|
ENG 206: Modern British Literature, Spring 2018 |
Bradley Hall, Y-16 e-mail: [email protected]
|
|
|
This work is licensed under a Creative Commons
Attribution-Noncommercial-Share Alike 3.0 United States License. |
Important
Announcements and Updates: Click HERE
Print-friendly syllabus (Microsoft Word) here.
Other
printable documents:
Model for Evaluation of Student Writing
Works Cited page (Instructions
& Sample)
Cover Page for Research Essays (Sample)
Standard MLA Format for Essays
Revision and Editing Checklist
Incorporating Sources
Paragraph Outline
Essay Outline
DESCRIPTION:
Students are introduced to major British writers from the late 18th through
the early 21st centuries. Works of writers such as Wordsworth, Arnold, Dickens,
Wilde, Woolf, Eliot, Yeats, Osborn, Lessing and Amis are studied in the context
of their times and their literary and cultural values. Writing is an integral
component of the course.
Prerequisites: ENG 102 or ENG 109.
This is an introductory course in British literature from the Romantic and Victorian periods to contemporary time. Students do not need to have taken ENG 205 (Early British Literature) before taking this course; however, it is assumed that students have successfully completed the prerequisites for this course, ENG 100/101 and ENG 102, or their equivalent. Therefore, students are expected to have the necessary background and experience in analyzing, discussing, and responding to literature, 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 (up to 150 pages/week), to write on a regular basis, and to take an active part in class discussions should not consider taking this course.
|
Course Goals |
Learning Outcomes |
|
Writing Literacy: to produce precise,
clear, grammatically-correct, well-developed, and well-organized
writing appropriate to academic, social, and occupational fields |
Produce coherent texts within common college level forms Revise and improve such texts |
|
Critical
Thinking:
to develop critical thinking skills |
Identify, analyze, and evaluate arguments Develop well-reasoned arguments |
|
Informational
Literacy:
to develop skills to locate, evaluate, and incorporate relevant source
materials into the construction and expression of an informed point of
view |
Access and utilize basic computer and internet
functions, demonstrating appropriate and effective utilization of
programs and functions Use basic research techniques, demonstrating
appropriate, effective research skills Locate, evaluate, organize, and synthesize
information from a variety of sources, demonstrating the ability to
implement an effective search strategy to obtain reliable information Apply ethical and legal standards for use of source
information, demonstrating the application of accepted ethical and
legal restrictions on the use of published works |
|
Cultural
Literacy:
to develop exposure to literary texts that reflect the diversity of
the human experience in a variety of historical and cultural frameworks |
Demonstrate understanding of the various
influences that shape perspectives, values, and identities Demonstrate understanding of social divisions such
as gender, ability, ethnicity, and racial formations in a pluralistic
nation and world Recognize the roles and responsibilities of
citizens in a diverse world |
|
Aesthetic
Literacy:
to understand the role of literary art as a craft that allows for the
expression, enhancement, and questioning of the human experience |
Identify creative techniques/craft elements that
shape aesthetic responses/meanings and be able to communicate that
information by using appropriate vocabulary Interpret creative work through a variety of lenses
such as knowledge of the creator�s work, the tradition the creator is
working within, the culture and history the work is embedded in, and the
creator�s aims and intentions |
Students will:
Discuss the works of major British writers in the following contexts:
~ Literary periods (Romantic, Victorian, and Modern)
~ Social movements
~ Intellectual movements
Trace the development of themes and genres within their historical contexts;
Analyze literary works for their aesthetic features and thematic patterns;
Identify styles, themes, and works of major writers;
Examine a variety of critical approaches to literature.
TEXTS:*
Required: All required texts are available at the
college bookstore. Anticipated bookstore prices are listed for each.
Greenblatt, Stephen, et. al., eds. The Norton Anthology of English Literature,
9th ed. Package 2. New York: W. W. Norton, 2012, ISBN
978-0-393-91301-9.
Print, new: $79.80
Print, used: $63.05
Print, new rental: $65.85
Print, used rental: $37.90
(Available
used starting at $48.50 at Amazon.com***)
Dickens, Charles. Hard
Times, Dover Thrift Edition. 978-0486419206.
Print, new: $5.70
Print, used: $4.50
Print, new rental: $3.90
Print, used rental: $2.70
eBook, buy: $1.00
(Available
used starting at $0.01 at Amazon.com***)
Shelley, Mary. Frankenstein.
Ed. Maurice Hindle. New York: Penguin, 2003. ISBN
978-0-141-43947-1.
Print, new: $9.50
Print, used: $7.50
Print, new rental: $6.45
Print, used rental: $4.45
(Available used starting at
$2.42 at Amazon.com***)
Note: Any editions of Hard Times and Frankenstein are acceptable. However, those editions of Frankenstein based on the 1818 text, not the 1831, are preferred by most contemporary scholars. In addition, English majors�or anyone considering pursuing further literary studies�should consider purchasing the Norton Critical Editions version of Hard Times and Frankenstein, which contain authoritative texts, historical backgrounds and contexts, and a selection of useful criticism.
Supplemental readings and materials may be assigned at the instructor�s discretion.
Recommended Texts:
Hacker, Diana and
Nancy Sommers. Rules for Writers,
7 ed. Boston: Bedford/St. Martin�s, 2012. (Available
used starting at $21.35 at Amazon.com
***)
or any other current college-level handbook including 2009 MLA updates.
A good college-level dictionary
Recommended additional texts:**
Ackroyd, Peter. Albion: The Origins of the English Imagination. New
York: Nan A. Talese, 2002. (***)�
---. The Casebook of Victor Frankenstein. New York: Nan A. Talese, 2010. (Available starting at $14.85 at Amazon.com***)�
Baugh, Albert C. and Thomas Cable. A History of the English Language, 3 ed. Englewood Cliffs, NJ: Prentice-Hall, 1978.
Bloom, Harold. How to Read and Why. New York: Scribner, 2000. (Available starting at $1.00 at Amazon.com***)
---., ed. Romanticism and Consciousness: Essays in Criticism. New York: W. W. Norton, 1970.
Casagrande, June. Grammar Snobs are Great Big Meanies: A Guide to Language for Fun and Spite. New York: Penguin, 2006. (Available starting at $4.27 at Amazon.com***)
Chandler, Alice K. A Dream of Order: The Medieval Ideal in Nineteenth-Century Literature. London: Routledge & Kegan Paul, 1971. (Available starting at $0.01 at Amazon.com***)
Chevalier, Tracy. Burning Bright. New York: Dutton, 2007.
Crystal, David. The Stories of English. New York: Overlook Press, 2004.
---. 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 used, starting at $1.37, at Amazon.com***).
Dirda, Michael. Classics for Pleasure. Orlando, FL: Harcourt, 2007.
Fraser, Rebecca. The Story of Britain: From the Romans to the Present: A Narrative History. New York: W. W. Norton, 2005.
Fulghum, W. B. A Dictionary of Biblical Allusions in English Literature. New York: Holt, Rinehart & Winston, 1965. (Available used, starting at $3.99, at Amazon.com ***).
Gaul, Marilyn. English Romanticism: The Human Context. New York: W. W. Norton, 1988.
Glut, Donald. F. The Frankenstein Archive: Essays on the Monster, the Myth, the Movies, and More. Jefferson, NC and London: McFarland, 2002. (Available used starting at $24.95 at Amazon.com).
Gould, Stephen Jay. �The Monster�s Human Nature.� Dinosaur in a Haystack: Reflections in Natural History. New York: Harmony, 1995. 53-62. (Available starting at $1.70 at Amazon.com***)
Haining, Peter, ed. The Frankenstein Omnibus. Edison, NJ: Chartwell, 1994. (Available used starting at $2.94 at Amazon.com).
Hoobler, Dorothy and Thomas Hoobler. The Monsters: Mary Shelley and the Curse of Frankenstein. New York: Little, Brown, 2006. (Available starting at $0.99 at Amazon.com)
Houghton, Walter E. The Victorian Frame of Mind, 1837-1870. New Haven and London: Yale U. P., 1985.
Judge, Lita. Mary's Monster: Love, Madness, and How Mary Shelley Created Frankenstein.� New York: Roaring Brook P, 2018. (Available used starting at $10.99 at Amazon.com).
LaValley, Albert J. �The Stage and Film Children of Frankenstein: A Survey.� The Endurance of Frankenstein: Essays on Mary Shelley�s Novel. Eds. George Levine and U. C. Knoepflmacher. Berkeley: U of California P, 1979. 243-248. (Available starting at $39.95 at Amazon.com***)
Levine, George and U. C. Knoepflmacher, eds. The Endurance of Frankenstein. Berkeley: U of California P, 1979. 243-248. (Available starting at $39.95 at Amazon.com***)
Marcus, Stephen. The Other Victorians: A Study of Sexuality and Pornography in Mid-Nineteenth-Century England. London: Weidenfeld and Nicolson, 1966. ( Available used starting at $18.53 at Amazon.com ***)
Shelley, Mary. Frankenstein: Classics Illustrated Deluxe Graphic Novels. Adapted by Marion Mousse. New York: Papercutz, 2009. (Available used starting at $3.19 at Amazon.com***).
Sisman, Adam. The Friendship: Wordsworth and Coleridge. New York: Viking, 2007.�
Sweet, Matthew. Inventing the Victorians: What We Think We Know About Them and Why We're Wrong. New York: St. Martin�s, 2001.(Available used starting at $4.47 at Amazon.com***)
Tropp, Martin. Mary Shelley�s Monster: The Story of Frankenstein. Boston: Houghton Mifflin, 1976. ( Available used starting at $2.97 at Amazon.com)
Utley, Stephen and Howard Waldrop. �Black as the Pit, from Pole to Pole.� New Dimensions 7, ed. Robert Silverberg. 1977. Republished in Eternal Lovecraft: The Persistence of HPL in Popular Culture. Ed. Jim Turner. Collinsville, IL: Golden Gryphon P, 1998. 243-278. (Available used starting at $10.14 at Amazon.com***).
*Note that all major reading selections for the semester are available online, as indicated by links (see Schedule, below). However, students must have a copy of the appropriate text(s) with them for each class session, whether they have purchased the textbook or printed out hardcopy from the Internet; no excuses about computer or printer problems will be accepted. In addition, although the three longer works (Frankenstein- the 1818 ed., Hard Times, and The Importance of Being Earnest) are also available online, students who do not purchase The Norton Anthology of English Literature should obtain paperback versions or library copies.
** 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 revisions. Students who find themselves becoming deeply interested in one or more of the required readings may find these interesting and/or useful. Texts indicated with a dagger (�) 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 posting date only; no guarantees of prices or availability are express or implied�.
Attendance:
As per the Nassau Community College attendance policy,
�Students are expected to attend all classes. Absences due to illness or for
other serious reasons may be excused at the discretion of the instructor.
Students are advised that absences in excess of 10% of the total class meetings
may result being dropped from the course� (page 67 in the 2014-2015 college catalog).
Students must not only attend every class and lab meeting, but also arrive on
time, be prepared, and take an active part in class (see Participation, below); students may
be required to sign in each class session to verify their attendance. Excessive
absences or latenesses will adversely affect your
grade. Students unable to attend class should contact the instructor regarding
their absence; in addition, students are responsible
for submitting all work on time regardless of absences. In addition,
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.
Classroom
Behavior:
Students are expected to be present, prepared, attentive, and active
participants in the learning process. As such, any distracting or inappropriate
behavior or unauthorized use of electronic devices is strictly prohibited.
Eating, sleeping, texting, or other inappropriate behavior will result in your
being asked to leave the class. According to the �Student Code of Conduct,�
�The College is committed to providing an atmosphere in which students have
freedom to learn and engage in the search for truth, knowledge, and reason in
accordance with the standards set forth by the academic community. Conduct that
adversely affects a student�s responsible membership in the academic community
shall result in appropriate disciplinary action.� Appropriate disciplinary
action may include but is not limited to probation, suspension, and expulsion
from the college. See the Nassau Community College �Classroom Management
Policy� (page 24-5 in the
college catalog) and �Student Code of Conduct� (pages 34-9 in the college catalog).
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 Nassau Community College policy on �Academic Dishonesty
and Plagiarism� (page 20 in the
college catalog).
Essay Submission (General
Essay Instructions):
For each of the assigned essays and
projects, a topic or list of topic choices will be 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�.
*Note: You must obtain prior approval to write on topics other than those listed below; speak to me before or after class to set up an appointment during my office hours. Approval must be obtained at least one full week in advance of the due date. See details below.
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. Essays
submitted by email or otherwise submitted late will not be accepted; see
below. All at-home work must be typed
(in 12-point Times New Roman), double-spaced, with one-inch margins, and
stapled when submitted. In-class work must be neatly printed in blue or black
ink on loose-leaf composition paper or in bluebooks provided by the instructor
and double-spaced�. All essays must also include a proper heading (see Purdue Online Writing
Lab's Formatting and Style Guide), including Word Count; have an
appropriate, original title; contain a clear, explicit, assertive, objectively
worded thesis statement (thesis statements must be underlined); and
(unless otherwise indicated) avoid use of I or you throughout.
Finally, all work should be grammatically correct, free of errors in mechanics,
grammar, usage, spelling, and documentation, and will be evaluated according to
the Model for Evaluation of Student Writing.
Please refer to the Paragraph Outline or Essay Outline and Revising and Editing Checklist for additional
assistance.
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.
Revisions:
All failing essays 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 and/or draft(s) attached as well as
one
full typed page detailing the changes made, in the following pattern:
�
Paragraph 1: Changes
in content. What was added, deleted, or modified.
�
Paragraph 2: Changes
in organization. What sentences, ideas, or paragraphs were moved, how things
were rearranged, and why.
- Paragraph 3: Cosmetic level changes. What specific
editing for grammar was performed, or what corrections made in
punctuation, mechanics, and diction.
Evidence of substantial revision may result
in a better grade for the assignment. If you did not submit a completed essay
on time, or if you submit a plagiarized essay, 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, no make-up
opportunities will be offered or late work accepted, except under extraordinary
circumstances with appropriate documentation, and late work will be penalized
10% for each day or portion thereof it is submitted after the due
date. Note: As all work is due at the beginning of the class
period, this includes work submitted on the due date after class has begun.
Excuses such as �crashed computers,� �lost flash drives,�
or �empty printer ink cartridges� will not be accepted. All essays or work
should be saved both on your computer�s hard drive and again on removable
storage device as well as uploaded to cloud storage (OneDrive, et cetera).
Students should also keep backup copies of all work submitted.
Disabilities and Accommodations:
If you have a physical, psychological, medical,
or learning disability that may impact your ability to carry out
assigned course work, I urge that you contact the Center for Students
with Disabilities (CSD), Building U. (516 572-7241). The
counselors at CSD will review your concerns and determine reasonable
accommodations you are entitled to by the Americans with
Disabilities Act and Section 504 of the Rehabilitation Act
of 1973. All information and documentation of disability
remain confidential.
ASSIGNMENTS:
Attendance and Participation (10%):
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;
therefore, it is imperative that all students participate regularly in order
that we may together discover what each selection �means� to us. 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 (However, ridicule or scoffing is never tolerated).
Quizzes
(10%):
With the exception of the first day, class may begin with a short (five- to
ten-minute) quiz or writing assignment on the reading(s) for the day, at the
instructor�s discretion. Quizzes missed due to tardiness may not be made
up. At the end of the semester, the lowest quiz grade will be dropped. Total
number of quizzes during the semester will determine the point value of each;
that is, if 11 quizzes are given (lowest quiz grade will be dropped), each quiz
is worth up to one full point.
Essays
(2 @ 20%):
Students will complete two essays during the semester; topics should be
selected from the list of suggestions provided (see Essay Topics, below) or developed in consultation with the
instructor. Each should be at least five to
seven pages (1250 words minimum), with a cover page and Works Cited page (cover page and Works Cited do not count toward the five-
to seven-page requirement), and stapled when submitted.
The paper must be argumentative (persuasive),
with a clear, explicit, and assertive thesis statement (underlined), and
must use a minimum of five to seven sources, including at least
one to three primary sources (the text or texts discussed) and three to five secondary sources. Essays should
be grammatically correct, free of errors in mechanics, grammar, usage,
spelling, and documentation, and will be evaluated according to the Model for Evaluation of Student Writing. Please refer to the Essay Outline and Revising and Editing Checklist for
additional assistance, as well as Writing
About Literature, Writing a
Literature Paper, and Getting an A on
an English Paper.
Exams
(2 @ 20%):
Students will complete two exams: an in-class midterm and a final during
the designated final exam period. These exams will each evaluate students�
recognition and comprehension of material studied during the previous weeks,
covering specific texts, literary themes, and cultural and historical
backgrounds. The exams may combine objective questions and short essay answers,
and students may be entitled to use notes or textbooks for the essay portion of
the exams.
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
the 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 recitation will earn an additional 2 points. There will
be opportunities for recitation twice during the semester, on the day of the
midterm and final exams; students must sign up for these dates at least one
week in advance, as sufficient time must be allocated for completion of the
exam.
Possible selections for Recitation 1 (Dates TBA):
Blake, �London� (132-3): 16 lines
Wordsworth, �Expostulation and Reply� (280-1): 32 lines
Wordsworth, �The Tables Turned� (281-2): 32 lines
Byron, �She Walks in Beauty� (617-18): 18 lines
Shelley, �Ozymandias� (776): 14 lines
Keats, �Ode on a Grecian Urn� ll. 1-10, 41-50 (930-31): 20 lines
Tennyson, �Ulysses� ll. 44-70 (1170-72): 26 lines
Hopkins, �God�s Grandeur� (1548): 14 linesPossible selections for Recitation 2 (Dates TBA):
Owen, �Dulce et Decorum Est� (2037): 28 lines
Yeats, �The Second Coming� (2099): 22 lines
Eliot, �The Love Song of J. Alfred Prufrock� ll. 1-22 (2524-27): 22 lines
Eliot, �The Hollow Men� I: ll. 1-18 (2543-46): 18 lines
Auden, �Mus�e des Beaux Arts� (2685): 21 lines
Others to be announced
Extra Credit (possibly various opportunities, at 1�2 points each):
In addition to Poetic
Recitation, above, students may be notified of opportunities
for extra credit during the semester, including attendance at various workshops
or cultural events related to the class (�Recommended
Field Trips�). If students attend one or more of these events, and provide
evidence of attendance (ticket stub, program, unretouched digital image, et
cetera) along with a typed one- to two-page personal response (review,
analysis, reflection, critique, et cetera), they can receive additional
points: a single event and written response is usually worth 2 points extra
credit; attendance at additional events will earn one additional point each.
Note: 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 will be announced in class, and they will also be
posted here as well as on the class
Announcements page, so do not ask at the end of the semester for �extra credit� to bring your
average up. Students asking for extra points or changes to their grade may have
their grade reduced, instead.
Extra credit opportunities to date:
Writing Center Grammar Review Workshops (1 point each)
Sentence Building and Avoiding Run-ons, Comma Splices, and Fragments
Using Correct Punctuation: Commas, Semicolons, and Colons
Subject-Verb Agreement, Verb Formation, Tense UsageDates, Times, and Locations TBA
The Writing Centers are located in Bradley Hall (Bldg. Y) and on the second floor of the Library, room L233
572-7195 or 572-3595
[email protected] www.ncc.edu/writingcenter
Writing Center MLA Research and Documentation Workshops (1 point)
Topics include: Locating and Evaluating Sources
Integrating Sources into an Essay
Creating and Formatting a Works Cited ListDates, Times, and Locations TBA
Academic Success Workshops and Learning Skills Workshops (1 point each)
NCC Center for Educational and Retention CounselingIncludes:
Listening/Note-Taking
Studying for Classes
Reading College Textbooks
Test-TakingDates, Times, and Locations TBA
For questions, call 516-572-7141
CERC Office, Nassau Hall, M19
Pygmalion
Written by George Bernard Shaw
Directed by Eric Tucker
Sheen Center for Thought and Culture
18 Bleecker Street
New York, NY 10012Bedlam will present Shaw's Pygmalion, directed by Eric Tucker, beginning March 12. The six-week run will open March 27, with a closing date set for April 22.
George Bernard Shaw's Pygmalion tells the story of Professor Henry Higgins and Cockney flower seller Eliza Doolittle. Higgins makes a bet that he can take Eliza from the gutters of London and pass her off as a society lady, and soon soon discovers that the task involves more than simply teaching her the right dialect in which to speak.
Monday, March 12, 2018�Sunday, April 22, 2018
Final average will be calculated as follows:
|
10
points |
|
|
10
points |
|
|
Essays (2 @
20 points each) |
40
points |
|
20
points |
|
|
20
points |
|
|
Extra
Credit (if any) will be added to the final total. |
|
Final average
will determine the grade received for the course, as follows:
|
Final Percentage |
Final Grade |
|
90�100+ |
A |
|
85�89 |
B+ |
|
80�84 |
B |
|
75�79 |
C+ |
|
70�74 |
C |
|
65�69 |
D+ |
|
60�64 |
D |
|
0�59 |
F |
|
Note: Percentages
ending in .5 or greater are rounded up. Therefore, 79.5 rounds to 80, a B,
but 79.4 rounds to 79, a C+. |
|
SCHEDULE AND PROJECTED OUTLINE:
|
IMPORTANT DATES: SPRING
SEMESTER 2018 |
|
|
Monday,
Jan. 15 |
Martin Luther King, Jr. Day �
COLLEGE HOLIDAY � offices closed |
|
Tuesday,
Jan. 16 |
Day, Evening & Distance
Education Classes Begin |
|
Friday,
Jan. 19 |
Weekend Classes Begin |
|
Monday,
Jan. 22 |
Last day Drop/Add |
|
Monday,
Feb. 5 |
Last day to drop full
semester classes without a W grade |
|
Friday,
Feb. 16 |
Evening Classes Do Not Meet |
|
Feb.
17-22 |
Presidents� Day Recess - Classes
Do Not Meet |
|
Friday,
Feb. 23 |
Day Classes Do Not Meet |
|
Tuesday,
Mar. 20 |
Evening Activity Hour:
7:00 pm class will not meet; all
other classes follow a regular schedule |
|
Mar.
26-31 |
Spring Recess - Classes Do Not
Meet |
|
Sunday,
Apr. 1 |
Spring Recess - Classes Do Not
Meet |
|
Tuesday,
Apr. 3 |
Last day automatic W
full semester classes |
|
Tuesday,
Apr. 17 |
Evening Activity Hour:
8:30 pm class will not meet; all
other classes follow a regular schedule |
|
Wednesday,
May 2 |
Evening Classes Extended By Five
Minutes For Final Exams |
|
Thursday,
May 4 |
Evening Classes Extended By Five
Minutes For Final Exams |
|
Sunday
, May 6 |
Weekend College ends |
|
Monday
, May 7 |
Evening Classes Extended By Five
Minutes For Final Exams |
|
Tuesday
, May 8 |
Evening Classes Extended By Five
Minutes For Final Exams Evening classes end |
|
Wednesday
, May 9 |
ME � if necessary EVENING classes
will meet |
|
Thursday
, May 10 |
ME � if necessary, EVENING classes
will meet |
|
Saturday
, May 12 |
MW � if necessary, Saturday
Weekend classes will meet |
|
Sunday
, May 13 |
MW � if necessary, Sunday Weekend
classes will meet |
|
Monday
, May 14 |
Day, 2nd half semester &
Distance Education classes end ME � if necessary, EVENING classes will meet |
|
Tuesday
, May 15 |
MD � if necessary, DAY classes
will meet |
|
Wednesday
, May 16 |
MD � if necessary, DAY classes
will meet |
|
Thursday
, May 17 |
MD � if necessary, DAY classes
will meet |
|
Monday
, May 21 |
Full, 2nd half semester &
Distance Education classes transcripts available |
|
Note: All dates subject to
change; |
|
Projected Schedule of Readings and Assignments
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.
Red text indicates due dates or links to assignments; Blue text indicates links to assignments, resources, or online versions of
texts (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 [email protected]).
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.
|
Date: |
|
|
Mon.,
15 Jan. |
Martin Luther King, Jr. Day:
College Closed |
|
Tue.,
16 Jan. |
Day, Evening &
Distance Education (online) Classes Begin |
|
Wed., 17 Jan. |
Introduction: Syllabus, texts, policies, assignments |
|
Mon., 22 Jan. |
Last Day Drop/Add The
Romantic Period and Timeline
(2-30): The
Revolution Controversy and the �Spirit of the Age� (183-4) Edmund
Burke: from
Reflections on
the Revolution in France (187-94) |
|
Wed., 24 Jan.
|
William Blake (112-116) From Songs of Innocence (118-125) (see image of Blake�s engraving here): �Introduction� (see
image here ), �The
Lamb� (image),
�The Little
Black Boy� (image,
also here),
*See also, Chevalier, Tracy. Burning Bright. New York: Dutton, 2007. |
|
Mon., 29 Jan.
|
Blake continued From Songs of Experience (125-135) (see image here): �Introduction� (image),
�Holy
Thursday� (image),
�The
Chimney Sweeper� (image),
|
|
Wed., 31 Jan. |
William Wordsworth (270-72), from Lyrical
Ballads:
Preface - 1802 ed.
(292-304); �We Are Seven�
(278-9); |
|
Mon., 5 Feb. |
Samuel
Taylor Coleridge (437-9): �The
Lime-Tree Bower My Prison,� �The
Rime of the Ancient Mariner,� *See also, Goss, Theodora. �Singing
of Mount Abora.� Lightspeed Science
Fiction and Fantasy July 2012. |
|
Wed., 7 Feb. |
George
Gordon, Lord Byron (612-18): �She Walks in Beauty�; *See also: |
|
Mon., 12 Feb. |
John Keats (901-3): �On
First Looking into Chapman�s Homer� (904); � La Belle
Dame Sans Merci � (923-4); |
|
Wed., 14 Feb. |
Mary Shelley (981-3): Frankenstein. Read at least Preface -
1818 ed; Introduction
- 1831 ed; Vol. I. *See also: Edison
Studios' Frankenstein (1910); also here Online
quiz on Mary Shelley�s Frankenstein Dirda, Michael. �Mary
Shelley.� Classics for Pleasure. Orlando, FL: Harcourt, 2007.
185-88. LaValley, Albert J. �The Stage
and Film Children of Frankenstein: A Survey.� The Endurance of Frankenstein.
Eds. George Levine and U. C. Knoepflmacher.
Berkeley: U of California P, 1979. 243-248. Gould, Stephen Jay. �The Monster�s Human Nature.� Dinosaur
in a Haystack: Reflections in Natural History. New York: Harmony, 1995.
53-62. Hoobler, Dorothy and Thomas Hoobler. The Monsters: Mary Shelley and the Curse of
Frankenstein. New York: Little, Brown, 2006. Utley,
Stephen and Howard Waldrop. �Black as the Pit, from Pole to Pole.� New Dimensions 7, ed. Robert
Silverberg. 1977. Republished in Eternal Lovecraft:
The Persistence of HPL in Popular Culture. Ed. Jim Turner. Collinsville,
IL: Golden Gryphon P, 1998. 243-278. Zakharieva, Bouriana.
�Frankenstein of the Nineties: The Composite Body.� Shelley, Mary. Frankenstein,
2 ed. Ed. Johanna M. Smith. Boston: Bedford, 2000. 416-431. |
|
17�23 Feb. |
Classes do not meet |
|
Mon., 26 Feb. |
Frankenstein continued: read at least through Vol. I |
|
Wed., 28 Feb. |
Essay 1 Due
Frankenstein continued: read at least through Vol. II |
|
Mon., 5 Mar. |
Frankenstein continued: finish Vol. III
|
|
Wed., 7 Mar. |
The
Victorian Age and Timeline
(1016-1043)
Thomas Carlyle (1044-48): from Past and Present (1067-76)
John Stuart
Mill (1086-88): from On Liberty (1095-1104)
* Recommended listening: The
Kinks, �Victoria�
|
|
Mon., 12 Mar. |
Alfred, Lord Tennyson (1156-59): �Ulysses,� �Break, Break, Break� (1170-74)
Robert
Browning (1275-8): �Rabbi Ben Ezra�
(1322-8); �Fra
Lippo Lippi� (1300-09); �My Last Duchess�
(1282-3);
|
|
Wed., 14 Mar. |
Gerard
Manley Hopkins (1546-48): �God�s Grandeur�
(1548); �Pied
Beauty� (1551); �Spring
and Fall� (1553-54);
|
|
Mon., 19 Mar. |
Alfred,
Lord Tennyson, �The Epic�
ll. 1-51, 324-354 (1175-6); from The
Idylls Of The King (1236-59): * See also, Chandler, Alice K. A Dream of Order: The Medieval Ideal in Nineteenth-Century Literature. London: Routledge & Kegan Paul, 1971. |
|
Wed., 21 Mar. |
Midterm Exam, Poetry recitations (Extra credit) |
|
26 Mar.�1 Apr. |
|
|
Mon., 2 Apr. |
Industrialism: Progress or Decline? (1580-81) Friedrich Engels: from The
Great Towns (1589-97) The �Woman Question": The Victorian Debate about Gender (1607-10) Sarah
Stickney Ellis: from
The
Women of England: Their Social Duties and Domestic Habits (1610-12) * See also, Rudder, Christian. Dataclysm: Who We Are (When We Think No One's Looking). [New York]: Crown, 2014. |
|
Tue., 3 Apr. |
|
|
Wed., 4 Apr. |
Charles Dickens: Hard
Times |
|
Mon., 9 Apr. |
Hard
Times,
continued |
|
Wed., 11 Apr. |
Hard Times, continued |
|
Mon., 16 Apr. |
Late Victorians (1668-1671) |
|
Wed., 18 Apr. |
The
Twentieth Century and After and Timeline
(1886-1913)
|
|
Mon., 23 Apr. |
Voices from World War I (2016-18): Siegfried
Sassoon (2023-24): �They�
*See also: |
|
Wed., 25 Apr. |
Essay
2 Due |
|
Mon., 30 Apr. |
T.S. Eliot (2521-2547): �The
Love Song of J. Alfred Prufrock,� �The Hollow Men,� � *See also: |
|
Wed., 2 May |
Voices from World War II (2704-2706) Virginia Woolf (2706-2710):
from Three
Guineas, �[As a Woman I Have No Country]� Nation, Race, and Language (2718-21) Claude McKay (2721-23):
�Old England,�
�If We Must Die�;
�America�
(handout) *See also: |
|
Mon., 7 May |
Margaret Atwood (2967-82): �Death
by Landscape [.pdf],� �Miss
July Grows Older� Seamus Heaney (2951-2967): �Digging,� �The Grauballe Man,� �Casualty,� � *See also: Quintus Horatius Flaccus, Odes
I. 34 (from The Odes and Carmen Saeculare of
Horace. John Conington. trans. London. George
Bell and Sons. 1882) Fawbert, David. Connecting with Seamus Heaney. Information about The
Tollund Man and, more generally, �Bodies of the Bogs.�
Archaeology. Archaeology.org May 2010. Web. T.P. Tolland�s �Lagan Towpath
(in Memory of Tom Carr),� showing his use of light and color, and the much darker (in
both senses) �Boglands (for
Seamus Heaney).� as well as his obituary: �T.P. Flanagan: Artist and Teacher Whose Work Inspired Seamus Heaney.� The Independent (U.K.) 19 April 2011. Web. |
|
Wed., 9 May |
Final Exam |
|
Mon., 14 May |
Day & Distance
Education Classes End |
TOPICS AND GENERAL ESSAY INSTRUCTIONS:
For each of the assigned essays, a topic or list of topic choices is provided. Your essay must be on one of the assigned topics for that assignment or developed in consultation with the instructor. All essays must be submitted on or before the due date, by the beginning of the class period; late work will not be accepted.
For each of the essays, select one of the topics to discuss in a clear, well-developed, coherent, thoughtful, and properly documented (MLA format) argumentative essay of at least five to seven pages (1250 words minimum), with a cover page and Works Cited page (cover page and Works Cited do not count toward the five- to seven-page requirement). The paper must be argumentative (persuasive), with a clear, explicit, and assertive thesis statement (underlined), must use a minimum of five to seven sources: 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 e-Notes, SparkNotes, Wikipedia*, 123HelpMe, or Gradesaver.com; instead, use the library resources, including the available electronic databases such as Academic Search Complete, Literary Sources through Artemis, Literature Resource Center, Bloom�s Literary Reference, Literature Criticism Online, Humanities Source, Project MUSE - Standard Collection, MagillOnLiterature Plus, and JSTOR Arts & Sciences I Current Collection to locate appropriate sources. To access the databases from home, click on the individual database link. Then, when prompted, enter your username (N #) and password (PIN). 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.
* On use of Wikipedia in college-level research, see Wikipedia founder Jimmy Wales on PBS NewsHour, here: �I don�t think at a university level it makes sense to cite any encyclopedia in an academic paper. That�s just not what an encyclopedia�s role is in the research process. Maybe if you�re in junior high, you know? If some kid out there is twelve years old and they wrote something and they put in a footnote, we should be thrilled, right? That�s his first start on the idea of crediting other people with ideas and things like that, but at the university level? No, it�s a bit junior high to cite an encyclopedia.�
Essays must contain quotations from
or other references to your sources, and these references should be used to
support your assertions about the text; 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. Essays must be
submitted in a folder, including copies of all secondary sources used.
Be sure to print out or photocopy all secondary sources, and highlight
all relevant passages, whether quoted, paraphrased, or summarized. Failure to
submit a complete 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.
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 Nassau Community College Policy on Academic
Dishonesty and Plagiarism (page 63 in the college catalog).
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)
Be sure to focus carefully on the topic: formulate a strong, objectively worded thesis, and avoid plot summary. 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; and avoid use of �I� or �you� throughout.
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 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 e-mail me to set up an appointment during my office hours.
Essay 1: Due Wednesday, 28 February
1. Blake�s Songs of Innocence and Songs of Experience present several complementary pairs of poems (for example, �The Lamb� and �The Tyger,� �The Chimney Sweeper� and �The Chimney Sweeper,� �Holy Thursday� and �Holy Thursday�). How do these and other such paired poems, not only those discussed in class, illustrate Blake�s thesis that they show �Two Contrary States of the Human Soul"? You may include in your discussion Blake�s engravings in relation to this thesis.
2. There is often a sudden change of mood or emotion in Wordsworth�s poetry. Explain why Wordsworth uses this technique, citing specific examples from several different works.
3. Compare ideas of nature and natural processes in several of the Romantic poets; for example, does Keats use nature as a teacher the same way Coleridge and Wordsworth do in their poems? Or, compare Shelley�s �Ode to the West Wind� and Keats�s �To Autumn.� Explain your answer by using specific references to poems by each author.
4. Mary
Shelley�s Frankenstein
is subtitled �The Modern Prometheus"; in addition, she includes below
the title an epigraph from Paradise
Lost:
Did I request thee, Maker, from my clay
To mould me man? Did I
solicit thee
From Darkness to promote me?
In what way does Shelley draw upon the Prometheus myth and/or Paradise
Lost in her novel? Why?
5. An analytical essay of your own choosing, developed in consultation with the instructor, involving one or more works from the Romantic period. You must discuss the topic with me and you must develop and submit a clear, well-written, one- to two-page topic proposal for approval by Wednesday, 11 February. No essays on alternative topics will graded without the approved topic porposal attached. Proposals should include an explanation of the topic you have chosen, your reason for the selection, your focus and opinion, and a clear, well-written, explicit, and assertive preliminary thesis; you may also include a preliminary idea of the plan of the paper, its intention, or research question. Your work should take the following form:
Topic: the general
topic selected.
Rationale: why you have chosen to research and write about this
particular topic.
Focus: a narrowed form of the subject, and the issue, question, or
debate involved.
Opinion: your subjective opinion on the debate or issue.
Thesis: your opinion, worded objectively.
Note: No essays on alternative topics will be graded without the approved topic proposal attached.
Midterm Exam: Wednesday, 21 March
Details TBA.
Essay 2: Due Wednesday, 25 April
1. How does historical context shape the Victorian poets? That is, how are their themes, their understanding of poetry, their attitude towards life shaped and reflected by their era, and how does this distinguish them from the Romantic poets?
2. In the nineteenth century, a number of poets adapted (or attempted) the Arthurian legends: not only Tennyson (The Idylls Of The King) and Morris (�The Defence of Guenevere�), but also Matthew Arnold, A. C. Swinburne, et cetera. Compare the treatment of one or more specific Arthurian legends in several of the Victorian poets; for example, how is the story of Tristan and Iseult rewritten by various poets? Or, how does Morris�s treatment of Guenevere differ from Tennyson�s?
3. Two concerns of the Victorian period were industrialism and its effects and �The Woman Question,� the debate about gender and the role of women. Compare the treatment of one of these themes in at least two different works not discussed in class.
4. In The Metaphysical Poets (1921), T. S. Eliot states that the modern poet �must become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate if necessary, language into his meaning.� Explain how Eliot and/or other modernist poets either adhere to or violate this principle, citing specific examples from several different works.
5. The modernist period is, chronologically, closer to the Victorian age than to the early twenty-first century. Select a pair of nineteenth-century (Romantic or Victorian) and twentieth-century works and discuss their continuities and differences. In what respects, if any, is the twentieth-century work closer to our own era than the corresponding nineteenth-century work? Some possible pairings include Keats�s �Ode on Melancholy� and Hardy�s �The Darkling Thrush,� Arnold�s �Thyrsis: A Monody� and Auden�s �In Memory of W. B. Yeats,� Wordsworth�s �Ode: Intimations of Immortality� and Yeats�s �Among School Children,� and Wollstonecraft�s A Vindication of the Rights of Woman and Woolf�s A Room of One�s Own.
6. An analytical essay of your own choosing, developed in consultation with the instructor, involving one or more works from the Victorian period, the twentieth century, or the twenty-first. As above, you must discuss the topic with me and you must develop and submit a clear, well-written, one- to two-page topic proposal for approval. The deadline for submission of proposals is Wednesday, 8 April. As above, no essays on alternative topics will be graded without the approved topic proposal attached.
Final Exam: In class, Monday, May 7
The final exam will consist of three parts, with built-in extra credit, as
follows:
Part I: Identification and short answers. Select any eight (8) of the
passages provided. (10% each)
In a well-developed paragraph, identify each passage and discuss its significance.
Include as much of the following as possible: author, title, speaker, or
character described, situation, and how the passage is significant in the
context of the work itself and/or its connection to other works, ideas, or
themes. Be sure to focus carefully and avoid plot summary: do not merely retell
the story. Paragraphs will be evaluated for the quality of writing, ideas, and
expression, not for the ability to regurgitate the instructor�s comments. Extra
Credit: You may identify up to two additional passages, 10 points each.
Note: This portion is subject to change. It may become select 5, at 15% each, or 6 at 12.5%, depending on class discussion.
Part II: Short responses (10% each)
A. TBA
B. TBA
Last Revised Tuesday, 18 September 2018
Site maintained by Brian T. Murphy
Main page: www.Brian-T-Murphy.com