SOUTHWEST TENNESSEE COMMUNITY COLLEGE
LITERARY VISIONS
FALL SEMESTER – 2003
Course: ENGL 1020 – T01 Office Location: Building E – Rm 210 – Suite E
Department: Languages and Literature Office
Hours: By Appointment
Semester: Fall 2003 Phone:
901.333.5218
Instructor: J. Dockery, B.A.; M.A. E-Mail: jdockery@southwest.tn.edu
TEXTS:
English II is a
continuation of English I with an emphasis on concepts of literature. Those concepts, which include literary
terms, serve as a major organizing principle for the course. During the semester students read, analyze,
and write about short stories, poems, and plays originally written in diverse
time periods and cultures. Students learn
to look for patterns that suggest meanings in literature and to validate all
interpretations with references to the literary works being analyzed. They are responsible for viewing the videos,
reading the assignments, submitting papers and taking tests according to
schedule, and contacting the instructor when additional assistance is needed or
desired. This course addresses the STCC
general education requirements of critical thinking, communication,
responsibility, and diversity/globalism.
Prerequisite: ENGLISH 1010
READING ASSIGNMENTS
As you read
and analyze the stories, poems and plays in Literature: A Guide to Reading and Writing, you will
acquire a better comprehension of the text that may be used to organize and
develop your own ideas within essays. These stories, poems and plays
will address several of the general education goals: diversity and globalism, communication, and critical
thinking (See attachment - General Education Goals).
ESSAYS
You will demonstrate your understanding of the texts and literary terms and concepts by writing several essays (approximately 300-500 words) during the semester. These assignments will help you to improve your written communication and critical thinking skills.
ORAL PRESENTATION ASSIGNMENT
There will be one oral presentation assignment. You may make the presentation at the review session, or you may record (video, audio or cd) your presentation and send the tape or disc on the date indicated. Additional instructions for this assignment are provided in the section of the syllabus under descriptions of the assignments.
MID-TERM AND FINAL EXAMS
The mid-term and final exams will be essays on topics that respond to specific texts and literary terms studied throughout the course. You must be present, and you must show proper identification to take the exams.
REVIEW SESSIONS
Review sessions will be scheduled twice during the semester –once the day before the midterm, then again two days before the final exam. During this time, we will discuss the syllabus, returned papers, and current assignments. See the dates for the reviews in the syllabus and inform me as early as possible of any time conflicts so that arrangements may be made to schedule a different time for you. Arrangements will only be considered in the case of extreme emergencies.
SYLLABUS
The syllabus
divides the assignments into three categories:
Reading, Viewing, and Writing. You should read the entire syllabus
before you begin to work with the assignments.
There are five parts to the syllabus.
Part I of the syllabus gives general information concerning the course;
Part II outlines assignments and due dates; Part III describes each assignment;
Part IV identifies the grading criteria; Part V provides miscellaneous
information. You must closely follow
the syllabus and submit the assignments before or on the dates they are
due. Make sure that you mail
assignments in time to meet the deadline so that your paper will not be
penalized for late submission. No one
pin point exact delivery on the part of the United States postal service;
therefore, it is my suggestion that if you want your assignment to arrive to me
on time, you must mail it four (4) days before it is due at the
latest. If you cannot do this,
you must bring your assignment to the Union Avenue campus. DO NOT EMAIL OR FAX ASSIGNMENTS TO THE
INSTRUCTOR.
Assignments may
be mailed to the following address:
J. Dockery, Instructor
Southwest Tennessee Community College
P.O. Box 780
Memphis, TN 38174-0568
If you choose,
you may bring assignments to the following location:
Union Ave. Campus
English Department, Building E,
Suite 223
(Mrs.
Lubecca Douglas is the department secretary)
***Remember to
make a copy of every assignment for your record before mailing or delivering
it.
The most
efficient mode of communication for us is through email at jdockery@southwest.tn.edu .
Additionally, you may phone me during office hours at the numbers listed above
in the syllabus. The department or
division secretary will take phone messages when I am out of the office. Her work hours are from 8:00am to 4:30pm,
and her phone number is 333-5208. You may also choose to leave a message on my
voice mail at 230.5669 (but only in the case of extreme emergencies). When leaving a message, be sure to indicate
a phone number to which I may return a call and indicate a time when I am
likely to reach you.
All papers must be typed. No exceptions! If you do not type your assignments, you will lose 20 points per assignment that is not typed. If you do not have access to a computer, contact Southwest Tennessee Community College at 333-5000 to inquire about computer labs at any campus location. Include a cover page with every assignment which identifies the assignment, date, course, and which provides your name. I have enclosed a sample title page for your convenience.
There is a computer/tutorial lab located in E201 at the midtown campus. Lab monitors will assist you in learning to use the IBM compatible computers if you choose to word process your papers. Tutorial assistance is also available in this lab. Students experiencing problems with grammar and mechanics may be referred to the lab or may volunteer to take advantage of this service.
COMPUTER TECHNOLOGY
Computers are not perfect and cannot correct all errors for you. They can only make suggestions to you about your papers. Please be sure to proofread and edit your own papers. Do not allow the computer to do the work for you. You should also know that the computers provided by STCC utilize Microsoft© Office software. Therefore, you should know in advance that if you save your work on a computer disk and plan to use that disk in a STCC computer lab, the computer might not be able to read your document. As another option, you can save your work to a disk as a generic WORD file before opening it up in the computer lab. Also, if you do not have a printer, you may email the document to yourself then open it from a STCC computer lab.
The two
essays will count for a total of 40% of your final grade in the course (20%
each). The mid-term and final exams
will also count for 20% each of the final course grade, the oral presentation
will count for 10% of your grade, and the email assignment and poetry
assignment will each count for 5 % of your grade. The departmental grading criteria will be used in evaluating your
papers (see handout - Grading Standards).
Twenty points (20) will be deducted from all late assignments. No assignments may be turned in later
than one week after the due date.
EVALUATION
20% Essay One
20% Essay Two
20% Mid-Term Exam
20% Final Exam
10% Oral Presentation
5% Poetry
Assignment
5% Email Assignment
100% Total Points
WEEKLY ASSIGNMENTS
STUDENTS – There are two (2) televised lectures per week on Tuesday and Friday. So no matter which day you choose to view the lectures, you must view both of them. They are back to back, at thirty (30) minutes each.
Unit 1 – The Short Story
Weeks 1 and 2
Lesson 1:
An Introduction to Literature
Key Terms
·
fiction - imaginary literature, made up from the author's imagination
·
non-fiction - literature based on fact
·
classic - literary work that is meaningful any time and any place
·
genre - a type or category of literature (We study three genres in this
course - poems, short stories, and plays.)
·
critic - someone who objectively evaluates and analyzes someone else's
work
·
criticism - objective evaluation and analysis of a work
Video Program
1: While portions of this program are not as interesting as those that
follow, it is important to watch as it discusses some significant
characteristics of literature that will help introduce you to literature and
its study. Though the ten brief
literary samples are less than fascinating, learn from this video that in
addition to reading for sheer pleasure we read literature to explore values of
our own culture as well as of other cultures and to explore other times and
places.
Lesson 2:
Responding to Literature
Read: Literature; pages 1-2
Key Terms
·
theme - message or meaning of a work of literature, rarely stated by the
author, which usually deals with a value
·
setting - chronological time and geographical place of the action of a literary
work
Video Program 2: People
respond to and interpret literature differently because each of us brings
varied experiences, concerns, and knowledge to the works we read; therefore, we
"see" them uniquely. Various
interpretations are valid if they can be supported by specifics
from the literary work.
Week 3
Lesson 3:
The Art of the Essay
Literature; pages21-48; “The Necklace,” 4-11
Key Terms
·
thesis – one sentence that states what the entire paper is about
·
essay – non-fiction analysis in which writer states and defends/supports his
opinion interpretation
Video Program 3: This
interesting program explores a form of writing known as the essay. We learn that essays are based on fact
(non-fiction) not imagination and that their purpose is to affect the
reader: to inform/explain, entertain,
and/or persuade. The writer wants the
reader to consider his point of view and not only understand it but perhaps
adopt it as well.
Literature: This chapter explains how to study a literary work and how to write
about one. It is of paramount
importance to your success in this course to study this chapter in great
detail; the better you understand its points, the easier writing your papers
will be. Read "The
Necklace" on pages 4-11, carefully studying the marginal notes. Pages 21-48 are essential study. You'll want to refer again to this chapter
when writing papers later. (To further
understand the story's possible themes, read page 57 in Literature.)
Lesson 4: The Elements of Short Stories
Literature; three stories (see below)
Key Terms
·
short story - a short narrative which focuses on a single character or incident
·
narrator - person created by the author to tell a story
·
point of view - perspective from which the story is told
·
protagonist - the main character
·
antagonist - character in conflict with the protagonist
Video Program 4: This
program introduces short stories.
Literature: "First Confession," Frank O'Connor, pages 360-365
"The Sky Is Gray," Ernest J. Gaines, pages 475-494
Week
4
Lesson 5: Plot and Structure in Short Stories
Literature; 112-113
Video Program 5: The video provides an
excellent explanation of plot as well as commentary on and scenes from "
The Blue Hotel" which will make the story very interesting. Scenes with Andre Dubus will make this
author memorable.
Literature: Pages 112-113 further explain structure, the
way parts of a story are interrelated.
Lesson 6:
Character in Short Stories
Literature; 170-175
Video Program 6:
Dramatization of "I Stand Here Ironing" makes the story both
clear and interesting. Perceptions
about character and the author are also enlightening.
Literature; pages 170-175 further explain character; be sure to distinguish between round
characters and flat characters. Also note the discussion on 172-174
of the five ways character is revealed in literature.
Week
5
Lesson 7: Setting and Character in Short Stories
Literature; 285-287
Video Program 7: The dramatization
of "A Jury of Her Peers" may help you visualize the setting. The background information on early
twentieth century America will help you understand the period during which the
story is set. The setting of "All
Gone," the New York City subway system, is certainly very different but
equally as significant to its story as the desolate farmhouse is to
"Jury."
Literature; 285-287 - This further discussion of setting will
help your understanding of this literary concept.
Lesson 8:
Tone and Style in Short Stories
Literature; 384-386
Key Terms
·
diction - careful and deliberate choice of words
Video Program 8: Excerpts
from various works make style a more meaningful literary concept. "Taking Care" enactments bring
this story to life.
Literature; 384-386 - This further explanation of tone as well as irony
will be helpful.
Week 6
Lesson 9:
Symbolism in Short Stories
Literature; 425-428
Key Terms
·
symbol - a word, item, or idea that represents or stands for something else
·
private (or contextual) symbol - a symbol that is only meaningful within a particular literary work
·
universal symbol - a symbol recognized by many cultures
Video Program 9: Notice how
literal details in a story may symbolize or represent more general ideas that
the reader should detect to follow the work's implications or meanings. The explanation of the characters' love
makes "The Horse Dealer's Daughter" more meaningful.
Literature; 425-428 - Study carefully the explanation of symbol and universal
symbol.
*
"Young Goodman Brown," Nathaniel
Hawthorne, pages 436-445
Lesson 10:
Theme in Short Stories
Literature; 463-469
Video Program 10: The
discussion of themes is an excellent review of several of the short stories you
have read. Scenes from "Everyday
Use" are also dramatized.
Literature; 463-469 - Theme is one of the most important
concepts in literature. Study this
lesson especially carefully.
* "Everyday
Use," Alice Walker, pages 89-95
Unit 2 – Poems
Week 7
Lesson 11: The Elements of Poetry
Literature; 666-668; 679-682 and poems below
Video Program 11: Notice
that hearing poems is more effective than reading them.
Literature; pages 666-668 reveal numerous keys to understanding poetry. Pages 679-682 provide excellent instructions
for writing paraphrases and explications of poems.
"Ka 'Ba," Imamu Amiri Baraka,
pages 1125-1126
* "Nikki-Rosa," Nikki Giovanni, page
914
*
"The Day Zimmer Lost Religion," Paul Zimmer, page 1220
*
"Dover Beach," Matthew Arnold, pages 693-694
"Barbara Allen," anonymous, pages 1119-1120
"Schoolsville," Billy Collins, page 663 (Collins is Poet Laureate of the United
States.)
Lesson 12:
Setting and Character in
Poetry
Literature; 712-718 and poems listed
below
Video Program 12: This
program includes presentations of some of the poems below. Notice also the distinction between persona
and author.
Literature; Stopping by Woods on a Snowy Evening," Robert Frost, page 673
Theme for English
B," Langston Hughes, pages 822-823
The
Passionate Shepherd to His Love," Christopher Marlowe, page 705
The Nymph's Reply to
the Shepherd," Sir Walter Raleigh, pages 707-708
(Nymph is replying to
Marlowe's shepherd.)
Week
8
Lesson 13: Words and Images in Poetry
Literature; 719-20, 725-6, 746-51, poems below
Key Terms
·
syntax - word order and sentence structure
·
denotation - dictionary meaning
·
connotation - emotional/suggestive meaning
·
imagery - words that appeal to any of the senses
Video 13: Though
this program does not deal with many of your assigned poems, it will help you
understand the textbook discussion of imagery.
Lesson 14:
Figures of Speech in Poetry
Literature; 774-776, 782-3, and poems below
Key Terms
·
figure of speech - unusual words or expressions that fit a
particular pattern or form
·
simile - comparison of two dissimilar objects using the connective like
or as
·
metaphor - the equating of two dissimilar objects using a form of the verb is
·
personification - giving lifelike qualities to an animal,
inanimate object, word, or phrase
Video Program 14: You will
appreciate the presentation of Anne Bradstreet's poem about her own book of
poems as well as readings of two of the other poems in this lesson.
Literature; 774-6, 782-3 - These pages give clear explanations of metaphor,
simile, overstatement (or hyperbole), and understatement.
"The Author to Her Book," Anne Bradstreet, page 818
"Woman," Nikki Giovanni, page 1154
"Sonnet 130" or
"My Mistress' Eyes. . . ,"
William Shakespeare, page 767
"Sonnet 18," William Shakespeare, page 794
"The Road Not Taken," Robert Frost, page 1109
Week
9
Lesson 15: Sound, Rhythm, and Rhyme in Poetry
Video Program 15: It is
important in this program to grasp the significance and meanings of these
literary terms:
Key Terms
·
meter - pattern of stressed and unstressed syllables in a line of poetry
·
rhyme - repetition of words containing identical final syllables
·
rhythm - cadence or beat of a poem
·
free verse - poem written without rhyme or a dominant meter
Lesson 16:
Myth, Symbolism, and Allusion in Poetry
Literature; 937-43, 969-74, and poems listed below
Video Program 16: Pay very
careful attention to the opening explanation of the myth of Icarus and Daedalus
as well as the explanations of symbols, myths, and allusions.
Literature: Pages
937-943 provide excellent discussions of symbols and allusions. Read them carefully. Pages 969-974 explain well the origins and
significance of ancient myths in the modern world.
"To a Friend Whose Work Has Come to
Triumph," Anne Sexton, page 989
"Icarus," Stephen Spender, page
990
"Icarus," Edward Field, pages
987-988
"Landscape with the Fall of
Icarus," William Carlos Williams, pages 990-991
*
"Musee des Beaux Arts," W. H. Auden, pages 986-987
"The Battle Hymn of the Republic,"
Julia Ward Howe, page 1166
"Let America Be America Again,"
Langston Hughes, pages 864-866
Week 10
Lesson 17:
Theme in Poetry
Literature poems listed below
Video Program 17: Readings
of the poems make understanding them easier.
Most of those listed below are read in the video.
Literature:
"Patterns," Amy Lowell, pages 1174-1176
* "Auto Wreck," Karl
Shapiro, page 1199
"Not Waving but Drowning," Stevie Smith, page 1201
"Fear No More the Heat o' the Sun," William Shakespeare, pages
1197-1198
* "To His Coy Mistress,"
Andrew Marvell, pages 1023-1024
"Ballad of Birmingham," Dudley Randall, pages 923-924
* "Miniver Cheevy," Edwin
Arlington Robinson, pages 875-876
* "Bells for John Whiteside's
Daughter," John Crowe Ransom, page 1189
Unit 3 – Drama
The remainder of
the course focuses on drama--plays. You
will read three: Sophocles' Oedipus the King, Shakespeare's
Hamlet, and Tennessee Williams' The Glass Menagerie. All three are available on videos, and while
these movie versions cannot replace the reading of the plays, viewing them will
make reading them much easier. I highly
recommend studying the plays in this order:
watch the movie version, watch the video program that is assigned for
the lesson in which a play is assigned, then actually read the plays in the
text.
For Oedipus, the 1968 version
directed by Philip Saville is okay but not great. The public library on McLean and the South Branch Library on
Third have a version performed with masks, which is a superior version, though
the use of masks seems very unusual to modern viewers.
For Hamlet, watch either the
older version with Lawrence Olivier (1948, directed by Olivier) or a newer one
with Mel Gibson (1990, directed by Franco Zeffirelli).
When you are
writing on the plays, make it clear when you are responding to the printed page
and when you are responding to a presentation of it. Refer to scenes and dialogue in the text to defend points, or
refer to the visual presentation by giving the director's name and the year the
movie was released. Plays do not
have a point of view.
Lesson 18:
The Elements of Drama
Lesson 19:
Character in Drama
Literature; 1344-50
Video Program 19: This
program is based on Hamlet and makes clear the play within the play on
which much of the plot hinges. Also of
interest is a history of famous actors who have played Hamlet and why this is
considered such a desirable role.
Literature; 1345-1348 - This gives background about
Shakespeare's theater. Shakespeare
himself is discussed on pages
1349-1350.
Week 11
Lesson 20:
Plot and Conflict in Drama
Video Program 20: This
program dramatizes important additional scenes from the plays.
Lesson 21:
Setting and Staging in Drama
Literature; 1657-63, 1703-4
Video Program 21: This interesting program contrasts staging in Greek, Elizabethan, and
modern theaters and provides useful information for one of your writing
topics. The later part gives insight
into interpretations of plays provided by staging and also a short view of
stage building.
Literature: Your first
selection, 1657-1663, explains differences between realistic and non-realistic
drama. Oedipus and Hamlet
are examples of non-realistic drama; The Glass Menagerie employs
elements of both realistic and non-realistic drama. (Pages 1756-1758 guide you through analyzing non-realistic and
realistic elements in The Glass Menagerie.) These reading selections will be the bases of one of your writing
topics.
1703-1704 background on Tennessee Williams, who is
closely associated with
Memphis because he lived
and wrote here during his youth
Lesson 22:
Verbal and Non-Verbal Language in Drama
Week 12
Lesson 23:
Myth and Symbolism in Drama
Video Program 23: Notice the
chorus in the dramatization of Oedipus the King. While we are likely to find this element of
Greek drama artificial or stilted, the chorus was an accepted, expected,
necessary feature of the Greek theater and would have been effective with a
Greek audience.
Lesson 24:
Theme in Drama
Video Program 24: This
program discusses theme or meaning in drama, pointing out that there are
multiple interpretations of a play's theme, each of which is valid if supported
by the various elements of the play.
Themes in Hamlet are revealed and relevant scenes are
dramatized. Notice how effective and
realistic are the two who perform the roles of Hamlet and his mother Gertrude.
Week
13
Lesson 25: The Power of Literature
Video Program 25: This video
points out that literature shows us how it feels to be someone else, even
someone with whom we have little in common.
It gives us the opportunity to step out of our own lives momentary and
into the lives and worlds of others as well as into other times and
places. We each respond to literature
differently, but we need to be open to these other worlds because they inform, enlighten,
and broaden our perspectives. Scenes
from various plays, short stories, and poems you have read during the term are
dramatized; see if you recognize the excerpts.
Lesson 26:
The Uses of Literature
Key Terms
·
euphemism - using an agreeable word or expression rather than one that might be
offensive
·
doublespeak - deliberately ambiguous language, often inflated or complex
·
propaganda – intentional distortion of facts by circulating false information or
rumors to damage or benefit a cause, institution, person, etc.
Video Program 26: This
program examines positive benefits of literature, both reading it and writing
it. Literature creates an awareness of
the essential worth of individuals through the insights shared by the author
and the characters he or she creates.
Thus, literature is powerful; it can change us. Reading is food for the mind and the soul;
conversely, writing gives us the power and freedom to express ourselves and
thus to influence others. When you view
the segment on Alex Haley's Roots, remember that Haley's home is
Henning, Tennessee, about fifty miles north of Memphis. You might want to visit the interesting
museum there, which is in his grandparents' home.
FINAL
EXAMINATION - SATURDAY, December 6th, 2003 – 10:00 a.m.- Noon
Union Avenue
location to be announced later
IT
IS EXTREMELY IMPORTANT THAT YOU READ EACH AND EVERY LITERARY TEXT THAT IS
REQUIRED FOR THIS CLASS. I do understand that there are many, many
reasons why students feel reservations about literature, and some of the most
important are not interpretating the text correctly, having a short
attention span, comprehension, and not having enough time to read the assigned
texts. Because you have decided to
take this literature course as a telecourse, in lieu of the traditional
classroom setting, I feel obligated to give you a few tips that may help you
with the readings. But more
importantly, I do want you to make time to read the assigned texts. You should read them as early as possible,
and email me with specific questions when you do not understand. Finally, I want you to know that the review
sessions and the mid-term and final exams will deal directly with the
texts. So be advised that there is no
way for you to be successful in this course if you do not make time to read the
texts, or if you do not email me to help you understand parts of the text you
may find difficult.
All
of the short stories we read in class are extremely short. And usually, they are no more than 3 to five
pages. This is not a lot of
reading. The key is to make time to
read. Furthermore, I suggest that you
take notes in your book when you read.
Highlight words, sentences or parts you do not understand (and email me
for help), and always have a dictionary and thesaurus by your side as you are
reading. There are many times when a
word is used out of normal context, and you may have to look up the word in
order to understand how the author has chosen to use the word in her or his
text. Make sure that you have read the
story that you will choose to write your essay on some time before the
assignment due date. In order to be
sure that you read the story, poem, or play in enough time, review the
description of assignments section, and be sure that you know when the
assignment is due so that you can make time to read the story on which you plan
to write your essay.
INTERPRETING LITERATURE
Interpreting
literature is a very complicated task.
However, I believe that every person’s interpretation of literature
deals directly with the context of each person’s life. Therefore, one person’s interpretation of a
literary text will vary depending on level of education, social status,
personal and professional experience, culture and ethnicity, the amount of traveling
a person has done, and personal and political interests, to name a few. But even though there may de some
differences in interpretation, there will still be a common basis for
understanding. Although I support
varying interpretations, I do want to warn you about interpretating too far off
in left field. In other words,
sometimes it is not a good thing to try to go too deep as it relates to
interpreting literary works.
Another
important thing to know is that you can always use the Internet to help you
understand and interpret literature.
Try finding websites that offer scholarly interpretations on the texts
and authors to help you understand better.
It is also very helpful when you read the author’s bio and/or
background. Most authors rely on their
personal experiences to help them create stories, characters, themes and
settings.
EXPLICATING POETRY
Explicating
poetry is a process that helps us dissect poetry in order to understand its
meaning. Poets generally manipulate
grammar, shape, rhyme, rhythm, punctuation, etc. in order to produce the
meaning that she or he desires. In
order to be successful at explicating poetry, you should read the section on How
to Read a Poem on page 666, and the section on Writing an
Explication of a Poem on page 681.
These sections are located in the Literature book. I am very sure that those of you who are
serious about learning how to understand and comprehend poetry will be emailing
me with questions during this unit.
Also, the key to understanding poetry is making sure that you use your
thesaurus when a word has been used out of context, as well as making sure that
you choose the best word from the lists of words the thesaurus gives you.
COMPREHENDING DRAMATIC WORKS
In
this day and age, it is such an advantage that we have so many different types
of resources at our fingertips to help us learn better. And this is extremely helpful to know when
reading dramatic works. Because
dramatic works are longer (and somewhat difficult to understand when old language
is used), it might be helpful for you to go to the library or video store and
rent a videotape or audiotape to help you comprehend the play better. Although sometimes directors use creative
license to change a dramatic work to suit their needs, the plays we read in
class are those that many directors have chosen to remain true to the work’s
authentic integrity. I did outline in
the section of the weekly assignments those versions you should look for if you
choose to watch or listen to a dramatic work as you read it. Also, you can check out these plays at a
video store. However, if you do not
find a copy of these tapes, you will still be held responsible for reading the
work from your Literature book.
In addition
to the texts you will read along with telecourse viewings, you must also read
the following stories that will be part of the essays and examination. **NOTE – Some of the texts listed below are
those that the telecourse instructors will have you read.
SHORT
STORIES PAGE
1.
The
Necklace 4
2.
Neighbors 63
3.
Everyday
Use 89
4.
Two Kinds 226
5.
The House
on Mango Street 290
6.
The Shawl 331
7.
The Story
of an Hour 393
8.
The Fox and
the Grapes 431
9.
Young
Goodman Brown 436
10.
The Parable
of the Prodigal Son 445
11.
The Lesson 470
12.
The Yellow
Wallpaper 617
POEMS PAGE
1.
Hope 661
2.
Here a
Pretty Baby Lies 664
3.
Because I
Could Not Stop for Death 671
4.
Stopping by
Woods on a Snowy Evening 673
5.
Drink to Me
Only, With Thine Eyes 690
6.
The Passionate
Shepherd to His Love 705
7.
The Nymph’s
Reply to the Shepherd 707
8.
Sonnet 130:
My Mistress’ Eyes Are Nothing Like the Sun 767
9.
Harlem 787
10.
Sonnet 18:
Shall I Compare Thee to a Summer’s Day 795
11.
The
First-Rate Wife 809
12.
homage to
my hips 819
13.
Theme for
English B 822
14.
We Real
Cool 858
15.
The Negro
Speaks of Rivers 1016
DRAMA PAGE
1.
Oedipus the
King 1304
2.
Hamlet 1349
3.
Death of a
Salesman 1454
DESCRIPTION
OF ASSIGNMENTS TO BE TURNED IN
Essay One
– Write an essay on one of
the following topics:
·
Write a
Comparison and Contrast essay on Everyday Use and Two Kinds. Begin by giving a brief synopsis of the
story (two to six sentences). Next,
tell what aspects about each of the stories are similar. You may choose to write on the characters,
character development, setting, author’s background, symbolism, them, language
or any other characteristics of the stories.
After that, tell how the stories are different. Then, tell how these two stories relate to
the pursuit of the American Dream, or lack thereof. Finally, tell whether or not you liked both of the stories, and
explain why. You will not be penalized
for writing about all of similarities and differences that are evident;
however, if you choose only one two or three characteristics, I am expecting
you to expound in great detail.
·
Begin your
essay by giving a brief synopsis of The Lesson (two to six
sentences). Next, tell how reading the
story the story in the Black English Vernacular added to your understanding
and/or visualization or the characters, setting, and theme. Also, tell how (if at all), it added to your
comprehension of the story’s plot.
After that, tell what different lessons Miss Moore imparts on the
children, making sure that you expound last on the lesson they learned at
F.A.O. Schwartz. Next, tell which kids
got the lesson, and which kids did not.
Now, let’s focus on Sylvia.
Explain the significance of Sylvia’s attitude as you believe it relates
to the lesson at the toy store. Then
tell whether or not you believe Sylvia got the message, and try to predict the
affect the lesson had on Sylvia’s future after the story ends. Remember, you are just making a guess of how
Sylvia turns out after the story ends.
The author does not go into detail about Sylvia’s future when the story
ends. Finally, tell whether or not you
liked both of the stories, and explain why.
Essay Two – Using Two Kinds, Everyday Use, The
Shawl, The Lesson or The Story of an Hour, write an essay on the
following topics:
·
Begin by giving
a brief synopsis of the story (two to six sentences). Next, name the five formal categories of fiction, and identify
where each of those categories take place in the story. After that, identify the protagonist(s) and
the antagonist(s), tell whether each of those characters you mention are round
or flat, and why. Now, let’s talk about
the setting. Describe the setting in
your essay, and tell how the author’s description of the setting adds to your
comprehension of the story’s plot. I am
not looking for a perfect answer. I am
simply interested in knowing how the author’s description of the setting aided
in your enjoyment and comprehension of the story. Finally, tell whether or not you liked both of the stories, and
explain why.
Mid-Term
Exam – Your mid-term exam
will be an open book, short answer essay examination that will only cover
poetry. You will be given 2 ½ hours to
complete this exam. Again, this will be
an open book, and you should come to the exam having already explicated the poems
listed in this syllabus. Even though
the telecourse lectures will not have finished covering the Poetry unit, you
will not have trouble taking this exam.
The only requirement, again, is that you have explicated the 15 poems
that have been assigned to you.
Final
Exam – You will be asked to
write an essay or report on a topic that you will be made aware of at a later
date.
Oral
Presentation – The oral
presentation assignment will be announced at a later date.
Poetry
Assignment – Write a
serious or funny epigram.
Email
Assignment – The purpose of
this assignment is to make sure that students are acclimated to general
computer literacy and general computer operational functions as well as using
the Internet. This assignment also
serves as confirmation that students have successfully transmitted an email
message to the instructor. Therefore,
upon successful completion of this assignment, there should be no uncertainty
as to whether or not a student is able to be in contact with the instructor
successfully.
In this course,
I cannot pre determine how long your essays will be. However, I can give you a few guidelines to follow as you write
your essays. They are as follows:
1. When writing about literature, write in the
present tense (see page 26).
2. Answer each and every part of the essay
question.
3. Respond to the questions in the order in
which they are presented in the directions.
4. The length of your essay depends on however
long it takes you to answer the question and expound on the details.
5. Do not re-tell the story. I will assume that you have already read the
story; therefore, I do not need you to re-tell me the story. As a result, I will be able to tell whether
you have read the story based on your answers to the questions.
6. Please do not use a lot of quotes in the
essay. The way that they essay
questions have been developed does not require that you quote the material over
and over.
7. Do not add any information that is not
requested in the essay question.
8. Watch your tone! You should have a non-biased tone at all times –even in the
section that asks you to tell whether or not you liked the story.
9. Write your essay in the 3rd
person point of view.
10. Follow the appropriate writing guidelines
included in this syllabus.
EVALUATION CRITERIA
The
following will be used in evaluating all essays:
25 Points Clarity
of Expression – You will
receive up to 25 points for proper diction, grammar usage, and sentence
construction produce clearness and intelligibility of the writer’s thoughts and
ideas.
25 Points Coherence – You
will receive up to 25 points for organization
and proper use of transitions provide unity and logic in a writer’s work.
25 Points Voice
Qualities – You will
receive up to 25 points for appropriate volume (in speech) and effective tone
(in writing) give an overall high quality authenticity to a writer’s work that
maintains the appropriate mood and tone in speech and writing, with regard to
its subject or topic.
25 Points Content
– You will receive up to 25
points for thorough and precise discussion establish meaningful substance for
writing and makes the work something that is significant and important in
matter.
PART FIVE - MISCELLANEOUS
Wednesday, October 8, 2003 7:15
pm to 8:30 pm Review for Mid-Term
Thursday, October 9, 2003 5:30 pm to 8:00 pm Mid-Term
Examination
Thursday, December 4, 2003 6:00
pm to 7:30 pm Review for Final
Oral
Presentations
Saturday, December 6, 2003 10:00
am to 12 noon Final Examination
***NOTE - The locations for the reviews and the exams will be announced later.
Assignment
Due Dates
Assignment I Email Assignment Due: Sep 10
Assignment II Essay One Due:
Sep 19
Assignment III Essay Two Due: Oct 3
Assignment IV Mid-Term
Exam Due: Oct 9
Assignment V Poetry Assignment Due: Oct 24
Assignment VI Oral
Presentation Due: Dec 4
Assignment VII Final Exam Due: Dec 6
Aug 27 First
day of classes for STCC
Aug 28 Last
day to register or add a class
Aug 29 First
day of Telecourse viewings
Sep 1 Labor Day – Classes will not meet
Oct 31 Last day to Withdraw with a grade of “W”
Nov 3 Academic advising begins for the Spring
semester
Nov 7 Early registration begins for Spring
Nov 26 – 30 Thanksgiving
Holiday – Classes will not meet during this time
Dec 5 Last day of classes for STCC
Dec 6 – 12 Final
Exams
Dec 22 Grades available via telephone
You may
plan to make your oral presentation during the last review session. There will not be a sign up sheet. Just be prepared to make an oral
presentation on that day. If your name
is called, you will have to make your presentation. All oral presentations must be six (6) to eight (8) minutes long.
A second
option is to videotape, audio record or make a CD of your presentation and send
or bring the cassette to me at the location given in the syllabus. If you choose this option, you must mail or
deliver the tape so that I will receive it by Friday, Dec. 5th. Remember your presentation should be between
six (6) to eight (8) minutes.
CLIFF’S NOTES
Cliff’s
Notes are good when you are trying to better understand literature;
however, they do not replace actually reading the literary text. There is no other way for me to get you to
understand this than to tell you just that!
STUDENT RESPONSIBILITIES
There are two (2) televised lectures per week on Tuesday and Friday. So no matter which day you choose to view the lectures, you must view both of them. They are back to back, at thirty (30) minutes each.
Please note that there are a couple of times where we will meet on the day of a viewing. IT IS YOUR RESPONSIBILITY TO MAKE SURE THAT YOU EITHER MAKE ARRANGEMENTS TO VIEW THE LECTURE ON THE SECOND VIEWING, TAPE THE LECTURE, OR MAKE PLANS TO LEAVE CLASS AND GO DIRECTLY HOME SO THAT YOU CAN WATCH YOUR LECTURE. There will be no accommodations made for students who have missed a viewing.
It is your responsibility to read this syllabus in its entirety. If you contact me asking for information that is contained within this syllabus, I will advise you to look over your syllabus again. However, if you contact me and you need clarification on something that is listed on the syllabus, I will be more than happy to help you. This is an attempt to make you understand that it is very important to be efficient and thorough when taking a Telecourse. It is crucial that you read this entire document to get a full understanding of your responsibilities.
NOTE: Instructor retains the right to
add, delete, or revise segments of the course or syllabus. If changes are
necessary, students will be notified in a timely manner.
GOOD LUCK TO YOU ALL!!!!!!