The Nymph’s Reply to the Shepherd”) are not included in the textbook, but should be accessed through the link provided. Please bring hardcopy (printout) of this poem on the day indicated on the schedule.** Recommended additional texts are not required purchases, and have not been ordered for the course; however, they provide—depending on the course— alternative readings, historical and cultural backgrounds, criticism, personal literary responses, or entertaining (irreverent, possibly sacrilegious) revisions. Students who find themselves becoming deeply interested in one or more of the required readings may find these interesting and/or useful. When indicated with a dagger (†), texts are only provisionally recommended, as I have not read these works yet, although they have received excellent reviews or recommendations.
*** Prices listed at Amazon.com do not include shipping, and are accurate as of original posting date only; no guarantees of prices or availability are express or implied§.
CLASS POLICIES:
Attendance:
Departmental policy allows no more than four (4) hours of unexcused absences in
ENG 102.
Students who do not meet the English Department’s attendance policy will not
pass the class.
Students must not only attend every
class, but also arrive on time, be prepared, and take an active part in class
(see Participation, below).
Moreover, once students get to class, they are expected
to stay in the classroom until the class is over. Leaving class early or getting
up in the middle of class is considered disruptive behavior and should happen
only in extreme emergencies. Students may be required to sign in each class
session to verify their attendance. Students unable to attend class should
contact the instructor regarding their absence in advance or as soon as they
return to school.
Plagiarism and Cheating:
Plagiarism includes copying or paraphrasing another’s words, ideas, or facts
without crediting the source; submitting a paper written by someone else, either
in whole or in part, as one’s own work; or submitting work previously submitted
for another course or instructor. Plagiarism, cheating, or other forms of
academic dishonesty on any assignment will
result in failure (a grade of zero) for that assignment and may result in further disciplinary
action, including but not limited to failure for the course and expulsion from
the College. See the English Department’s
Statement
on Plagiarism and the
LaGuardia
Community College Policy on Academic Integrity (.pdf).
Homework/Essay Submission:
All writing assignments must be
received by the instructor on or before the due date, by the beginning of the
class period, as indicated on the schedule, below. Late work will
not be
accepted. All essays and work completed at home must be typed (in
12-point Times New Roman font), double-spaced, and
stapled when submitted; essays will not be accepted
via email.
Revisions:
All failing essays, with the exception of the Diagnostic Essay
and Final Essay, may be revised and
resubmitted
by the due dates announced when the graded essays are returned. Essays receiving a passing grade
may also be revised and resubmitted, but only after the student has met with
the instructor during office hours (by appointment only) to discuss
revisions. Revisions must be substantially revised, not merely
“corrected” versions of the original essay (revisions should be based upon the
Revising and Editing Checklist
and relevant information from class and the textbooks), and must be
submitted with the original graded essay attached. Evidence of
substantial revision may result in a better grade for the assignment.
If you did not submit a completed essay on time, you will receive a grade of zero and may not submit a “revision.”
Make-up Exams/Late Work:
All assignment deadlines and scheduled exam dates are provided at the
beginning of the semester; therefore, late papers will not be accepted, nor will
make-up opportunities be offered, except under
extraordinary circumstances with appropriate documentation. Excuses such
as “crashed computers,” “lost flash drives,” or “empty printer ink cartridges” will not
be accepted. It is suggested that all computer work be saved both on your
computer’s hard drive and again on removable storage device.
ASSIGNMENTS:
Attendance and
Participation (5 points):
As this class will combine both lecture
and discussion, students are expected both to attend every session and to take
an active part in class—joining in discussions and raising questions.
Discussion is one of the best ways to clarify your understandings and to test
your conclusions. Open discussion always involves personal exposure, and thus
the taking of risks: your ideas may not be the same as your fellow students’ or
even the instructor’s. Yet as long as your points are honest and supportable,
they will be respected by all of us in the classroom. Questions, discussion,
disagreement, and laughter are all encouraged in this class.
Diagnostic Essay (ungraded):
Students will complete an in-class
Diagnostic Essay
at the beginning of the semester on
a topic provided; this essay will be evaluated and returned, but will not
receive a grade, nor will it affect your final average.
Essays (2 @ 12.5 points):
Students will complete two critical essays during the semester: literary analyses of
works of
fiction and of poetry,
on
topics selected from the list of suggestions provided (see
Essay Topics) or developed in
consultation with the instructor. Essays must be at least three
to five (3-5)
pages (750 to 1250 words), typed (12-point Times New Roman), double-spaced, and stapled
(once, upper-left corner) when submitted§. Essays should be
grammatically correct, free of errors in mechanics, grammar, usage, spelling,
and documentation, and will be evaluated according to the
departmental Evaluation of Essays form.
Please refer to
Writing a
Literature Paper and
Getting an A
on an English Paper as well as the Paragraph Outline or
Essay Outline and
Revising and Editing Checklist for
additional assistance.
§
On format, handwriting, and neatness, see Chase, Clinton I. “Essay Test Scoring: Interaction of Relevant Variables.”
Journal of Educational Measurement 23.1 (1986): 33-41 and Marshall, Jon
C. and Jerry M. Powers. “Writing Neatness, Composition Errors, and Essay
Grades.” Journal of Educational Measurement 6.2 (1988): 306-324.
Midterm and Final (In-Class Essays) (2 @ 12.5 points):
Students will also complete two in-class essays,
a Midterm and Final. The essays will draw upon
the students’ knowledge of material studied during the previous weeks, including short fiction, poetry, and drama,
and may also include an objective portion.
Students will be allowed
to use textbooks only for the essay portions of exams, not for the objective
portions.
Research Essay (35 points total):
Students will also complete an argumentative (persuasive) Research Essay of
at least six pages (at least 1500 words), using a minimum of three
to five primary or secondary sources, correctly documented utilizing
MLA-style citations, with a
cover page
and
Works Cited page (cover page
and
Works Cited do not count toward the six-page requirement).
The
research essay will be completed in stages during the semester; points will
accrue as follows:
Topic Selection (5 points):
Before beginning the research essay assignment, students will develop and
submit a clear, well-written, one-page explanation of the topic chosen from the
list provided and the reason for selection. This proposal should include a
preliminary idea of the plan of the paper, its intention or research question,
and a possible preliminary thesis.
Annotated Bibliography (5
points):
Students will develop and submit an annotated bibliography for the research
essay assignment, with a minimum of five to seven sources, correctly cited
according to
MLA format.
Research Paper: Preliminary Draft
(5 points):
Students will complete a preliminary draft of their completed research essay
for evaluation and comments.
Research Paper: Final Draft (20
points):
The final draft of the research paper must be submitted in a folder,
including copies of all sources used and all of the above assignments associated
with the research paper.
Quizzes (10 points):
With the exception of the first day, class may begin with a short (five-minute) quiz
on the readings for the day, at the instructor’s discretion. Quizzes cannot be made up; if you miss a quiz due to
absence or lateness, that grade will be recorded as a 0. At the end of the
semester, the lowest grade will be dropped. Total number of quizzes and writing
assignments during the
semester will determine the point value of each; that is, if 11 quizzes/writing
assignments are
given (lowest grade dropped), each is worth up to one full
point.
Poetic Recitation (2-4 points Extra Credit):
Students may select and
memorize one of the selections below to be recited in front of the class for
extra credit. Memorization serves to improve and reinforce student’s skills of reading lines
carefully and making judgments about how particular passages can be interpreted.
A single recitation is worth 2 points extra credit; a second or third recitation will
earn one additional point each. There will be opportunities for recitation at
least twice during the semester, on each of the exam dates; students must sign
up for these dates at least one week in advance, as sufficient time must be
allocated for completion of the exam.
Selections for Recitation:
Dickinson,
“Because I could not stop for Death—”:
24 lines
Frost,
“Stopping
by Woods on a Snowy Evening”: 16 lines
Hopkins,
“God’s
Grandeur”: 14 lines
Owen,
“Dulce et Decorum Est”:
28 lines
Shakespeare,
Sonnet XVIII:
“Shall I compare thee to a summer’s day?”:
14 lines
Shakespeare,
Hamlet
III.1.63-97 (“To be, or not to be”):
34 lines
Shelley,
“Ozymandias”: 14 lines
Tennyson,
“Ulysses”
ll. 44-70: 26 lines
Yeats,
“The
Second Coming”:
22 lines
Extra
Credit (possibly various opportunities, at 1–2
points each):
Students may be notified of opportunities for
extra credit during the semester, including attendance at various cultural events related to the
class (“
Recommended Fieldtrips”). If students attend one or more of these
events, and provide evidence of attendance (ticket stub, program, et cetera)
along with a typed one- to two-page personal response (review, analysis,
reflection, critique, et cetera), they can receive up to two points per
event added to their final average. As a general rule, extra credit only helps
if you have already completed all of the assigned work, and will not make up for
missing an essay (or two, or three).
Extra credit
opportunities for Fall 2011 will be announced in class, and they will also be
posted online, so do not ask at the end of the semester for “extra credit” to
bring up your average.
Extra credit opportunities to date include:
2011 Latino Heritage Celebration Events:
An interview and Q&A with Felipe Luciano
Wednesday, October 5th
11:45am–1:00pm
The Little Theater
Activist, award-winning journalist, radio and television personality Felipe Luciano is interviewed by Professor Victor Rosa;
An opportunity is provided for audience members to ask Mr. Luciano questions.The NuyoRican School Poetry Jazz Ensemble, Inc.
Wednesday, October 5th
1:00pm–2:00pm
The Little Theater
Americo Casiano, Gene Golden, Barbara Jones, Edy Martinez, Ray Martinez, Louis Reyes Rivera, and Grammy Award winner, Dave ValentinReadings from the novels of Angie Cruz
Tuesday, October 11th
1:00pm–2:30pm
Poolside Café
Award-winning writer Angie Cruz reads from her novels Soledad & Let it Rain Coffee, discusses her career path with an opportunity for a Q&A. A “Kindle” reader will be raffled off.
Short Takes on Literature
Thursday afternoons 2:30–4:00 pmJoin students, faculty and staff and community fans of literature in the Library Conference Room for discussions of short stories
that will surprise and entertain. Share good stories, cookies, conversation and ideas. All Welcome!Access to story selections will be available approximately one week prior to each session at the Library Reference Desk.
For additional information please contact Marie Cimino Spina at mspina@lagcc.cuny.edu.
This program is sponsored by the Library and Media Resources Center of LaGuardia Community College
October 6:
Mavis Gallant and Amy Bloom
“Madeline’s Birthday” and “A Day Like Any Other” from The Cost of Living
“Silver Water” from Come to Me: StoriesOctober 13:
Lorrie Moore
“Four Calling Birds, Three French Hens” and “Which Is More than I Can Say about Some People” from Birds of AmericaOctober 20:
Toni Cade Bambara and Eudora Welty
“My Man Bovanne” and “No Place For You My Love” from We Are the Stories We TellOctober 27:
Alice Monro and Joyce Carol Oates
“Free Radicals” from Too Much Happiness
“Pumpkin Head” from New Yorker 12 Jan. 2009November 3:
Louise Erdrich and Leslie Marmon Silko, Hayat Bin al-Shaykh and Luo Shu Fleur
“Yellow Woman” from We Are the Stories We Tell and from Arab Women Writers: An Anthology
“Aunt Lui” from Wayward Girls and Wicked WomenNovember 10:
Anna Maria Ortese & Gina Lagoria andGrazia Deledda
“The Tree” and Tosca’s Cats” from New Italian Women: A Collection of Short Fiction
“Baptisms” from Unspeakable WomenNovember 17:
Margaret Atwood & Alice Walker
“Giving Birth” and “The Abortion” from We Are the Stories We TellDecember 1:
Alice Monro & Tama Janowitz & Amy Bloom
“Fiction” from Too Much Happiness and “Slaves of New York” from We Are The Stories We Tell
“Love Is Not a Pie” from Come to Me: Stories
Library Citation Clinics (for students working on research assignments)
When: Drop in anytime during any of these two-hour sessions:
● Tuesday, November 22, 1:00–3:00pm
● Wednesday, November 30, 9:30–11:30pm
● Tuesday, December 6, 5:30–7:30pmWhere: Library Lab (E101-B)
No Appointment Necessary
Questions? Contact, Alexandra Rojas, arojas@lagcc.cuny.edu, x6020,
or Catherine Stern, castern@lagcc.cuny.edu, x 6021
Refworks 2.0 Workshop
(for students, faculty, and staff)
Refworks has changed and this workshop will guide new or nearly new users
through the basics of Refworks 2.0.
When: Two upcomingsessions
noon● Monday, November 14, 2:30–3: 30pm
● Tuesday, November 29, 11:00pm–12:00
Where:
Library
Lab, E101-B
GRADING:
Final
grades will be determined as follows:
| Attendance and Class Participation |
5 points |
| At-Home Essays (2 @ 12.5 points) |
25 points |
|
12.5 points | |
| Final Essay (in class) |
12.5 points |
| Research Paper (35 points total) | |
|
5 points | |
|
5 points | |
|
5 points | |
|
20 points | |
| Quizzes |
10 points |
|
Extra Credit (if any) will be added to the final total. | |
Total Points earned (Final Average) will determine the grade received for the course, as follows:
|
Total Points |
Final Percentage |
Final Grade |
|
96-100+ |
96-100 |
A |
| 90-95 | 90-95 | A- |
|
87-89 |
87-89 |
B+ |
| 84-86 | 84-86 | B |
|
80-83 |
80-83 |
B- |
|
77-79 |
77-79 |
C+ |
|
74-76 |
74-76 |
C |
| 70-73 | 70-73 |
C- |
|
60-69 |
60-69 |
D |
|
0-59 |
0-59 |
F |
OUTLINE:
Projected Schedule of Readings and
Assignments
|
Important Dates: FALL SEMESTER 2011 SESSION I |
||||||||||||||||||||||||||||||||||||||||||
|
Note: All readings below are required, and must be completed by the day indicated; the only exceptions are those indicated with an asterisk (*), which are recommended additional readings or resources. Two poems (Cummings, “l(a” and Raleigh, “The Nymph’s Reply to the Shepherd”) are not included in Literature: A Portable Anthology, 2 ed. The first will be covered in class; the second must be accessed through the link provided, below. Please bring hardcopy (printout) of this poem to class on the day indicated on the schedule.
Readings from Literature: A Portable Anthology are identified below by author and title as well as page numbers, e.g., Lawrence, “The Rocking-Horse Winner” (145-157) or, where the text’s critical apparatus and additional information are intended, by author and page number, e.g., Writing About Literature: Introduction, The Role of Good Reading (Gardner 1177-1191). Readings from Rules for Writers are identified below by title and page numbers, e.g., “Documenting Sources” (Rules 426-463). Additional readings may also be assigned.
Red text indicates due dates or links to assignments; Blue text indicates links to assignments, resources, or online versions of texts; LitIQ Quizzes are additional, optional online exercises for review purposes only. (Note: While every effort is made to verify the accuracy and usefulness of these links and their contents, no guarantees are made. Please notify me of any broken or outdated links at bmurphy@Brian-T-Murphy.com).
Note: This schedule is subject to revision according to the instructor’s discretion, the Academic Calendar for the semester, school closings due to inclement weather or other reasons, and the progress of the class. Additions or changes will be announced in class, and they will also be posted here as well as on the class Announcements page.
| Week: | Date: |
Readings and Assignments: |
| 1 |
Monday 12 Sept. |
First Day of Class: |
|
Wednesday 14 Sept. |
De Maupassant, “The Necklace” (59-65) (also here in .pdf) |
|
| 2 |
Monday 19 Sept. |
“Plot,”
“Character,”
“Point
of view,” and
“Setting,” (1231-1233);
“Writing About Literature”
(1177-1218);
“Writing about Stories”
(1231-1237), including
“Elements
of Fiction”
and *Recommended additional reading: Downes, Lawrence. “In Search of Flannery O’Connor.” New York Times 4 Feb. 2007. sec. 5: 1+. *LitIQ Quiz A: A Good Man Is Hard to Find; LitIQ Quiz B: A Good Man Is Hard to Find *LitIQ Quiz A: Plot; LitIQ Quiz B: Plot *LitIQ Quiz A: Character; LitIQ Quiz B: Character |
|
Wednesday 21 Sept. |
Poe, “The Cask of Amontillado” (14-19) *Recommended additional reading: “Freemasonry”: Wikipedia entry King, Stephen. “Dolan’s Cadillac” (from the collection Nightmares & Dreamscapes, 1993) Morressy, John. “The Resurrection of Fortunato.” Fantasy and Science Fiction Magazine, March-April 2003.
*LitIQ
Quiz A: The Cask of Amontillado;
LitIQ Quiz B: The Cask of Amontillado; |
|
| 3 |
Monday 26 Sept. |
Research Essay
Topic Due
“Writing
a Literary Research Paper”
(1254-1286), including
“Emily
Dickinson's 'Because I could not stop for Death': * “Citing sources; avoiding plagiarism,” “Integrating sources,” “Documenting sources” (Rules for Writers 415-426)
*Recommended additional reading:
Blumberg, Jess.
“A
Brief History of the Salem Witch Trials.” Smithsonian.com. 24 Oct. 2007
Orenstein, Peggy. “Pinked!” Cinderella Ate My Daughter: Dispatches From the Front Lines of the New
Girlie-Girl Culture. The super-short “Young Goodman Brown” from Book-a-Minute Classics
|
|
Wednesday 28 Sept. |
Irregular day:
Friday classes meet (Class does not meet) |
|
| 4 |
Monday 3 Oct. |
”
(1233);
Hawthorne, “Young
Goodman Brown” (3-13); Lawrence, “The Rocking-Horse Winner” (145-157) *Recommended additional reading:
Blumberg, Jess.
“A
Brief History of the Salem Witch Trials.” Smithsonian.com. 24 Oct. 2007
Orenstein, Peggy. “Pinked!” Cinderella Ate My Daughter: Dispatches From the Front Lines of the New
Girlie-Girl Culture. The super-short “Young Goodman Brown” from Book-a-Minute Classics Lawrence’s “The Rocking-Horse Winner” on YouTube.com: http://www.youtube.com/watch?v=PMFPK1WeTIY. *LitIQ Quiz A: Theme; LitIQ Quiz B: Theme *LitIQ Quiz A: Young Goodman Brown; LitIQ Quiz B: Young Goodman Brown *LitIQ Quiz A: The Rocking-Horse Winner; LitIQ Quiz B: The Rocking-Horse Winner |
|
Wednesday 5 Oct. |
Jackson,
“The
Lottery”
(242-249); *Recommended additional reading: Hoel, Helga. “Personal Names and Heritage: Alice Walker’s ‘Everyday Use.’” Reading and Discussion Questions on Shirley Jackson’s "The Lottery"
*LitIQ
Quiz A: The Lottery;
LitIQ Quiz B: The Lottery |
|
| 5 |
Monday 10 Oct. |
No class |
|
Wednesday 12 Oct. |
What is Poetry?;
Introduction to Poetic
Analysis; “Writing about Poems” (1238-1247); including “Elements of Poetry,” Shakespeare, Sonnet 116: “Let me not to the marriage of true minds” (1244) and “Shakespeare Defines Love” *See also: Understanding and Explicating Poetry; Works Cited page (Instructions & Sample) (Microsoft Word document); MLA Documentation Style for “Works Cited” (LaGuardia Community College Library web site) “How Do I Cite a Tweet?” MLA.org 2 March 2012. 15 March 2012. Web.
*LitIQ
Quiz A: Theme;
LitIQ Quiz B: Theme *LitIQ Quiz A: Imagery; LitIQ Quiz B: Imagery *LitIQ Quiz A: Sound; LitIQ Quiz B: Sound *LitIQ Quiz A: Figures of Speech; LitIQ Quiz B: Figures of Speech |
|
| 6 |
Monday 17 Oct. |
Cummings,
“l(a”
(not in textbook; to be covered in class);
*See also: “Sample Annotated Bibilography” and Ebel, Kimberly, “Class and Gender in Cinderella: Annotated Bibliogrpahy” |
|
Wednesday 19 Oct. |
Poems about Love and Lust continued: Marvell, “To His Coy Mistress” (476-477) Extra Credit: To be announced in class |
|
| 7 |
Monday 24 Oct. |
Poems about Love and Lust continued:
Note: there will be a quiz!
*See also:
“Philomela”
(Encyclopedia Mythica); |
|
Wednesday 26 Oct. |
Poems about Death: Dickinson, “Because I could not stop for Death” (537-538) (see also, two different versions, here) *See also: Information about the Sperry Ball Turret |
|
| 8 |
Monday 31 Oct. |
Midterm Exam (Essay Two) |
|
Wednesday 2 Nov. |
Poetry Recitations Poems about Death continued: Owen, “Dulce et Decorum Est” (570); Frost, “Stopping by Woods on a Snowy Evening” (554) |
|
| 9 |
Monday 7 Nov. |
Poems
about other stuff: *See also: Galia Slayen, “The Scary Reality of a Real-Life Barbie Doll”; Thomas Clough's “Barbie Doll Feminism: Satan's Plastic Sister”; “The Real Measurements and Proportions of a Modern Barbie Doll” |
|
Wednesday 9 Nov. |
Poems
about other stuff
continued: Blake, “The Lamb” (485) (see image here); Blake, “The Tyger” (486) (see image here); Shelley, “Ozymandias” (500) (*see also, Horace Smith, “Ozymandias”) |
|
| 10 |
Monday 14 Nov. |
Poems
about other stuff
continued:
Class decides what to discuss Yeats, “The Second Coming” (544-545); Hopkins, “God’s Grandeur” (540); Cummings, “in Just-” (571); Williams, “The Red Wheelbarrow” (557-558); Donne, “A Valediction: Forbidding Mourning” (467-468); Coleridge, “Kubla Khan” (497-498) |
|
Wednesday 16 Nov. |
Poems
about other stuff
continued:
Class decides what to discuss (See selections for Monday, 14 Nov.) |
|
| 11 |
Monday 21 Nov. |
“Writing about Plays” (1248-1253), including “Elements of Drama” and “Moral Ambiguity and Character Development in Trifles.” Glaspell, Trifles (958-969)
*See also,
Gerald Richman's
Trifles Resources page
*Recommended viewing:
|
|
Wednesday 23 Nov. |
Irregular day:
Friday classes meet (No class) |
|
| 12 |
Monday 28 Nov. |
Glaspell, Trifles continued (as needed) |
|
Wednesday 30 Nov. |
Shakespeare,
Hamlet (777-898): Read at
least Act I (777-805) * Are you smarter than a fifth-grader? See The Hobart Shakespeareans: description and trailer.
*see also, No Fear
Shakespeare:
Hamlet; Ed Friedlander,
Enjoying
Hamlet by William Shakespeare; *Recommended additional reading:
Boose, Lynda E. and Richard Burt.
“Totally Clueless? Shakespeare Goes Hollywood in the
1990s” from
Shakespeare, The Movie: Popularizing the Cohen, Paula Marantz. “Shakespeare Goes to the Movies.” DOJ: The Drexel Online Journal. Feldman, Gail M. “Adapting Shakespeare to Film.” Inside Film Magazine Online. Haig, Matt. The Dead Father’s Club: A Novel. New York: Viking, 2006. Kliman, Bernice W. Hamlet: Film, Television, and Audio Performance. Rutherford, NJ: 1988. Ray, Michelle. Falling for Hamlet. New York, Boston: Little Brown, 2011. Wall, Rebecca. “Study Questions for Hamlet.” ENG2301. 20 Oct. 2005. 7 Jan. 2009. http://myweb.wssu.edu/wallr/ENG2301/eng2301hamlet.htm *Recommended viewing: “Tales from the Public Domain: Hamlet.” (Episode DABF08) The Simpsons. Twentieth Century Fox, 2002. Bohannan, Laura. “Shakespeare in the Bush” Natural History Aug./Sep. 1966.
*Recommended cartoon:
*Additional Quizzes, from TeachersFirst.com:
Introductory Quizzes -
Who's Who • Denmark
and Norway |
|
| 13 |
Monday 5 Dec. |
Shakespeare, Hamlet continued: Read at least Act II through Act III (805-855) *Additional Quizzes, from TeachersFirst.com:
Act II - Quotations
Quiz • Quiz on
Scene 1 • Quiz
on Scene 2 |
|
Wednesday 7 Dec. |
Last day to submit any late or missing work. See also, Research Paper Folder Checklist Shakespeare, Hamlet continued: Read at least Act III through Act IV (826-876) *Additional Quizzes , from TeachersFirst.com:
Act II - Quotations
Quiz • Quiz on
Scene 1 • Quiz
on Scene 2 |
|
| 14 |
Monday 12 Dec. |
Research
Paper Due: Complete, final project (in folder) *Additional Quizzes, from TeachersFirst.com:
Act IV -
Quiz on the
Act |
|
Wednesday 14 Dec. |
Poetry Recitations/Final
Exam Part 1 |
|
| 15 |
Monday 19 Dec. |
Final Exam Part 2: Essay Four |
|
Wednesday 21 Dec. |
Class does not meet |
For each of the assigned essays and projects, a topic or list of topic choices is provided. Your work must be on one of the assigned topics for that assignment or developed in consultation with the instructor, or it will receive a grade of “F”. All work must be submitted on or before the due date, by the beginning of the class period; late work will not be accepted. Failure to bring the required essay will result in a zero for the assignment, without opportunity for revisions.
For each of the essays, select one of the topics to discuss in a well-developed, coherent, and thoughtful essay. Be sure to focus carefully on the topic, and remember that these are formal essays: they must have an appropriate, original title; contain an introduction, body, and conclusion; have a clear, explicit, assertive, objectively worded thesis statement (thesis statements must be underlined); and (unless otherwise indicated) avoid use of I or you throughout.
Essays 1 (fiction) and 3 (poetry) must be at least three to five pages (750 to 1250 words), the Midterm and Final (in-class) essays (Essays 2 and 4) must be a minimum of 600 words, and the Research Essay must be at least 1500 words (roughly six pages minimum).
All at-home work must be typed (in 12-point Times New Roman font, double-spaced, and stapled when submitted. In-class work must be neatly printed in blue or black ink on composition paper or in bluebooks provided by the instructor and double-spaced§. All essays should be grammatically correct, free of errors in mechanics, grammar, usage, spelling, and documentation, and will be evaluated according to the departmental Evaluation of Essays form. See also “Writing a Literature Paper” and “Getting an A on an English Paper” as well as the Essay Outline and Revising and Editing Checklist for additional assistance.Please refer to the following as well:
Formatting and
Style Guide
(Purdue
Online Writing Lab)
Incorporating
Sources (class handout)
Class Plagiarism Policy (on syllabus),
as well as the English Department’s
Statement
on Plagiarism (.pdf, also distributed in class) and the
LaGuardia
Community College Policy on Academic Integrity (.pdf).
You might also find the following additional resources useful:
Works Cited page (Instructions & Sample)
(Microsoft Word document)
Avoiding Plagiarism (Houghton-Mifflin web site)
Practice Incorporating Sources into Your Work (Houghton-Mifflin web site)
MLA format (Purdue
University's Online Writing Lab)
Also, one would think that this would not even need to be stated, but read the work or works about which you are writing, and read them carefully! Do not rely upon your general impressions based on what you think was said in class, or on what you read online. There is no reason for your essays to contain factual errors.
Please feel free to communicate any concerns or questions to me before the essays are due; I will be available to meet with any student who needs assistance or additional instruction. Please speak to me before or after class or email me to set up an appointment during my office hours.
On format, handwriting, and neatness, see Chase, Clinton I. “Essay Test Scoring: Interaction of Relevant Variables.” Journal of Educational Measurement 23.1 (1986): 33-41 and Marshall, Jon C. and Jerry M. Powers. “Writing Neatness, Composition Errors, and Essay Grades.” Journal of Educational Measurement 6.2 (1988): 306-324.
Diagnostic
Essay: Monday, 12 September
Select one of the following topics, and compose a formal essay. Your
essay will not receive a grade, nor will it affect your final average; this is
for evaluative purposes only. You will have approximately one hour to complete
this essay.
(Use of
“I”
is allowed for both choices.)
1. What is your favorite text or who is your favorite author, and why? Defend your choice with specific examples.
2. According to Steve Jobs, CEO of Apple, “people don’t read anymore” (see “The Passion of Steve Jobs”). With radio, television, cable, and personal computers and the Internet, we are living in a post-literate world. That is, reading—for pleasure or for knowledge— is no longer necessary or important. Do you agree or disagree? Why or why not?
Essay One—Short
Fiction: Due Wednesday, 5 October
After reading
“Writing About Literature”
(1177-1218)
and
“Writing about Stories”
(1231-1237), and
“Writing about Texts”
(Rules
for Writers 346-358), select one
of the following topics to discuss in a well-developed, coherent, and thoughtful
essay of at least 750 to 1000 words. Note: This is not a research essay; the only sources
utilized or quoted should be the texts themselves. Use of secondary sources,
whether credited or not, will be considered grounds for failure. See also
Writing a
Literature Paper and
Getting an A
on an English Paper for additional assistance.
Essay Two—Midterm (In-Class Essay): Monday, 31 October
Write a well-developed, carefully composed essay on one
of the following topics. Before you begin to write, take time to plan your essay
carefully. Essays should focus on the selected topic, contain a clear beginning
(an introduction, with a thesis, underlined), a middle (the body paragraphs),
and end (concluding paragraph), and use appropriate topic sentences and
transitions to guide the reader.
Remember that you are not summarizing the works, but responding to them in a critical manner. Be sure to include evidence or examples from the specific texts that you are writing about, but do not copy directly from the textbook unless you are quoting. When quoting, remember to incorporate sources correctly: use signal phrases and document with parenthetical citations.
Your essay will, as always, be evaluated according to the Model for Evaluation of Student Writing. Therefore, make certain your essay is not only well organized and developed, but also grammatically correct, free of errors in mechanics, grammar, usage, and spelling. Double-space, so you have room for corrections.
You may use both your textbook (or printouts) and a dictionary or thesaurus for the essay.
Topics to be announced.
Essay Three—Poetry:
Due Monday, 21 November
As above, after reading
“Writing About Literature”
(1177-1218),
“Writing about
Poems”
(1238-1247),
and
“Writing about Texts”
(Rules
for Writers 346-358), select one
of the following topics to discuss in a well-developed, coherent, and thoughtful
essay of at least 750 to 1000 words. Note: This is not a research essay; the only sources
utilized or quoted should be the texts themselves. Use of secondary sources,
whether credited or not, will be considered grounds for failure. See also
Writing a
Literature Paper and
Getting an A
on an English Paper for additional assistance.
Select one of the following topics.
Select two poems other than ones read or discussed in class* written or published at least twenty-five years apart
that are both about the same subject matter: Nature, Art, Love, Sex, Age, Death
or Mourning, War, Race, Gender. Compare and contrast the way the two treat the
same theme. Your analysis should establish a clear connection between the two
poems, beyond merely “They both discuss love”
or “both refer to death”; rather, the
connection should be based on similarities in situation, structure, language,
imagery, theme, et cetera.
For example,
Randall Jarrell’s “Death of the Ball Turret Gunner” and Emily Dickinson’s “Because I could not stop for Death” both feature first-person narrators who recount the circumstances of their own deaths; however, while the former poem presents an image of death as violent and pointless, the latter suggests that death may actually be a welcome end to the struggles and obligations of life.
Your essay should explore the poems’ tone, speaker, language (including figurative language or imagery, diction, and allusions) and structure (including meter and rhyme scheme, or the lack of them), and explain how these are interrelated and how they shape or influence meaning.
Select
a poem and a short story other than ones read or discussed in class* that
treat the same subject matter: Nature, Art, Love, Sex, Age, Death or Mourning,
War, Race, Gender. Compare and contrast the way the two treat the same theme. As
above, your analysis should establish a clear connection between the two works,
beyond merely “They both discuss love” or
“both refer to death”; rather, the connection
should be based on similarities in situation, structure, language, imagery,
et cetera.
Another topic of your choice, focusing on close literary analysis of one or
more texts, including at least one poem (not one we have already read). You
must obtain prior approval for this, however; speak to me before or
after class or
email
me to set up an appointment during my office hours.
* Texts for the above topics should be selected from the textbook but not be listed on the syllabus. If the textbook does not have sufficient poems for you, try one or more of the links below, and be sure to use only works from professional, recognized poets (or lyricists). See also, “Some Provocative Pairings” on the Literature: A Portable Anthology website, the thematically arranged poems on my page for Lit 205: Introduction to Poetry, the matched poems in David Morse's Grandfather Rock: The New Poetry and the Old (poetry and lyrics by Eric Clapton, Martin Sharp, Leonard Cohen, Wilfred Owen, Stephen Stills, Judy Collins, Amy Lowell, John Lennon, Paul McCartney, Charles Lamb, Robert Hunter, Bob Dylan, e.e. cummings, Yeats, Shelly, John Fogerty, Bernie Taupin, Walt Whitman, David Crosby, Paul Kantner, Henry Vaughan, Emily Dickinson, and Keith Reid , among others), the extensive choices arranged by subject at English 120: Approaches to Literature - Dead Poets & Pop Songs (you may need to zoom in for clearer reading), or the rather eclectic pairings on William Shatner's 1968 album The Transformed Man, such as Hamlet's soliloquy (Hamlet III.1.63-97) paired with “It Was a Very Good Year.”
Note: If the poems you use are not in the textbook, you must include photocopies with your essay! Also, consulting with the instructor concerning your choice of texts is strongly recommended.
BP: British Poetry 1780-1910: A Hypertext Archive
CP: A Compendium of Poetry
ME: Modern English Collection, E-Text Center (U VA)
PA: Poetry Archives @ eMule.com
PB: Project Bartleby
PL: Poetry Archive at Plagiarist.com
PO: Poetry Online
RPO: Representative Poets Online
Please refer to the following as well:
Formatting and
Style Guide (Purdue Online
Writing Lab)
Incorporating
Sources (class handout)
Class Plagiarism Policy (on syllabus), as well as the
the English Department’s
Statement
on Plagiarism and the
LaGuardia
Community College Policy on Academic Integrity (.pdf).
You might also find the following additional resources useful:
Works Cited page (Instructions & Sample)
(Microsoft Word document)
Avoiding Plagiarism (Houghton-Mifflin web site)
Practice Incorporating Sources into Your Work (Houghton-Mifflin web site)
MLA format (Purdue
university's Online Writing Lab)
Also, one would think that this would not even need to be stated, but read the poems or the story and poem about which you are writing, and read it carefully! Do not rely upon your general impressions based on what you think was said in class, or on what you read online. There is no reason for your essays to contain factual errors.
Research Paper:
Compose a clear, well-written, properly documented
(MLA format) argumentative essay of at least
1500 words (roughly six pages minimum), with a
cover page and
Works Cited page (cover
page and Works Cited do
not count toward the six-page requirement). The paper must be
argumentative (persuasive), with a clear, explicit, and assertive thesis
statement, and must use
up to three primary sources and a minimum
of three to five secondary sources; secondary
sources must be scholarly criticism or analysis, not summaries, reviews,
or “analysis”
from sites such as Wikipedia, 123HelpMe, or Gradesaver.com. You
must include at least one short quotation, one long—block—quotation, and
one paraphrase, and these
sources must be properly documented (utilizing
MLA format), and integrated into your writing smoothly and
correctly. See also
Research Paper checklist.
Topic
Selection: Due Monday, 26 September
Before beginning the research essay assignment, you must develop and submit
a clear, well-written, one-page explanation of the topic you have chosen and
your reason for selection. This proposal should include a preliminary idea of
the plan of the paper, its intention or research question, and a possible
preliminary thesis. Select one of the following three topics: Note:
See me before the assignment is due if you wish to discuss another
appropriate topic or author.
1. Contrast Susan Glaspell’s play Trifles with her short story, “A Jury of Her Peers” (not in textbook—available here or here). While the “story” itself (the plot or action) remains essentially unchanged, how does the prose fiction version differ from the dramatic version, and why? What necessary and significant differences between the two versions reflect the requirements of the different genres? See the bibliography of literary criticism and scholarly research at the Susan Gaspell Society website.
2. Compare/contrast two different screen versions of Hamlet and their treatment or adaptation of the play. How does each adapt, change, or edit the play? What is changed or left out, and why? Good versions for this assignment include Laurence Olivier’s 1948 version, Franco Zeffirelli’s 1990 film starring Mel Gibson (available online here), Kenneth Branagh’s 1996 film, and Michael Almereyda’s 2000 version starring Ethan Hawke. Note: several movie versions should be available at your local libraries, or through the LaGuardia Community College Library.
3. Select one of the authors listed below, and find one longer work or up to three short works by that author, ones that are not listed on the syllabus, to analyze and discuss in your essay. For example, if you enjoy Piercy’s “Barbie Doll,” select another two or three of her poems. Your essay should be a close, critical analysis of the work or works, including an assertive thesis. Do not provide a biography of the author or a summary of the texts; instead, your thesis must be a claim about the work or works that represents your interpretation and is supported with textual evidence. Note that while all of the following authors are listed on the syllabus, not all authors from the syllabus are acceptable choices for this assignment: you may not choose an author other than one of those listed without prior approval.
Author Choices:
William Blake
D. H. Lawrence
E. E. Cummings
Flannery O’Connor
John Donne
Wilfred Owen
Langston Hughes
Marge Piercy
Shirley Jackson
Alice Walker
Randall Jarrell
William Carlos Williams
4. Another topic of your choice, focusing on close literary analysis of one or more texts, not including any works that we have already read. You must obtain prior approval for this, however; speak to me before or after class or email me to set up an appointment during my office hours.
Annotated Bibliography: Due Monday, 17 October
You must submit an annotated preliminary bibliography with a minimum of
five to seven sources, including copies of all sources, correctly cited according to
MLA format. This may include up to three primary sources and a minimum
of three to five secondary sources; secondary
sources must be scholarly criticism or analysis, not summaries, reviews,
or “analysis”
from sites such as Wikipedia, 123HelpMe, or Gradesaver.com;
instead, use the library (CUNY
Plus) or the available databases such as
Academic Search Complete,
DOAJ: Languages and Literatures,
Gale Literary Index, or
Humanities Full Text to locate appropriate sources. In addition
to a correct citation for each source, you must include a description or summary
of the source, at least one paragraph long, and an explanation of how you
foresee incorporating it into your essay. For additional information on
Annotated Bibliographies, see the Purdue
University Online Writing Lab (OWL)’s
Annotated
Bibliographies, as well as “Sample
Annotated Bibilography”
and Ebel, Kimberly,
“Class
and Gender in Cinderella: Annotated Bibliography.”
Preliminary Draft: Due Wednesday, 30 November
A finished, typed preliminary draft of the completed research essay must be
brought to class for evaluation and comments.
This should be a
complete draft of your research essay: using up to three primary sources and
a minimum of three to five secondary sources, roughly six pages,
including both cover page and Works Cited. Note: you do not
need to submit the folder containing copies of your sources at this time.
Please refer to the following as well:
Formatting and
Style Guide (Purdue Online
Writing Lab)
Incorporating
Sources (class handout)
Class Plagiarism Policy (on syllabus), as well as the
the English Department’s
Statement
on Plagiarism and the
LaGuardia
Community College Policy on Academic Integrity (.pdf).
You might also find the following additional resources useful:
MLA Documentation of Films: Works Cited and
In-Text Citations
Works Cited page (Instructions & Sample)
(Microsoft Word document)
Avoiding Plagiarism (Houghton-Mifflin web site)
Practice Incorporating Sources into Your Work (Houghton-Mifflin web site)
MLA format (Purdue
university's Online Writing Lab)
Also, one would think that this would not even need to be stated, but read the text (or texts) about which you are writing, and read it carefully! Do not rely upon your general impressions based on what you think was said in class, or on what you read online. There is no reason for your essays to contain factual errors.
Final
Draft: Due Wednesday, 7 December
Monday, 12 December
The final research paper must be
submitted in a research folder, including copies of
all sources used. Be sure to print out or photocopy both the works
themselves and all secondary sources, and highlight all relevant
passages, whether quoted, paraphrased, or summarized. You must
also include all supporting documents: your
previously submitted Topic Selection,
Annotated Bibliography, and
Preliminary Draft.
Failure to submit a complete research essay in a folder
according to these instructions will be grounds for failure on the assignment. In
addition, plagiarism, either in whole or in part, will result in automatic
failure (a grade of zero) for the assignment, and therefore failure for the
course as well.
Essay Four—Final In-Class Essay: Monday, 19 December
Select one of the following topics and compose an
essay of five hundred to seven hundred fifty (500-750) words. Before you begin
to write, take time to plan your essay carefully. Essays should focus on the
selected topic, contain a clear beginning (an introduction, with a thesis,
underlined), a middle (the body paragraphs), and end (concluding paragraph), and
use appropriate topic sentences and transitions to guide the reader.
Remember that you are not summarizing the works, but responding to them in a critical manner. Be sure to include evidence or examples from the specific texts that you are writing about, but do not copy directly from the textbook unless you are quoting. When quoting, remember to incorporate sources correctly: use signal phrases and document with parenthetical citations.
Your essay will, as always, be evaluated according to the Model for Evaluation of Student Writing. Therefore, make certain your essay is not only well organized and developed, but also grammatically correct, free of errors in mechanics, grammar, usage, and spelling. Double-space, so you have room for corrections.
You may use both your textbook (or printouts) and a dictionary or thesaurus for the essay.
1.) In Susan Glaspell's Trifles, a division between male and female spheres arises and deepens as the play progresses. Explain how staging, including set, stage directions, and placement and movement of the characters onstage, is essential to reflecting and revealing this division.
3.) In Hamlet each of the major characters has one or more character flaws that influence plot development. Choose one of the following characters—Ophelia, Gertrude, Polonius, Laertes, or Claudius, but not Hamlet himself—and explain what specific weaknesses are demonstrated by the character. Through what words or actions are his or her weaknesses revealed, and how does the character's weakness contribute to the play's actions?
4.) Directorial decisions concerning staging and performance can dramatically affect our understanding and interpretation of plays. Focusing on either Trifles or Hamlet, discuss at least three or four specific examples of where such decisions could drastically affect the presentation of specific scenes, and explain how this could influence our perceptions or understandings while viewing the play in performance.
|
Grammar, Writing, and Research Papers: | |
|
Society for the Preservation of English Language and Literature |
|
|
Used Textbooks:
Bigwords.com |
E-Books:
Bkstore.com (B&N) |
|
Textbook Rental:
Bookrenter.com |
Comparison Shopping:
Abebooks.com |
|
Links to sites for textbook purchase or rental
are provided for students seeking textbook options; |
|
|
Susan Glaspell: Trifles and “A Jury of Her Peers” Start with the bibliography of literary criticism and scholarly research at the Susan Gaspell Society website. Several of these references are standards, including: Alkalay-Gut, Karen. “‘A Jury of Her Peers’: The Importance of Trifles.” Grose, Janet L. “Susan Glaspell’s Trifles and ‘A Jury of Her Peers’: Feminine Reading and Communication.”
Mustazza, Leonard. “Generic Translation and Thematic Shift in Susan Glaspell’s Trifles and
‘A Jury of Her Peers.’” See also
“Literary Resources: Feminism and Women's Literature” |
|
|
Hamlet Information about specific movies can be found on IMDB.com (the Internet Movie Database). Reviews can be found at MRQE.com (the Movie Review Query Engine). Also r ecommended:Boose, Lynda E. and Richard Burt. “Totally Clueless? Shakespeare Goes Hollywood in the 1990s.” Shakespeare, The Movie: Popularizing the Plays on Film, TV, and Video. London and New York: Routledge, 1997. 8-21. (reprinted in Film and Literature: An Introduction and Reader. Ed. Timothy Corrigan. Upper Saddle River, NJ: Prentice Hall, 1999. 340-356) Cohen, Paula Marantz. “Shakespeare Goes to the Movies.” DOJ: The Drexel Online Journal. Feldman, Gail M. “Adapting Shakespeare to Film.” Inside Film Magazine Online. Kliman, Bernice W. Hamlet: Film, Television, and Audio Performance. Rutherford, NJ: 1988. |
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|
Langston Hughes
Verified links: More to come... |
|
|
Flannery O'Connor See also
“Literary Resources: Feminism and Women's Literature”
More to come... |
|
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Alice Walker Anniina's Alice Walker Page (Luminarium): Extensive information on Walker, including biographical sketch, bibliography, interviews, E-texts, and links. See also
“Literary Resources: Feminism and Women's Literature”
More to come... |
|
Last Revised: Thursday, 15 March 2012
Site maintained by Brian T. Murphy
Main page: www.Brian-T-Murphy.com
