Fall 2004 HE
429 X5053
Winther 3012 MW
Office Hours: MW 1-2; M 5-6 carlberj@uww.edu
__________________________________________________
English 102 endeavors to teach
research writing, but does so through the device of literary study. Though we will primarily be practicing modes
of literary research, the principles are universal. What is
the question? That is the idea
central to all research writing. The better the question, the better the research paper, which is
simply an attempt to answer that question. For the next few months we will be seeking
not answers, but questions.
Norton Introduction to Poetry, 8th edition, 2002
Jacobs, The
Hacker, Rules for Writers,
5th edition
4 writing assignments
Heavy participation
2 projects
Constant quizzes
Midterm and final
Both will be a mix of
objective (identification, matching, multiple choice)
and short essay. The final exam will
cover material presented in the 2nd half of class. To escape taking the exams, see Projects below.
Literature should be fun,
even when used as a tool for learning how to perform research. So we’ll have some fun with this course,
whether you like it or not, in the form of little projects along the way. Everyone will therefore:
A)
Memorize and
recite a poem or prepare and read an
in-class report.
1.
Poems (20
points). You will memorize a 15-25 line
poem and recite it to me. I have starred
several appropriate poems from our reading list, though any poem (approved by
me) in the book will do. For an extra 5
points, you may recite it in class. For
10 points more, your recitation can be in dramatic form—with music, dance,
costume, action, props, or whatever.
Maybe something multi-media.
2.
Reports (20
points). A limited number of these, doled out first-come first-served. For those exceedingly shy or with incredibly
poor memories, you can opt instead to give an in-class report on any of the
topics listed below. Reports must be two
pages, typed, and include two documented sources. You will give your report on the date
indicated and turn it in that class period.
Not as enriching as reciting a poem, but, as William Wordsworth says, it
is “abundant recompense.” Due date
negotiated.
Possible
topics
·
Significant
historical events of the Elizabethan Age in
·
Significant
literary events of the Elizabethan Age in
·
The Age of
Reason—key ideas, people
·
Romanticism/Transcendentalism—key
ideas, people
·
Impact of the
Industrial Revolution, 1832-1901
·
Overview of
English literature during the Victorian era
·
Literary
Modernism
·
The
B)
Performance. “All the world’s a stage,” says Shakespeare’s
Jaques in As
You Like It, and the classroom is no
exception. Drama is written to be
performed, and we are the actors. I will
select portions from some of the plays, and you will perform them in groups. You have several options.
1.
Boring: Sit around the room and read straight from
the book. 30 points.
2.
Better: Memorize your lines, rehearse, and act it
out. 40 points.
3.
Best: Add costumes and props. With this option you may also videotape your
performance outside of class and simply play the tape for us. Adding music would be a nice touch. 50 points.
In
case someone plays a part with only a few lines, I reserve the option of
casting you in two productions or adjusting point totals to balance the scales
of justice.
C)
Optional. Some drama is also poetry. If you’re really ambitious, you can do a
longer in-class recitation that combines poetry and drama by selecting one of
the passages listed below and:
1.
Reciting it in
class (35 points)
2.
Performing it in
class (45 points)
3.
Performing it in
class with music and costume (55 points)
Once more unto the breach (DiYanni, 178)
Is this a dagger which I see before me (DiYanni, 180)
It is the cause, it is the cause (DiYanni, 181)
O that this too too
sullied flesh would melt (DiYanni, 182)
To be, or not to be (DiYanni, 183)
That’s
all for now; more available if the need arises.
D) Optional or extra credit. Go see a play and write an Ebert-like
review. Must submit
ticket stub. See below for
criteria. Up to 15
points.
E)
Avoid-The-Exams
Option. If you don’t like exams, you can
instead choose a Big Project, to be
presented in class toward semester’s end.
I’m open to ideas here, but envision something like the following:
1.
A multi-media
presentation of a poem (individual; 5 minutes)
2.
A full-regalia
performance of a scene from a play (group; 10 minutes)
3.
A modernized or
adapted scene from a play (individual; 8-10 pages)
4.
You tell me
Since
this stands in lieu of two exams, we must agree well ahead of time on the
scope, nature, and form of such a project.
See me.
Writing Assignments:
Bibliography exercise 20
Article summary 40
Formal writing exercise 20
Research paper 200
Projects:
Poem recitation/Report 20
Performance 30
Exams:
Quizzes 170
(tentative total; 10 pts. each)
Midterm 150
Final 200
Total Available (sans XC) 850
As you can see, this is
pretty much unavoidable. But we will
also spend considerable time in class and small-group discussions.
These show up whenever I feel
like giving them. We may have more than
17, maybe less. Cannot
be made up if you miss unless you have a valid excuse (see below).
10-12 pages, standard
margins, 12-point Times New Roman, full and proper MLA documentation during and
after. Argumentative
(thesis and evidence/reasoning/support).
More on this later.
Mandatory. While I expect
you every day, perfect attendance is often impossible (though rewarded
here). Thus everyone gets three free absences. On your fourth and seventh absences, you lose
a full letter grade (for the course) each time.
Eight absences and you fail. I
accept no excuses—so if you fritter
away your three free ones, then find yourself forced to miss another class for
whatever reason, tough.
I don't expect it, but
sometimes it happens. Read the
Plagiarism Statement in your Handbook
and see me if you have any questions.
Any student caught plagiarizing will instantly fail this course;
further, I will personally lobby to have the severest sanctions allowable
levied. Do not do it.
Diversity
The University of
Wisconsin-Whitewater is dedicated to a safe, supportive, and non-discriminatory
learning environment. It is the
responsibility of all undergraduate and graduate students to familiarize
themselves with University policies regarding Special Accommodations,
Misconduct, Religious Beliefs Accommodations, Discrimination, and Absence for
University Sponsored Events. (For details
please refer to the Undergraduate and Graduate Timetables; the “Rights and
Responsibilities” section of the Undergraduate Bulletin; the Academic
Requirements and Policies and the Facilities and Services sections of the
Graduate Bulletin; the “Student Academic Disciplinary Procedures” [UWS Chapter
14]; and the Student Nonacademic Disciplinary Procedures” [UWS Chapter 17].)
Play Reviews
·
Start with a
paragraph giving your general impression of the play, maybe a little background
in its story or the performance.
·
Next you will
want to do a summary of the story/plot, during which you introduce the main
characters and the performers who played those roles.
·
In the next
section you will comment on the individual lead performances—talk about each
performer (separate paragraphs for each), the strengths and weaknesses of their
performances, maybe some brief background (other roles they’ve played). Either the first or last paragraph in this
section should also address the director and the directing.
·
Next, discuss the
other aspects of the play, such as
o
Lighting
o
Costumes
o
Scenery &
props
o
Music
o
Any other
noteworthy aspects
·
Finish with some
overall commentary, including whether you recommend the performance or
not. Should end up to be about 2-3
pages. Include your ticket stub.
8 Syllabus
13 Documentation (whee!)
Select recitations
15 Introduction to Poetry:
“A poem should not mean
But be.” MacLeish, Ars Poetica (do not read this poem!). Shakespeare, “Shall I compare . . .” (23)* and “Let me not . . .” (17)* (Read these last two!)
20 Donne, “Valediction Forbidding Mourning” (482), “The Flea” (89), and “Batter my Heart” (167)*; Herrick, “Delight in Disorder” (143);*
22 Herbert, “The Collar” (285); Marvell , “Coy Mistress” (100); Romanticism; Blake, “The Lamb” (340)* and “The Tyger” (472)*
27 Coleridge, “Kubla Khan” (474); Shelley, “Ozymandias” (Handout)*
29 Library
OCT
4 Bibliography exercise due; Keats, “Ode on a Grecian Urn” (303); Formal Writing (Handout); Tennyson, “The Kraken” (365)*
6 Browning, “My Last Duchess” (393)
11 Article
summary due; Whitman, “Lilacs” (540) and “O Captain!” (Handout)*;
13 Formal
Writing exercise due;
18 Frost, “Road Not Taken” (489),* “Stopping by Woods” (489),* and “Design” (286)*; Stevens, “Anecdote” (464);* Williams, “Wheelbarrow” (135)
20 Owen, “Dulce et Decorum est” (386);
Eliot, “Prufrock”
(485);
25 Hughes, “
27 Midterm Exam
NOV
1 Introduction to Drama: “The play’s the thing” Hamlet, Shakespeare
3 Glaspell, Trifles
8 Sophocles, Oedipus Rex, to Ode 2 (on page 125)
10 Oedipus Rex, remainder
15 Shakespeare, The Tempest, Acts I-II
17 The Tempest, Acts III-V
22 Ibsen, A Doll House (entire play)
24 A Doll House—The Trial!
29 Wilde, The Importance of Being Earnest, Acts I-II
DEC
1 Earnest, Act III; Research paper due
6
8 Fences, Act II
13 Final
Projects
15 Final projects; Final Exam Review
102.10: F, 17 Dec,
102.13: M, 20 Dec,