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1 Dr. Maria Bates / English 102, Section 0516, Thursdays from 12:45-3:55, JNPR/ Sp Phone: / batesmt@piercecollege.edu / Office Location: FO 2205 Office Hours: M-TR, 1 hour before class (in FO 2205) / 30 minutes after class and by appt. Website: M Y CANVAS A VATAR CANVAS: Helpful links, additional texts for essays, and supplemental handouts available STUDENT LEARNING OUTCOMES: After successful completion of English 102, students will be able to analyze the aesthetic, structural, rhetorical, and thematic elements of poetry, fiction, and drama. They will also complete a variety of writing assignments, from short answers to multi-page research projects, by applying the concepts of critical thinking. REQUIRED TEXTS and SUPPLIES: 1. Robert Di Yanni, Literature: Approaches to Fiction, Poetry, and Drama, 2 nd ed. ASIN: B00DU7QO28; ISBN-10: ; ISBN-13: Short Shorts, Irving Howe ISBN-10: I Am Malala (available in bookstore) 4. English 102: Handouts (available in bookstore) 5. 4 large (8.5 x 11) green books for in-class essays 6. A three pronged, flexible folder for Critical Responses 7. 2 Black dry erase markers (you will need them for every class) REQUIRED WORK AND GRADING SCALE: DI Y ANNI TEXT Essay 1: 20% Essay 2: Midterm 20% Weekly Critical Response: 10% Essay 3: 20% Essay 4: [Final] 20% One Book-One Campus Events/Presentation 10% SEMESTER GRADING SCALE: A B C D 59-0 F Additional Guidelines: Plagiarism will result in failing the assignment. Please be courteous: Put cell phones on vibrate and put technology away. Save all drafts and all classwork in a folder; keep a copy of everything you submit. No incompletes If you have a disability, you are encouraged to contact Special Services at (818) and to please see me. Important: For any absentee days, you are responsible for retrieving the work from a peer in this class; for this reason, it is your responsibility to get the numbers of at least three classmates. If you cannot complete this course, then you are responsible for dropping it. 1

2 CALENDAR As the course progresses, schedule may be updated. ALWAYS bring your Approaches to Literature AL, Short Shorts [SS] and English 102 Handouts [HO] to class 2/9 Introduction to English 102; literal vs. symbolic; feminist criticism; writing sample Your contact info a) Read: Feminist Critical Perspectives AL 1573; Williams, Use of Force, [SS], Cisneros, Barbie-Q & Writing AL 339; Theme AL 90; irony and symbol AL 97 Sample 2/16 Feminist Criticism; Semantic Mapping for analysis; how to write a critical response a) class texts Homework : a) Read for your FEMINIST Critical Response/Essay: Faulkner, A Rose for Emily AL 79*; Boyle, Astronomer s Wife AL 62*; Gilman, The Yellow Wall Paper AL 379*; Mason, Shiloh, AL 67* b) Read for class: The Beggar Woman of Larcano [SS] and Marxist Critical Perspectives AL 1571 c) CR: Using one of the starred (*) Feminist Perspective stories as your source, write a Critical Response; in your CR, respond to one of the questions in A Checklist of Feminist Critical Questions, AL /23 Marxist Criticism; close reading and analysis practice CR #1 a) Read for your MARXIST Critical Response/Essay: O Connor, Good Country People, AL 172*; O (Feminist Brien, The Things They Carried, AL 433*; Poe, The Fall of the House of Usher, AL 149* Criticism) b) Using one of the Marxist starred (*) stories as your source, write a Critical Response; in your CR, respond to one of the questions in A Checklist of Marxist Critical Questions AL1572 c) Read for class: Structuralist Perspectives AL 1582 and Tan, Rules of the Game AL 467 3/2 Structuralist Criticism; overview of Essay 1 CR #2 on Marxist Homework : a) Read for your Structuralist Critical Response/Essay: Hemingway, Hills like White Elephants AL 400*, Jhumpa Lahiri, Hell-Heaven, AL 243* ; Aesop, The Wolf and the Mastiff AL 43* Criticism b) Read for class: Cultural Studies Perspectives AL 1588; Paz, The Blue Bouquet [SS] 3/9 Cultural Criticism; close reading practice for Essay 1 Please use a) Select the critical response that you will turn into a formal essay this time to revise any b) Using one of the starred (*) Structuralist stories as your source, write a Critical Response; in your CR, respond to question #1 from A Checklist of Structuralist Critical Questions AL 1585 CWs and catch up on your readings c) Read for your Cultural Criticism Response/Essay: Borges, The Garden of Forking Paths AL 263*; Jen, Who s Irish? AL 235*; Hawthorne, Young Goodman Brown AL 391*; Petronous, The Widow of Ephesus AL 44.* d) Dream Journal (Informally jot down your dreams; keep it next to your bedside) 3/16 Cultural Criticism; Thesis writing for Essay 1; Close Reading, Essay 1 CR #3 for a) Using one of the Cultural Criticism starred stories, respond to one of the questions in A Checklist Structuralism of Cultural Critical Questions, AL 1590 b) Read for class: Psychological Criticism/Psychoanalytical Criticism, AL 1568; O Connor, My Oedipus Complex (CHECK MOODLE for story) c) Read for your Psychoanalytical Critical Response: Poe, The Black Cat AL 137*; Lawrence, The Rocking Horse Winner AL 100* d) Dream Journal 3/23 Psychoanalytical Criticism; Freudian analysis of your dream; rubric for essay CR #4 on Cultural Criticism; dream a) Complete Essay 1 [put rubric on top and staple securely] journal b) CR on Psychological Criticism; in your CR, respond to Question #4 from A Checklist of Psychological Critical Questions AL c) Two 8.5 x 11 green books 2

3 3/30 amd 4/6 HOLIDAY 4/13 MIDTERM a) Two 8.5 x 11 Green Books; b) Essay 1 (and prior drafts); place critical response rubric on top Homework (due after Spring Break): a) Shakespeare s Romeo and Juliet, entire play b) All Critical Responses #1-5 (place in a folder) 4/20 Introduction to Novel; close reading/analysis a) All Critical Responses #1-5 [including Psychoanalytical Critical Response #5]. Secure CRs to a folder and place rubric on top Prepare for Presentation 4/27 Preparation for Presentation a) Prepare for group presentations; b) Critical Response #6: Using the assigned novel as your source, select ANY critical checklist question to answer; c) NOTE: It is very important that you begin reading the following poetry so you will be prepared to write your final essay. Figures of Speech, AL 530; Lawrence, Snake AL 821*; Heaney, Digging AL 806*; Cineros, Pumpkin Eater, AL 778*; Plath, Blackberrying AL 836*; Hall, My Son, My Executioner AL 802*; d) Poetry Notes (due at the end of our poetry unit). 5/4 Student Presentations a) Rubric for presentation b) CR #6 on assigned Novel c) Presentation materials a) Read for Essay #3: Plath, Metaphors AL 837* b) Read for class: Reader-Response Perspectives 1597; Yeats, When You are Old 832; Hughes, Dream Deferred AL 705, Mother to Son AL 706, I, Too, AL 708; Frost, The Road not Taken AL 539; Browning, How Do I Love Thee? AL 776; Bishop, One Art AL 767; Cullen, Incident AL 785; Donne, Death be not Proud AL 790; Housman, When I was one-and-twenty AL 811; Newton, Amazing Grace AL 618; Hayden, Those Winter Sundays AL 496 5/11 Essay #3; Introduction to Poetry; Reader s Response Theory and Formalism a) Poetry Notes (first check) a) Read for class: Formalist Perspectives, AL 1585; Brooks, We real Cool AL 775; Williams, The Red Wheelbarrow AL 563; Cummings, l (a AL 567; Dickinson, I m Wife, AL 634; Roetheke, My Papa s Waltz AL 505; Browning, My Last Duchess, AL 512; b) Read for Critical Writing/Essay: MacLiesh, Ars Poetica AL 825; Olds, 35/10 AL 832*; Hughes, This is a Photograph * 835;* Hass, Mediation at Languintas 852;* Graves, Symptoms of Love 631.* b) Draft 1, Essay #3 5/18 Formalist Criticism / Deconstruction Draft 1 of Essay 3 a) Read for class: Deconstructive Perspectives, pages ; Blake, Clod and Pebble, AL ; Garden of Love AL 771; Donne, Death be not Proud AL 790 b) Read for your Critical Response on Deconstruction: Brooks, A Song in the Front Yard ; Hughes, Ballard of Landlord AL 716; Levertov, O Taste and See AL 570* c) CR: Using any of the starred poems assigned in the previous weeks, respond to any question from A Checklist of Formalist Critical Questions AL /25 Deconstruction CR #6 on Formalist Criticism a) Essay 3 with rubric on top; b) Self-Assessment c) Two 8.5 x 11 green books d) Critical Responses, 1-6 (rubric in HO). 6/1 Final (12:30-2:30) a) Essay 3 and all previous drafts; b) Self-Assessment; c) Two 8.5 x 11 green books; d) Critical Responses, 1-6 with rubric on top. e) extra credit (copy of your class notes) 3

4 WIFE OF BATH in GENERAL PROLOGUE, G. CHAUCER There was a housewife come from Bath, or near, Who- sad to say- was deaf in either ear. At making cloth she had so great a bent She bettered those of Ypres and even of Ghent. In all the parish there was no goodwife Should offering make before her, on my life; And if one did, indeed, so wroth was she It put her out of all her charity. Her kerchiefs were of finest weave and ground; I dare swear that they weighed a full ten pound Which, of a Sunday, she wore on her head. Her hose were of the choicest scarlet red, Close gartered, and her shoes were soft and new. Bold was her face, and fair, and red of hue. She'd been respectable throughout her life, With five churched husbands bringing joy and strife, Not counting other company in youth; But thereof there's no need to speak, in truth. Three times she'd journeyed to Jerusalem; And many a foreign stream she'd had to stem; At Rome she'd been, and she'd been in Boulogne, In Spain at Santiago, and at Cologne. She could tell much of wandering by the way: Gap-toothed was she, it is no lie to say. Upon an ambler easily she sat, Well wimpled, aye, and over all a hat As broad as is a buckler or a targe; A rug was tucked around her buttocks large, And on her feet a pair of sharpened spurs. In company well could she laugh her slurs. The remedies of love she knew, perchance, For of that art she'd learned the old, old dance. 4

5 WHAT IS A CRITICAL RESPONSE? A critical response helps hone your critical thinking and writing skills; it also familiarizes you with how to apply critical theory to analyze the significance of literary and poetic works. The good news is that a critical response replaces the need for a quiz; it helps you to actively read for significance; it also prepares you for the formal essays, the midterm, and the final. Nonetheless, these responses take time and effort. THE PROCESS: * First, select a starred text from the syllabus. (You may only use the starred texts for this assignment). Then use this starred text to respond to the literary theory questions from the Critical Checklists in Di Yanni. Our syllabus specifies the page number(s) to find these Critical Checklist questions. A new critical response on a different starred text and a different critical checklist question-- will be due each week. Please follow the FORMAT below: Name: Professor: Course: Critical Writing # Due Date: Text: Critical Framework: Author: 1. CRITICAL CHECKLIST Question from Di Yanni s Approaches to Literature: (See syllabus for page #) 2. Thesis statement: (Turn Critical Question into a statement that you answer) 3. Three examples/symbols/uses of diction to support your thesis: (Write out the complete quotation, even if you are only using a single word within it. UNDERLINE WORDS THAT YOU BELIEVE ARE SIGNIFICANT.) Ex. 1 Ex. 2 Ex Explanation of at least one example. (Take time to explain your quotation, word, idea, or diction. You may need additional examples to prove your point.) 5

6 EXAMPLE OF A CRITICAL RESPONSE (NOTE: Double space and type your response; this is single spaced to save paper). John Doe Dr. Bates English 102 Critical Response Due Date: September 15, 2014 Provide the due date of the CR Text: Jane Eyre Author: Charlotte Bronte Critical Framework/Type of Criticism: Feminism Provide name of text, author of text, and the type of criticism (such as Marxism, Structuralism, etc. al) Number #1 and label, Checklist Question 1. Checklist Question: Question #2: How are the relations between men and women, or those between members of the same sex, presented in the work? What roles do men and women assume and perform and with what consequences? (Approaches to Literature 1596). Number #2 and label, Thesis Statement write complete question from checklist 2. My thesis Statement: In Jane Eyre, Charlotte Bronte presents the relations between men and women as a patriarchic one; in such a relationship, men assume dominancy over women, but the consequences is that the women find means to rebel. While the main patriarch, Rochester, initially assumes the role as a master that subordinates Jane Eyre, Jane is nonetheless able to challenge this hierarchy and subsume the powerful Rochester under her control. This shift in power renders Rochester emasculate and relegated to the domestic sphere as a dependent; his downtrodden state becomes evident through symbols of his clothes, his physical body, and his physical position. turn question into a thesis Number#3 and label, Three examples 3. Three examples/symbols/uses of diction to support my thesis: Ex. 1 She put me in the redroom, where my uncle had died and told me I must be silent and docile, like a good little girl (56). Ex 2: I was a little outside myself, so to speak. I split into a dangerous duplicity. Ex 3: He was sitting now, blind, with long locks below his back and grizzled, long finger nails, an echo of his former self Reader, I married him (309). Provide complete quotation/parenthetical citation 4. My explanation of one example: Number #4 and label prompt In Charlotte Bronte s Jane Eyre, Rochester initially represents the male patriarch who owns a castle; he has the autonomy to come and go as he pleases and make declarations that others readily obey. His shift in power nonetheless becomes evident when Bertha, his entrapped wife, ruthlessly burns down his property, and by implication, desiccates the symbols of his manhood. After this brutal destruction, Rochester is curiously described through feminine, subservient imagery: Once a tall, stately figure who issues commands, she describes his deterioration thusly: He was sitting now, blind, with long locks below his back and grizzled, long finger nails, an echo of his former self (309. Literally, he has long finger nails, as if he were a woman, and even longer hair that falls below his back; at least physically and symbolically, he has become gendered feminine. Closely reads quotation or analyzes images, such as fingernails/hair Moreover, he is described as sitting, a position that not only places him physically below others, but also implies a state of passivity. Symbolically, Rochester has fallen in the patriarchy, becoming a dependent. This position of docility parallels Jane s own gendered situation. Recall, for instance, that Jane Eyre s feminine status is often described in terms of immobility, as she opens the novel with the statement of her entrapment: There was no possibility of taking a walk that day (1). She could not walk Due to external forces, just as Rochester can no longer walk without guidance. It is not surprising, then, that Jane Eyre ultimately calls Rochester her equal at the end of the novel. Closely reads sitting at a literal and symbolic level. Finally, Rochester is blind. This blindness is significant because he no longer has the power to even see the world; he must depend on Jane to interpret the world around him, as if he were a child rather than former patriarch in all his glory. He has lost his ability to command. Thus he becomes an echo of what he once was; significantly, an echo is a faded replica of an original voice, or powerful initial sound that dwindles into silence. Thus the word echo suggests that Rochester presence, his very voice, will be silent. Like Jane Eyre, Rochester becomes immobilized in society, and by implication, now able to identify with the restrictions and dependency of the female sex. Provides additional evidence to support point; closely reads quotation or explains words, such as echo. 6