2210 Introduction to British Literature Period 5, Room 110 Office Hours: by appointment Office: 108

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1 Ms. DiSenso 2210 Introduction to British Literature Period 5, Room 110 Office Hours: by appointment Office: 108 Knowing I loved my books, he furnished me. -- Shakespeare, The Tempest I.ii.166 Course Description: This course is designed to be an introduction to British Literature, college level writing, and literary analysis. Students will be exposed to a variety of critical methodologies and works from the literary canon. As this course provides an introduction to some of the dominant schools of literary criticism, course members will read and study literature from a variety of literary perspectives. Students will have the opportunity to participate in advanced analysis and discussion as they work to improve their analytical and critical thinking skills and their writing capability. Course Goals and Objectives: o To provide a college-level textual introduction to the literature of British authors. o To critically evaluate the style, structure, themes, tone, characterization and other literary elements and techniques present in each literary work. o To develop the critical thinking, analysis, reading, writing, discussion, and research skills necessary for the continued study and appreciation of literature. o To develop close reading and analytical writing skills as a way of engaging with literature and developing an understanding of literary culture. o To provide exposure to and the opportunity to evaluate critical interpretations of literature from the major schools of literary criticism. o To actively engage students in the writing process as a means of developing further awareness of their voice and style in writing. o To familiarize students with the process of performing thorough essay revisions. o To provide independent research opportunity as a means of allowing students the freedom to explore and evaluate current literary theory. o To engage in discussion with the text as students annotate, analyze and draw conclusions about the literature as they read.

2 DiSenso 2 Required Texts and Featured Readings: Alexander, Michael, trans. Beowulf: A Verse Translation. New York: Penguin, Austen, Jane. Pride and Prejudice: A Norton Critical Edition. Ed. Donald Gray. 3 rd ed. New York: Norton, Bronte, Emily. Wuthering Heights. New York: Penguin, Meyer, Michael. Ed. The Compact Bedford Introduction to Literature. 7 th ed. Bedford/St. Martin s: Shakespeare, William. Hamlet. Ed. Susan Wofford. Boston: Bedford/St. Martin s, Stoppard, Tom. Rosencrantz and Guildenstern are Dead. Ed. Henry Popkin. New York: Grove Press, Selections from Geoffrey Chaucer s The Canterbury Tales (handouts) Selections of poetry (Bedford Introduction to Literature and handouts). Suggested Resource: Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 7 th ed. Modern Language Association of America, (on reserve at library) Assignments: All essays and major assignments are to be handed in on time (during class), either on the due date or earlier. If an assignment has not been submitted, the grade will be forfeited. In the case of an absence, essays MUST be ed to me by 3:00 p.m. at gdisenso@kennedycatholic.org. You must also submit a hard copy upon your return. All other assignments (non-essays) may be submitted ONE day after the due date and will incur a 10% deduction of grade. Any assignment not submitted by this time will receive a grade of zero. All assignments should be written in blue or black ink. All essays and major assignments must be typed. These assignments should be double spaced with 1 margins, typed in size 12 Times New Roman font on standard 8½ x 11 paper. All essays should be titled, written in MLA format, and include a works cited page. Your last name and a page number should appear on every page after page one. Academic Integrity: See the student handbook for the policy on plagiarism and academic dishonesty. In this classroom, academic integrity is essential. You are expected to complete your own work at all times. Plagiarism, or taking another person s words or ideas and claiming them as your own, will not be tolerated. Any plagiarized assignment will incur the highest academic penalties in accordance with school policy, which includes but is not limited to a grade of zero with no opportunity to make up the assignment and possible removal of the student from the Advanced Placement class. In addition, if the assignment is a test, you will receive a marking period grade no higher than 65. (This includes in-class tests, take-home essays, projects, or any other assignment weighted as a test.) Note that plagiarism includes, but is not limited to, taking (and claiming as your own) information from online sources, books, journals, prewritten essays, and the writing of your peers. Any time that you take and use ideas or information from another source, whether directly quoted, summarized, or paraphrased, you must document your source using the MLA citation style. You can find a copy of the MLA Handbook for Writers of Research Papers in the library. This book outlines how to document each type of source. If you have a question about how to cite a source, or if you are not sure whether or not you should cite a source, ask.

3 DiSenso 3 Classroom Policy: Be punctual. Come to class on time and be ready to begin when the bell rings. Be prepared. Every day, bring a pen and pencil, your loose-leaf filled English binder (not a notebook), and the current work of literature. All class handouts should be kept in your English binder. Everything other than English books (purses, books for other subjects, etc.) should be kept on the floor, under your desk. Be respectful. Whenever the teacher or a student is speaking in class, be respectful and listen quietly. We will be doing the same for you when you share your comments. If you have questions or an insight to share, raise your hand. You are expected to come to class fully prepared and ready to participate. Grading Criteria and Policy: Your final grade will be determined using a total point system. Tests, essays, and major projects will be worth points Quizzes will be worth points Mini-quizzes will be worth points Participation is worth 50 points Each student automatically receives 50 participation points. It is up to you to keep them. Participation includes contributing positively to class, being present (both mentally and physically), and being on time and prepared. Each time you are unprepared, talk out of turn, or cause any other disturbance, points will be deducted from your participation average. Active participation is essential in this class. Be prepared to discuss the texts. To calculate your grade, add up the total number of points earned on assignments throughout the quarter and divide this number by the total number of points that you could have potentially earned. Then convert that number to a percentage by multiplying it by 100. Absences: Any time that you are absent, it is your responsibility to make up missed work. Remember that in the case of a legal absence, essays MUST be ed to me by 3:00 p.m. at gdisenso@kennedycatholic.org. Any missed tests and quizzes will be administered the day you return, either during a free period or after school. You will not be permitted to make up this work during class time. Remember that it is your responsibility to meet with the teacher to schedule a make-up test or quiz. A suggestion: Trade phone numbers with at least two other reliable students in class so that, in the event that you are absent, you can call someone to find out what assignments and class work you missed. Always speak with the teacher upon your return.

4 DiSenso 4 A Note on the Course: Throughout the course of the semester, students will be reading scholarly articles that correspond with the major works of literature studied. Using their knowledge of the literature studied and our class discussion, the students will critically analyze and evaluate the articles. These analytical evaluations may be written or shared through class discussion. This project is designed to familiarize students with literary research and common schools of thought and to provide students with the opportunity to challenge and critically evaluate scholarly sources. It will also allow students to become more familiar with various literary perspectives. At the beginning of each work of literature studied, students will receive background information about the author and the social climate of the time. For each work of literature, students will discuss and evaluate the author s style, dominant literary techniques used, and how the author s writing reflects the society in which he lived. Throughout the semester, students will be assigned essay questions requiring them to discuss literary techniques and elements (tone, structure, point of view, theme, imagery, setting, etc.) at work in the literature. Students are expected to annotate as they read. For each essay assignment, students will be required to make corrections and draft several revisions in order to become better acquainted with their own strengths, weaknesses, and writing style. Students will receive teacher commentary and, on occasion, peer editing remarks for essays. Grammar lessons will be provided as needed throughout the course of the year. Subject matter for grammar lessons includes (but is not limited to): creating a dynamic (and defendable) thesis statement, word choice and concise writing, organization and structure, using active voice, etc. The final exam for this course is the research paper due in early January. It will be completed in stages. Students will have an opportunity to review their work and the teacher comments before these final copies are locked up in the school with other exams. The final paper MUST be submitted on the due date. No late papers. No exceptions. Syllabus September Common Men and Kings: The Nature of Tragedy Weeks 1 & 2 Summer Reading Review (9/13 9/24) Monday, 9/13 Summer Reading Essay Contemporary v. classical views of tragedy Greek theatre and tragedy Aristotle and the classic definition of tragedy, style and structure of tragedy Critical analyses of Antigone and Lear (Discussion of these texts might run into the beginning of next week. The schedule will be amended as needed.) HW: Read and annotate Beowulf due 9/27

5 DiSenso 5 September October The Early Classics Weeks 3-4 It is by glorious action that a man comes by honor in any people (9/27 10/8) (Beowulf). Beowulf Introduction to Old English and the structure of Beowulf Discussion and writing topics include Beowulf and its place in literary history; Christian values and Beowulf; how the text deals with the problem of evil, the epic hero, etc. HW: Read Chaucer selections during Beowulf unit (due week 4) To Caunterbury they wende: Selections from The Canterbury Tales Overview of Middle English, The Canterbury Tales Chaucer s Wordes Unto Adam, His Owne Scriveyn The Prologue (tentative) The Wife of Bath s Tale Discussion and writing topics include: the image of women; Chaucer s style 10/7 (Thurs.) Golf Outing (No class) HW: Read and annotate Hamlet due next week Mad in Craft: Shakespeare, Stoppard, and Hamlet Though this be madness, yet there is method in t (Hamlet II.ii ). Weeks 5, 6, 7 Hamlet (10/11 10/29) 10/11 (Mon.) Columbus Day (No class) 10/13 (Wed.) PSATs (No class) Discussion and writing focus topics include: madness, role of women, that which seems, the role of play in Hamlet, a comparative study of scenes in Olivier and Branagh s films, etc. Critical Interpretations of Hamlet Approaches to reading Hamlet. Selections may include excerpts from: Deconstruction and Hamlet: Marjorie Garber s Hamlet: Giving Up the Ghost The New Historicism and Hamlet: Karin S. Coddon s Suche Strange Desygns : Madness, Subjectivity, and Treason in Hamlet and Elizabethan Culture Feminist Criticism and Hamlet: Elaine Showalter s Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism Psychoanalytic Criticism and Hamlet: Janet Adelman s Man and Wife Is One Flesh : Hamlet and the Confrontation with the Maternal Body

6 Critical Interpretations of Hamlet (cont.) Marxist Criticism and Hamlet: Michael D. Bristol s Funeral Bak d- Meats : Carnival and the Carnivalesque in Hamlet (all included in Wofford s edition of Hamlet) Hamlet and His Problems by T. S. Eliot (online: Carroll Camden s On Ophelia s Madness (handout) Hamlet and the Arts Hamlet on film (selections from Olivier and Branagh s versions of Hamlet) Paintings, Poetry, and Hamlet Poetry: Arthur Rimbaud s Ophelia Paintings: John Millais Ophelia, W. G. Simmonds The Drowning of Ophelia, and Henrietta Rae s Ophelia DiSenso 6 November Weeks 8 9 Rosencrantz and Guildenstern Are Dead (11/1 11/12) Introduction to postmodernism (read article on postmodernism) Connections to Hamlet, Stoppard s style, etc. Comparative study: Hamlet and Rosencrantz and Guildenstern are Dead Essay: Hamlet and Rosencrantz and Guildenstern are Dead Essay topics include: role of women, madness, that which seems, Shakespeare s use of play, and individually selected topics (with teacher approval) Week 8 (11/1 11/4): Library research and online databases 11/1 Tentative research thesis topics and thesis statements due 11/11 (Thurs.) Veteran s Day (No school) Women Novelists in British Literature: Austen and Bronte Only a novel... in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour are conveyed to the world in the best chosen language (Jane Austen). November - December Weeks Wuthering Heights (11/15 12/3) Discussion and writing topics include: Elements of the gothic novel structure, character, theme, mood, influence of setting on action, symbolism, etc. Revised research thesis topics due (date TBA before Thanksgiving) 11/23 (Tues.) Parent/Teacher Conferences (1/2 day) 11/24 11/26 Principal s Day & Thanksgiving Break (No school)

7 Weeks Pride and Prejudice (12/6 12/23) Discussion and writing focus topics include: development of character, irony, parallels between setting and character, etc. January DiSenso 7 Critical interpretations of Pride and Prejudice Oral presentations on approaches to reading Pride and Prejudice Nina Auerbach s Waiting Together: Pride and Prejudice, Susan Fraiman s The Humiliation of Elizabeth Bennett, and other criticism evaluations (from Norton Critical Edition and outside sources). Comparative study: Wuthering Heights and Pride and Prejudice Essay: Wuthering Heights and Pride and Prejudice Topics include: female characters in Austen and Bronte; comparative study of style, characters (Elizabeth and Cathy, Darcy and Heathcliff), etc. 12/6 Research paper outline and copies of critical sources for research paper due 12/20 Draft of research paper due (2 copies) In-class revisions and peer editing sessions this week Revise work during Christmas break. 12/23 (Thursday) Noon dismissal 12/24 (Friday), 12/27 12/31 (week 16) Christmas break (No school) Poetic Interpretations There are no poems, only relations between poems (Harold Bloom). Weeks Poetry Selections (1/3 1/14) Selections include: Wordsworth ( Tintern Abbey, Intimations of Immortality, The World is Too Much with Us ); Shelley ( Mont Blanc, Ozymandias ); Keats ( Ode to a Nightingale, Ode on a Grecian Urn ); Yeats ( The Lake Isle of Innisfree ); Shakespeare ( Shall I compare thee to a summer s day?, My mistress eyes are nothing like the sun ); Browning ( My Last Dutchess ); Matthew Arnold ( Dover Beach ); Kipling ( If ), Marvell ( To His Coy Mistress ); selections from Gerard Manley Hopkins; other selections Discussion and writing topics include: Major themes; author s style; Shelley v. Wordsworth; identification and explication of major literary elements and techniques used to convey meaning within poems; connections to social climate; structure; Wordsworth, Arnold, & Hopkins outlooks on life, etc. 1/6 (Th) Final research paper due (with drafts, copies of research, etc.) Begin Semester 2 (Introduction to College Writing) Due 1/31: Read, annotate, and respond to Lamott and Orwell selections. (See syllabus for English Composition for more details.)

8 DiSenso 8 Ms. DiSenso 1000C English Composition gdisenso@kennedycatholic.org Period 5, Room 110 Office Hours: by appointment Office: 108 The time to begin writing an article is when you have finished it to your satisfaction. By that time you begin to clearly and logically perceive what it is that you really want to say. -- Mark Twain Course description This writing intensive course requires students to actively engage in the writing process. Students will be expected to prepare multiple revisions of essays and participate in editing sessions as they learn to strengthen their writing skills. In this course, students will analyze writing as a reaction to the human experience and our identity in relation to the world around us, other cultures, family, and the technological age. Students will also analyze writing and its various purposes. Course readings are drawn from a variety of sources including essays, contemporary newspapers and magazines, poetry, and autobiographical fiction. Course goals and objectives: To provide a college-level introduction to composition and analysis. To critically evaluate the style, structure, themes, tone, and other techniques that writers use to develop a clear voice in their writing. To actively engage students in the writing process as a means of developing further awareness of their own voice and style in writing. To develop the critical thinking, analysis, reading, writing, discussion, and research skills necessary for the continued study and appreciation of literature. To develop close reading and analytical writing skills as a way of engaging with literature and developing an understanding of literary culture. To provide exposure to and the opportunity to evaluate critical interpretations of literature from the major schools of literary criticism. To provide independent research opportunity as a means of allowing students the freedom to explore and evaluate current literary theory. To engage in discussion with the text as students annotate, analyze and draw conclusions about the literature as they read.

9 DiSenso 9 Required texts: Cisneros, Sandra. The House on Mango Street. New York: Vintage Contemporaries, Eliot, T. S. The Waste Land and select poems ((handouts and selections in anthology)) Meyer, Michael. Ed. The Compact Bedford Introduction to Literature. 7 th ed. Bedford/St. Martin s: O Neill, Eugene. Long Day s Journey Into Night. New Haven: Yale U Press, Wilde, Oscar. The Importance of Being Earnest. Penguin, Select handouts as indicated in syllabus. Suggested Resource: MLA Handbook for Writers of Research Papers. 7 th ed. Modern Language Association of America, (on reserve at library) Class requirements: Your grade in this class will be determined by both your participation and written responses. Active participation indicates thoughtful reflection and interpretation of the texts. In addition, you will be participating in writing workshops in which you will be expected to constructively criticize and critique classmates essays. Your ability to function in this capacity is as critical as your ability to craft a well-written essay of your own. Other policies for this class are included in the attached syllabus for the Introduction to British Literature class. Syllabus: Finding Your Voice and Making It Heard: A Writer s Journey to Effective Expression I write because I do not know what I think until I read what I have to say (Flannery O Connor). January February Week 1 (1/31 2/4) Writing about Writing: Why and How We Write Grammar and writing assessment: What is your attitude toward writing? How do you feel when you sit down to write? How do you approach the process? What makes you feel good as a writer? What intimidates you? Orwell s Politics and the English Language and Lamott s Shitty First Drafts (handouts) Discussion topics include: Orwell s criticism of writing (and what constitutes bad writing); applying Orwell s criticism to typical academic or scholarly writing; applying Orwell s rules to our own writing; the benefits of writing a draft; how to write a draft. Essay Response: Respond to either essay in a 1 page paper of your own in which you select one of Orwell s or Lamott s assertions and either agree or disagree. You must defend your position with supporting evidence from the text.

10 DiSenso 10 Understanding the Writer s Voice: Identity and Our Place in the World Ne te quaesiveris extra (Ralph Waldo Emerson). Weeks 2 4 Women in Fiction (2/7 2/25) The Death of the Moth, Virginia Woolf (handout) Professions for Women, Virginia Woolf (handout) The Story of an Hour, Kate Chopin (anthology) Trifles, Susan Glaspell (anthology) Family, Identity, and Coming of Age Jing-Mei Woo: Two Kinds, and excerpt from The Joy Luck Club, Amy Tan (handout) Discussion and writing topics include: tone and point of view (and their impact in Tan s writing); family expectations and ambition v. personal ambition; mother/daughter relationships; literary techniques at work in the essay The House on Mango Street, Sandra Cisneros Discussion and writing topics include: bildungsroman genre; cultural identity; symbolism in Mango Street; cultural stigmas, barriers and boundaries; the portrayal of women; structure and connection to theme; point of view, purpose and tone; the house and its function in the vignettes; breaking through stereotypes; fairy tales and Mango Street Critical Perspectives on The House on Mango Street may include: Felicia J. Cruz, "On the 'Simplicity' of Sandra Cisneros's House on Mango Street" Beth L. Brunk, "En Otras Voces: Multiple Voices in Sandra Cisneros' The House on Mango Street" Andrea O Reilly Herrera, "'Chambers of Consciousness': Sandra Cisneros and the Development of the Self in the BIG House on Mango Street Martha Satz, Returning to One's House: An Interview with Sandra Cisneros Silent Dancing, Judith Ortiz Cofer (tentative) Discussion and writing topics include: transformations in Oriz s essay; structure; point of view; tone 2/21, 2/22 Presidents Day Holiday (No School)

11 DiSenso 11 Lost Identities: Illusion and Escape from Reality Illusion is the first of all pleasures (Oscar Wilde). I will show you fear in a handful of dust (T. S. Eliot). February March Weeks 5 6 T. S. Eliot Selections (2/28 3/11) The Hollow Men The Love Song of J. Alfred Prufrock (anthology) The Wasteland (Audio: T. S. Eliot reading his poem; with accompanying excerpts and teacher created reading guide to allusions including the opening of The Canterbury Tales, translations of foreign phrases, etc.) Selections may also include: The Perfect Critic ( Tradition and the Individual Talent ( Discussion and writing topics include: Modernism and Eliot s style (including stream of consciousness), symbolism, themes, imagery, use of allusions, etc. Writing as a Coping Mechanism: Facing Echoes of the Past I give you the original script of this play of old sorrow, written in tears and blood (Eugene O Neil in his dedication to Long Day s Journey Into Night). Week 7 8 The Writer s Voice in Autobiographical Fiction: (3/14 3/25) Long Day s Journey Into Night Critical analysis of Long Day s Journey Discussion and writing topics include: O Neill s dedication, the family unit, parallels between O Neill s life and his literature, conflict and development of theme, theme of escape, illusion v. reality, influence of setting on character, influence of the past, etc. Connections between previous readings and Long Day s Journey (including O Neill s dedication and purpose for writing and Esperanza s purpose of writing in Mango Street; autobiographical components of Cisneros and O Neill s writing) Critical responses to Long Day s Journey Critical response to scholarly articles on Long Day s Journey Excerpts from Long Day s Journey on film

12 DiSenso 12 Mixed Identities: Wilde s Earnest Portrayal of Modern Society The truth is rarely pure and never simple. Modern life would be very tedious if it were either, and modern literature a complete impossibility! (Oscar Wilde) March April Week 9 The Importance of Being Earnest: A Trivial Comedy for Serious People (3/28 4/1) Oscar Wilde and the Art of Satire Satire, Wilde s society and style, comedy of manners, background on Wilde and his era, Wilde s understanding of theatrical conventions Discussion and writing topics include: Understanding Wilde s criticisms of the world and society, his writing style, elements of satire in Earnest, use of irony, etc. Weeks (4/4 4/15) Short Story Selections & AP Review Readings include: A Rose for Emily, William Faulkner (anthology) Barn Burning, William Faulkner (anthology) The Minister s Black Veil, Nathaniel Hawthorne A Soldier s Home, Ernest Hemingway Distribution of final projects (due during senior exam week, date TBA) 4/20 4/22 (W F): Easter Break (No School) Week 13 (4/25 4/29) Easter Break (No School) May Week 14 AP Exams begin (5/2 5/6) AP Literature Exam Readings: TBA Week 15 Words, Words, Words (5/9 5/13) This week will feature informal student writing in response to the works read this semester. Students will share their responses with the class. Week 16 Senior Exam Week (5/ 24 5/28) Final projects due (More information about final projects will be distributed during the year.) ** Note that the discussion topics listed on this syllabus are subject to change.

13 DiSenso 13 AP Literature and Composition SJU: Introduction to British Literature, Introduction to College Writing An additional note for all students in this class: All students enrolled in AP English Literature and Composition must take the AP exam in May. The fee for this course is $86. Please bring payment with you to class by Wednesday, September 15. Early next week, Ms. Willis will be distributing information and registration forms for students who will be taking this class for St. John s University credit By signing this sheet, I indicate that I have read the expectations and policies for this class and that I understand and accept them. Student s name (print): Student s signature: Date: Parent or guardian signature: Date:

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