1 ENGLISH 450/550, The Romantic Age 2006 Winter Trimester Tuesday and Thursday 8:00 to 9:55 INSTRUCTOR: Dr. Rebecca Jordan OFFICE LOCATION: Third Floor Tatum Court OFFICE HOURS: Monday, 12:00 to 5:00; Tuesday and Thursday, 2:30 to 5:00 OFFICE TELEPHONE: 601 318.6150 HOME TELEPHONE: 601.545.8370 OFFICE E-MAIL: firstname.lastname@example.org TEXTS: Everyone purchases the following anthology: Damrosch, David, ed. The Longman Anthology of British Literature: The Romantics and Their Contemporaries. New York: Longman, 2003. ISBN: 0.321.10578-6 Purchase only one of the following: Austin, Jane. Pride and Prejudice: A Norton Critical Edition. ISBN: 0-393-97604-1 Bronte, Charlotte. Jane Eyre: A Norton Critical Edition. ISBN: 0-393-97542-8 Shelly, Mary. Frankenstein: A Norton Critical Edition. ISBN: 0-393-96458-2 CATALOG DESCRIPTION: A study of British prose and poetry of the early 19th century. NATURE OF COURSE CONTENT: English 450/550 is a survey of Romantic literature. For the most part, we will be reading, discussing, and studying the works of the six major Romantic poets (Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats), but we will also examine some of the novels written during this period. I hope to devote most of our class periods to the critical discussion of a relatively few individual texts, but they will be works which, in the opinion of many critics and scholars, are absolutely central and essential to an understanding of the period. At the end of the course, I hope that you will have acquired a broad familiarity with the whole period and a deeper knowledge of some of its most important works; I also hope you will have identified and studied some of the period's major concerns and themes and acquired the background, the knowledge, and the critical tools to continue your study of the Romantic period. Finally, I hope you will acquire some sense of the relation (and importance) of the Romantic period and Romantic literature to our own time. SPECIFIC STUDENT LEARNING OUTCOMES: At the end of the trimester, students will be able To read and understand poetry, satire, the beginning of the novel, essays, journals, and letters during the Romantic Age as reflected in selected writings To engage in meaningful class discussions of selected writings To use writing as a means of learning and reflection To communicate acquired knowledge of the Romantic Age through formal writing—expository and creative CLASS PARTICIPATION: ENG 450 is an interactive class; therefore, you have a responsibility not only to yourself, but also to the class members to be at all class meetings on time and prepared for the class. Your presence, punctuality, preparation, and participation are crucial to success in this class. Be prepared to discuss reading assignments on the day they are due. Good participation--pertinent questions, constructive comments, observations, and contributions--enhances your grade. 2 ATTENDANCE: Successful completion of this course requires regular and prompt attendance. The catalog states that students must attend 75% of the class meetings in order to receive cr3dit for the course. Attendance will be taken at the beginning of class. All absences are counted the same. All absences are unexcused including those classes missed for adding the course late and classes missed due to college-related trips. Three tardies will count as one absence. If a student does come in late, the student is responsible for giving the instructor a sheet of notebook paper with his/her name, the date, and a statement of tardiness. Getting up to leave temporarily or early is not acceptable except with prior permission before class or in an extreme emergency. Two instances of leaving temporarily or early will equal one absence. Reading I.Ds or oral presentations missed because of tardiness or absence cannot be made up. Excessive tardies, leaving in the middle of class, and absences will affect one’s grade. CLASS DEMEANOR: Avoid eating/drinking during class Turn off pager and cell phones. Please do not leave class to answer cell phones. Avoid intimidating speech to students or faculty. Avoid conducting private conversations during class. ACADEMIC INTEGRITY: Consult the college’s policy regarding academic dishonesty in The Lance. Students are expected to uphold the Academic Honor Pledge signed on the first day of class. All incidents of academic dishonesty will be considered as the most serious offense, resulting in a grade of zero for the assignment and may (at the instructor’s discretion) result in immediate failure of the course and further actions according to college policy. STUDENTS WITH DISABILITIES: Students with disabilities who are protected by the Americans with Disabilities Act of 1990 and require special accommodations should contact MS Brenda Waldrip at 601.318.6188. CATASTROPHIC RELIEF PLAN: In case of a catastrophic event, the following procedures will be followed: In case of a closed campus with internet access, all courses will shift to Desire2Learn or e-mail delivery of assignments. In the case of a closed campus with no internet access, follow all syllabus directions for the completion of all course assignments. Completed assignments should be packaged in due date order for delivery to the campus once the campus has reopened. These assignments may also be sent by mail in care of your professor. FINAL GRADING SCALE: 93-100 = A 83-92 = B 73-82 = C 63-72 = D 3 CLASS REQUIREMENTS: 30 pts. Oral presentations and participation 10 pts. Literature circle participation Each person signs up for one literature circle participation group. Each group will be responsible for class discussions on designated literary selections. Each person must have thoroughly read the assigned material, reflected on it through writing, and researched aspects of the reading material. Each person must bring a copy of research material. Each person in the discussion group must contribute to a lively, informed, and interesting discussion of the assigned reading material. Being absent on a day scheduled for literature circle participation will result in a deduction of points. 10 pts. Perspective collaborative presentation Evidence of close reading, reflection, and understanding of the perspective section (2 pts.) Presentation or teaching of the perspective well organized, clear, and understandable to an audience who has not read the material (4 pts.) Effective use of audio visual aids to enhance the presentation: handouts and PowerPoint (3 pt.) Effective oral presentation: eye contact, effective uses of body, clear enunciation and pronunciation, volume loud enough, rate of speaking not too fast (1 pt. Oral presentations can not be made up due to absences. 10 pts. Novel collaborative presentation Evidence of close reading, reflection, and understanding of the novel (2 pts.) Presentation or teaching of the novel well organized, clear, and understandable to an audience who has not read the novel (4 pts.) Coverage of the plot, characters, theme Background and context or contemporary reviews and reactions (back of novel) Essays in criticism (back of novel) Multiple intelligence Effective use of audio visual aids to enhance the presentation: handouts and PowerPoint (3 pts.) Effective oral presentation: eye contact, effective uses of body, clear enunciation and pronunciation, volume loud enough, rate of speaking not too fast (1 pt.) Oral presentations can not be made up due to absences. 20 pts. Reading I.D’s (cannot be made-up due to absences or tardies) A quiz consisting of identifying quotes, symbols, or characters from assigned readings 20 pts. Final exam An essay exam on literature covered in literature circles, perspectives, and novels Absence from the final exam will result in a zero unless prior arrangements are made by the student. Makeup final exams are given only under special circumstances. 4 30 pts. Writing portfolio Write-ups Journal like writings completed in class or outside of class on perspective readings and coverage of a focused subject discussed in class Place your name and the date on the unlined, upper left hand corner of the notebook paper. Write the subject of the write-up on the first line(s). Using a pen, write on the subject for a minimum of one page. Do not skip every other line. Write on the back of the paper if necessary. However, do not use a second sheet of paper. Write-ups are not evaluated as formal writing is. Grammar and organization are not a consideration. I want to see what you have learned. Write-ups are like notes taken in class. o Pre-Write Ups Completed by literature circle group members only Consists of reflections on the reading assignment or questions regarding the reading Includes a significant quote (include page number) and an explanation of the context and significance of the quote A copy of research on the author or reading selection; only high academic quality—Proquest, project MUSE, Gale Literary Index JSTOR EBSCO, etc. No Cliff Notes, Pink Monkey, etc. Turned in on the day of discussion o Post Write Ups Completed by everyone in the class, including the literature circle discussion group Determine a topic sentence related to the reading and develop or develop a predetermined thesis sentence Turned in on the class day after discussion A tentative proposal in letter form of what the two components--literary analysis and multiple intelligence-- of your portfolio will be Literary analysis first draft A three to five page paper using three sources and dealing with a literary aspect of selection(s) covered in class—literature circle discussion, perspectives, or novels Your reading and reflection on class readings plus our class discussion will determine your interest and possible subject on which to write. Self response, peer, and professor responses using the William Carey University Writing Response Sheet. Portfolio letter of analysis and reflection Literary analysis final draft Multiple intelligence A creative response to the literary selection you used for your literary analysis (multiple intelligences) 5 SCHEDULE: WEEK 1 November 7 Syllabus discussion & class organization November 9 William Blake Biographical , 112 Literature Circle 1 Songs of Innocence Literature Circle 2 “The Lamb,” 1120 “The Chimney Sweeper,” 122 “Infant Joy,” 124 Songs of Experience Literature Circle 3 “Thy Tyger,” 129 “The Chimney Sweeper,” 130 “Infant Sorrow,” 133 The Marriage of Heaven and Hell, 135 Literature Circle 4 WEEK 2 November 14 Mary Wollstonecraft Biographical, 227 Literature Circle 2 A Vindication of the Rights of Woman, Introduction, 231 Literature Circle 3 A Vindication of the Rights of Woman, from Chapter 1, “The Rights and Involved Duties” Literature Circle 3 A Vindication of the Rights of Woman, from Chapter 2, “The Prevailing Opinion of a Sexual Character Discussed,” 237 Literature Circle 4 A Vindication of the Rights of Woman, from Chapter 3, “ The Same Subject Continued,” 249 Literature Circle 4 from Maria or The Wrongs of Woman, 257 Literature Circle 1 November 16 No Class WEEK 3 November 28 Perspective presentation 1, The Romantics and Their Contemporaries, 2-30 November 30 William Wordsworth Biographical, 336 Literature Circle 3 Preface to Lyrical Ballads (1800, 1802) 356 Literature Circle 4 “The Thorn,” 343 Literature Circle 1 “Michael,” 369 Literature Circle 1 from The Prelude, or Growth of a Poet’s Mind Literature Circle 2 “Book First, Introduction Childhood, and School Time,” 389-403 WEEK 4 December 5 Perspective presentation 2: The Rights of Man and the Revolution Controversy, 56-111 December 7 Samuel Taylor Coleridge Biographical, 520 Literature Circle 4 The Rime of the Ancyent Marinere (1798), 528-543 Literature Circle 1 Christabel, 547-562 Literature Circle 2 Biographia Literaria, 570-582 Literature Circle 3 WEEK 5 December 12 Perspective presentation 3: The Abolition of Slavery and the Slave Trade, 159-213 December 14 George Gordon, Lord Byron Biographical, 600 Literature Circle 1 from Childe Harold’s Pilgrimage, Canto 3, 654 Literature Circle 2 from Don Juan, Canto 1, 672 Literature Circle 3 from Don Juan, Canto 2, 717 Literature Circle 4 6 WEEK 6 December 19 Perspective presentation 4: The Wollstonecraft Controversy and the Rights of Women, 269-308 January 4 Percy Bysshe Shelley Biographical, 752 Literature Circle 2 From “A Defence of Poetry,” 800 Literature Circle 3 “Mount Blanc,” 754 Literature Circle 4 “Ozmandias,” 760 Literature Circle 4 “Sonnet: England in 1819,” 761 Literature Circle 1 “Ode to the West Wind,” 771 Literature Circle 1 WEEK 7 January 9 Perspective presentation 5: The Sublime, the Beautiful, and the Picturesque, 496-519 January 11 John Keats Biographical, 852 Literature Circle 3 “On First Looking into Chapman’s Homer,” 854 Literature Circle 4 “Ode to a Nightingale,” 879 Literature Circle 4 “Ode on a Grecian Urn,” 882 Literature Circle 1 “To Autumn,” 886 Literature Circle 1 “The Eve of St Agnes,” 865 Literature Circle 2 WEEK 8 January 16 Literary analysis and multiple intelligence proposal due Perspective presentation 6: Popular Prose and the Problems of Authorship, 916-1006 WEEK 8 January 18 Anna Laetitia Barbauld Literature Circle 1 Biographical, 31 “Eighteen Hundred and Eleven,” 37 Charlotte Smith Literature Circle 2 Biographical, 49 “To Melancholy,” 50 Mary Robinson Literature Circle 3 Biographical, 214 From Sappho and Phaon, 217 Dorothy Wordsworth Literature Circle 4 Biographical, 465 “Grasmere—a Fragment,” 467 from The Grasmere Journals, 478 WEEK 9 January 23 Collaborative novel presentation: Pride and Prejudice January 25 Collaborative novel presentation: Jane Eyre WEEK 10 January 30 Collaborative novel presentation: Frankenstein February 1 Final exam WEEK 11 Writing portfolio due Oral presentation of literary analysis paper and multiple intelligence Final exam results 7 ENG 450, The Romantic Age NAME________________________________________________________________________________________ (Last Name) (Middle Name) (First Name) Home Telephone Number___________________________Work Telephone Number___________________________ E-mail Address___________________________________________________________________________________ Address:_____________________________________________________________________ _____________________________________________________________________ Major:__________________________________Minor:_____________________________ _______________Reading I.D’s (20 pts.) _______________Oral presentation/participation (30 pts.) _____________Literature circles preparation and participation (10 pts.) _____________Perspective collaborative presentation (10 pts.) _____________Novel collaborative presentation (10 pts.) _______________Final Exam (20pts.) _______________Writing portfolio (30 pts.) ______________Total ________Final grade __________Absences Week 1 Week 6 ______Tuesday, November 7 ______Tuesday, December 19 ______Thursday, November 9 ______Thursday, January 14 Week 2 Week 7 ______Tuesday, November 14 ______Tuesday, January 9 ______Thursday, November 16 ______Thursday, January 11 Week 3 Week 8 ______Tuesday, November 28 ______Tuesday, January 16 ______Thursday, November 30 ______Thursday, January 18 Week 4 Week 9 ______ Tuesday, December 5 ______Tuesday, January 23 ______ Thursday, December 7 ______Thursday, January 25 Week 5 Week 10 _______Tuesday, December 12 `______Tuesday, January 30 _______Thursday, December 14 ______Thursday, February 1 8 LITERATURE CIRCLES Sign up for one literature circle group. Put your name, telephone number, and e-mail address. GROUP 1 1. ____________________________________________________________________________________ 2. ___________________________________________________________________________________ 3. ____________________________________________________________________________________ 4. ____________________________________________________________________________________ GROUP 2 1.____________________________________________________________________________________ 2. ___________________________________________________________________________________ 3. ____________________________________________________________________________________ GROUP 3 1.____________________________________________________________________________________ 2. ___________________________________________________________________________________ 3. ____________________________________________________________________________________ GROUP 4 1.____________________________________________________________________________________ 2. ___________________________________________________________________________________ 3. ____________________________________________________________________________________ 9 Perspective Collaborative Presentations: Put your name, telephone number, and e-mail address. Perspective 1: The Romantics and Their Contemporaries 1.____________________________________________________________________________________ 2.____________________________________________________________________________________ Perspective 2: The Rights of Man and the Revolution Controversy 1.____________________________________________________________________________________ 2.____________________________________________________________________________________ Perspective 3: The Abolition of Slavery and the Slave Trade 1.____________________________________________________________________________________ 2.____________________________________________________________________________________ Perspective 4: The Wollstonecraft Controversy and the Rights of Women 1.____________________________________________________________________________________ 2.____________________________________________________________________________________ Perspective 5: The Sublime, the Beautiful, and the Picturesque 1.____________________________________________________________________________________ 2.____________________________________________________________________________________ Perspective 6: Popular Prose and the Problems of Authorship 1.____________________________________________________________________________________ 2.____________________________________________________________________________________ 3.____________________________________________________________________________________ 10 COLLABORATIVE NOVEL PRESENTATION Sign up for one collaborative novel presentation. Put your name, telephone number, and e-mail address. Jane Austin’s Pride and Prejudice 1.___________________________________________________________________________________ 2.___________________________________________________________________________________ 3.__________________________________________________________________________________ 4. .__________________________________________________________________________________ 5. .__________________________________________________________________________________ Charlotte Bronte’s Jane Eyre 1.___________________________________________________________________________________ 2. ___________________________________________________________________________________ 3.__________________________________________________________________________________ 4. .__________________________________________________________________________________ Mary Shelly’s Frankenstein 1.___________________________________________________________________________________ 2.___________________________________________________________________________________ 3.__________________________________________________________________________________ 4. .__________________________________________________________________________________ 11 Perspective Collaborative Presentation (10 pts.) NAME____________________________________________SCORE______________ Evidence of close reading, reflection, and understanding of the perspective section (2 pts.) Presentation or teaching of the perspective well organized, clear, and understandable to an audience who has not read the material (4 pts.) Effective use of audio visual aids to enhance the presentation: handouts and/or PowerPoint (3 pt.) Effective oral presentation: eye contact, effective uses of body, clear enunciation and pronunciation, volume loud enough, rate of speaking not too fast (1 pt. Oral presentations can not be made up due to absences or tardies. Novel Collaborative Presentation (10 pts.) NAME_____________________________________________SCORE_____________ Evidence of close reading, reflection, and understanding of the novel (2 pts.) Presentation or teaching of the novel well organized, clear, and understandable to an audience who has not read the novel (4 pts.) Coverage of the plot, characters, theme Background and context or contemporary reviews and reactions (back of novel) Essays in criticism (back of novel) Multiple intelligence Effective use of audio visual aids to enhance the presentation: handouts and/or PowerPoint (3 pts.) Effective oral presentation: eye contact, effective uses of body, clear enunciation and pronunciation, volume loud enough, rate of speaking not too fast (1 pt.) Oral presentations can not be made up due to absences or tardies. 12 Hattiesburg, MS 39401 January 16, 2007 Dr. Rebecca Jordan William Carey College 498 Tuscan Avenue Hattiesburg, MS 39401 Dear Dr. Jordan: Paragraph 1: Identify the piece(s) of literature to be covered in your literary analysis and multiple intelligence. Express your personal response to the literature and author. Explain why the topic was chosen, what you hope to gain from an in-depth look into this area, etc. Indicate your tentative thesis for your literary analysis—your opinion, conclusion, assertion, or hypothesis. Discuss what you presently envision the content for your literary analysis to be—maybe the tentative organization of the literary analysis essay. Paragraph 2: Explain which multiple intelligence project you plan to complete, giving as much detail and explanation as possible at this planning stage Paragraph 3: Discuss your process for completing the assignments--completing your research, drafting your paper, completing the multiple intelligences project, etc. Sincerely, (Your signature) Bill Smith 13 WILLIAM CAREY UNIVERSITY WRITING RESPONSE SHEET WRITER___________________________________________________________________________________________________ PEER or PROFESSOR READER______________________________________________________________________________ ORGANIZATION AND DEVELOPMENT Self Peer/ Professor Y/N Y/N The title attracts attention and gives a forecast of the subject matter of the essay. Y/N Y/N The essay demonstrates that the writer understood his/her purpose, audience, and occasion HB 32a Y/N Y/N The thesis statement asserts one clearly focused idea/opinion. HB 32c Y/N Y/N The essay has adequate details, examples, and/or illustrations to support the thesis sentence. HB 31c Y/N Y/N The introduction/lead-in entices readers to read on. HB 33b(1) Y/N Y/N Clearly arranged ideas and effective transitions foster the essay's coherence. HB 32b Y/N Y/N All sentences and paragraphs develop or add to the thesis sentence? (Unity) HB 31a Y/N Y/N The concluding paragraph provides a suitable ending for the essay. HB 33b(2) WORD CHOICE, SENTENCE STYLE, AND STRUCTURE Y/N Y/N The essay consists of accurate and precise word choice that conveys meaning effectively. The paper presents ideas with depth, stylistic force (the imaginative use of language), and a spark of creativity. HB20 Y/N Y/N The essay expresses information in a concise style, avoiding wordiness and needless repetition. HB21 Y/N Y/N The sentences reflect variety—simple, compound, complex sentences. The sentences also reflect variety by using grammatical constructions other than the subject to begin sentences. HB30 Y/N Y/N The essay contains a rhetorically effective use of active and passive voice. Forceful verbs make sentences more emphatic. The active voice is more emphatic than passive voice. PASSIVE VOICE: The race was won by Sylvia. ACTIVE VOICE: Sylvia won the race. HB29d Y/N Y/N The essay contains a rhetorically effective use of verbs. Forceful linking verbs are more emphatic than forms of have or be (be, am, is, are, was, were, been, being). WORDINESS DUE TO VERB: Rain is symbolic of death in this novel. REVISED: Rain symbolizes death in this novel. HB29d Y/N Y/N The essay contains a rhetorically effective use of the “dummy subjects” it and there. DUMMY SUBJECT: There are several good reasons he dropped out of school. REVISED: He dropped out of school for several good reasons. DUMMY SUBJECT: It is important for a student to remember to apply for spring graduation. REVISED: A student must remember to apply for spring graduation HB21a(3) MECHANICS AND USAGE Y/N Y/N The essay avoids comma splices. (COMMA SPLICE: I ran over some broken glass, it did not puncture my tires. COMMA SPLICE CORRECTIONS: (1) I ran over some broken glass; it did not puncture my tires. (2) I ran over some broken glass, but it did not puncture my tires. (3) I ran over some broken glass. It did not puncture my tires. (4) I ran over some broken glass; however, it did not puncture my tires. (5) Although I ran over some broken glass, it did not puncture my tires. HB3 Y/N Y/N The essay avoids fused or run-on sentences. (FUSED OR RUN-ON SENTENCE: I ran over some glass it did not puncture my tires. FUSED OR RUN-ON SENTENCES CORRECTION: (1) I ran over some broken glass; it did not puncture my tires. (2) I ran over some broken glass, but it did not puncture my tires. (3) I ran over some broken glass. It did not puncture my tires. (4) I ran over some broken glass; however, it did not puncture my tires. (5) Although I ran over some broken glass, it did not puncture my tires. HB3 Y/N Y/N The essay is free of unacceptable fragments. (FRAGMENT: At Liz’s most recent wedding, the photographer used an instant camera. Because her marriages break up so fast. CORRECTION: Because her marriages break up so fast, the photographer used an instant camera at Liz’s most recent wedding.) HB2 14 Y/N Y/N Each verb agrees with its subject. (The actions of the new senator hasn’t [should be haven’t] been consistent with his campaign promises.) HB6a Y/N Y/N The essay is free of wrong verb forms. (I seen him yesterday. CORRECTION: I saw him yesterday.) HB7a Y/N Y/N The essay is free of pronoun agreement errors. (To get a temperamental actress to sign a contract, the director would lock them [should be her]in their dressing room.) HB6b Y/N Y/N The essay correctly uses pronoun case. (She gave the dinner for Mother and I. CORRECTION: She gave the dinner for Mother and me.) HB5 Y/N Y/N The essay avoids dangling modifiers. (Slamming on the brakes, the car skidded. CORRECTION: After he slammed on the brakes, the car skidded.) HB25b Y/N Y/N The essay is free of misspelled words. The essay correctly used words such as affect/effect, it’s/its,there/their, to/too/two. HB18 Y/N Y/N The essay correctly sets off with a comma an introductory phrase or clause. (After we had finished our laundry, we discovered one sock was missing.) HB12b Y/N Y/N The essay correctly uses a comma to separate two independent clauses joined by a coordinating conjunction. (You can bury your savings in the backyard, but don’t expect Mother Nature to pay interest). HB12a Y/N Y/N The essay avoids unnecessary, misplaced, or omitted commas or other marks of punctuation. For example, a writer should avoid placing a comma between a subject and verb or before a coordinating conjunction connecting two verbs, two adjectives, or two nouns. HB13 Y/N Y/N The essay uses capital letters correctly: proper names; their abbreviations and acronyms; titles of persons before their names; titles and subtitles of books, plays, essays, and other titled works; the pronoun I and the interjection O; the first word of sentences and of directly quoted speech, etc. The essay also avoids unnecessary capitals. HB9 Y/N Y/N The essay correctly uses the apostrophe for showing possession for nouns and indefinite pronouns, contractions and numbers, and plurals formed with an apostrophe; the essay also avoids the misuse of the apostrophe with personal pronouns. HB15 Y/N Y/N The essay is free of any garbled or incoherent or inconsistent sentence of any kind due to the combination of unrelated ideas, mixed constructions, faulty predication, or shifts in grammatical structure, tone, style, or viewpoint. (Did it ever occur to you of the enormous waste involved in our public economy?) HB23 MANUSCRIPT FORM Y/N Y/N The writer includes a correct title page if the paper is more than eight pages; and if the paper is less than eight pages, the writer’s name, Dr. Jordan, ENG ____, and the date are doubled spaced in the upper left hand corner of the paper. HB40b, pages 633-644 Y/N Y/N The writer uses a running head—name page number (Smith 1). HB40b, page 635 Y/N Y/N Borrowed material is either quoted, summarized, or paraphrased and is appropriately cited with in- text citations. HB40b Y/N Y/N The writer avoids just putting quotation marks around the material without blending or correctly introducing. HB40b Y/N Y/N The writer avoids stitching together quotes and summaries and instead uses sources as supporting material for his/her ideas. HB40b Y/N Y/N In-text citations follow correct MLA format. HB40b Y/N Y/N The works cited page correctly uses MLA format. HB40b 15 ENG 450, The Romantic Age Portfolio Letter of Analysis and Reflection Write this letter last, after you have completed revising and editing the literary analysis and the multi intelligence. Begin the letter with the salutation: Dear Reader. Despite the fact that I am your reader, I want you to consider the "reader" as someone who is not familiar with your work in this course from week to week as I have been. In writing each of the following sections, compose general statements of observation and analysis and support them with specific examples from your written text or from your personal experience. (1) MY DEVELOPMENT AS A WRITER DURING THE PORTFOLIO: Describe your development as a writer as you have prepared this portfolio, including the challenges of the course, your strategies for completing the course work, what you got good at, and what you still need to work on. (2) MY WRITING STRENGTHS AND WEAKNESSES: Describe the strengths and weaknesses of your writing in this portfolio. Describe exactly how you revised your literary analysis after self, peer, and professor response. (3) WRITING AND ME: Explain where writing fits into your education and your view of yourself. (4) WRITER SELF-ASSESSMENT: First, using the criteria on the next page, assess your writing portfolio as a WRITTEN TEXT. In your discussion demonstrate the level of performance in your written text by pointing to examples in your text. Second, evaluate your writing process, specifying what aspects of the process you developed this term. Finally, assign a grade—20, 19, 17, etc. for your writing portfolio, based on your assessment and the criteria. 16 ENG 450 Portfolio Scoring Guide (30) NAME_____________________________________________________________________________ SCORE: portfolio completion (5 pts.)______ + holistic score (1-25 pts.)___________ = __________ The following section must be in a loose leaf notebook with tabbed dividers for each bullet. 8 Pre-write ups 14 Post write ups Perspective presentation handouts Novel presentation handouts Typed essay/multiple intelligence proposal Typed first draft of literary analysis with 3 sources Self William Carey University Response sheet Peer(s) William Carey University Response sheet Professor William Carey University Response sheet Final typed draft of literary analysis Multi intelligence Portfolio letter of analysis and reflection The portfolio contents will be read holistically and given a single comprehensive score from 1 to 25: 20-25 A portfolio that is EXCELLENT in overall quality. The portfolio contains all components and is substantial in content and mature in style. It demonstrates ability to handle varied prose tasks--(1) expressive writing in the pre and post write ups and presentation handouts, (2) formal or expository writing in the literary analysis, and (3) creative writing in the multi intelligence. The excellent portfolio uses language effectively and creatively. Voice tends to be strong, and there is a clear sense of audience and context. Often there is a close connection between the writer's sense of self and the writing and a sense of thematic unity with the separate portfolio pieces. An excellent portfolio takes risks that work--either in content of form--and challenges the reader by trying something new or presenting traditional material in an interesting and effective manner. 14-19 A portfolio that is GOOD in overall quality. The portfolio contains all parts. A good portfolio suggests the excellence that the 20 to 25 portfolio demonstrates. The writing is competent both in content and style. There are more strengths than weaknesses, but here may be an unevenness of quality or underdevelopment in some of the pieces. The reader may want "more" to be fully convinced of the writer's ability to handle varied prose tasks successfully and to use language effectively. There is a sense of audience and context, but some of the writing may seem formulaic or lack strong voice. There tend to be minimal risk- taking or originality. 8-13 A portfolio that is FAIR in overall quality. The portfolio contains all parts. It suggests the competence that a good portfolio demonstrates. Strengths and weaknesses tend to be evenly balanced--either within or among the types of writing. One or more of the types of writing may be too brief or underdeveloped. There is some evidence of the writer's ability to handle varied prose tasks successfully and to use language effectively, but it is offset by recurring problems in content, style, or grammar. An 8 to 13 portfolio often lacks a clear sense of audience, a thematic unity among the various pieces of writing, and a distinctive voice. 1-7 A portfolio that is POOR/BELOW AVERAGE in overall quality. One or more of the component parts may be missing. It does not suggest the writing competence that a fair portfolio does. Weaknesses clearly predominate over strengths. The writing may be clear, focused, and error-free, but is usually thin in substance and undistinguished in style. Some of the types of writing may be either short and undeveloped or abstract and vague. Moreover, the writer rarely takes risks, relying instead on formulas and clichés. There is little evidence of the writer's ability to handle varied prose tasks successfully. The few strengths of a 1 to 7 portfolio are more than overbalanced by significant weaknesses. The portfolio seems to have been put together with very little time and thought. 17 ENG 450, The Romantic Age, Final Exam (2004 winter) Answer three questions. Answer one question from Class Readings, the one question from Perspectives, and one question from Novels. Answer one question per blue book (you may use additional blue books if necessary). Put your name and the number of the question on the front of the blue book. Skip every other line, and write on the front and back. When finished with the final exam, turn in the blue books and this final exam. You may write on this exam—making notes or an outline. Each question will be evaluated according to the following criteria: _______1. Demonstrating reading and understanding of the selections (6) _______2. Clarity and organization (7) _______3. Details, facts and illustrations to support general statements (10) _______4. Use of the appropriate tone for the specified audience addressed and avoidance of a pattern of grammatical errors (10) Class Readings 1. Discuss Blake’s doctrine of contraries as seen in his poetry. 2. Discuss aspects of A Vindication of the Rights of Women and Maria that illustrate Wollstonecraft’s trenchant critique of the ideologies of gender: the view of women’s subordination as a universal fact of nature, of human history, of rational philosophy, and divine ordination. 3. Establish the characteristics of William Wordsworth’s poetry using the “Preface to The Lyrical Ballads” and discuss how these characteristic are demonstrated in his poetry. 4. Discuss the astonishing variety and inventiveness of Samuel Taylor Coleridge’s poetry from the romantic witchery of The Rhyme of the Ancient Mariner and Christabel to the personal, descriptive, quietly meditative conversation poems such as “The Eolian Harp” and “Frost and Midnight.” 5. Byron’s life, Childe Harold Cantos 3 and 4, and Don Juan all represent Byron’s life-long search for a definitive hero. His Byronic hero was a proud, despairing, defiant, guilty rebel who resisted any institutional or moral system that threatens to rob the self of its autonomy, centrality, and independence. Discuss the Byronic hero as seen in Childe Harold, Cantos 3 and 4 and Don Juan. 6. Explain Shelly’s definition of the moral and social functions of poetry from “A Defense of Poetry” and discuss how these moral and social functions are reflected in three of the following: “Mount Blanc,” “Ozmandias,” “Sonnet: England in 1819,” “Ode to the West Wind,” and “To a Skylark.” 7. One of the themes of John Keats’ poetry is that the tragedy of the human condition—the dichotomy of pain and pleasure—can be borne or endured through a world of vision (imagination) represented by art or nature. Discuss Keats’ exploration of this theme through two of his poems. Include in your analysis his use of negative capability, “the camelion poet,” and an objective correlative. 8. The Romantic Age: Discuss the intimate self-revelation and the direct expressions of strong personal emotion found in romantic poetry and illustrate with a discussion of two to three poems. 18 Perspectives The Romantics and Their Contemporaries The Rights of Man and the Revolution Controversy The Abolition of Slavery and the Slave Trade The Wollstonecraft Controversy and the Rights of Women The Sublime, the Beautiful, and the Picturesque Popular Prose and the Problems of Authorship 9. A nation’s literature reflects the frame of mind and events of a particular time period. Using two of the six Perspectives in The Longman Anthology of British Literature: The Romantic Age, characterize the Romantic Period. Use a minimum of three authors and their writings on the subject matter to support your thesis sentence. A sample thesis sentence could be the following: The writings surrounding the French Revolution and slavery help to characterize the Romantic Period. Novels 10. For the novel you read, list three to five episodes or events that make up the plot of the novel. Then write a diary entry in the voice of a character explaining why he or she behaved as he or she did in one of the episodes. 11. We can often see why a text works as it does by contrasting it with alternatives. Examine the way a novel ended. If it ends happily, imagine how it could have ended less happily. If it ends tragically, imagine how it could have ended happily. Write a new ending for either the novel in which you imagine a conclusion that is exactly the opposite of what the author has provided. Indicate the work you are revising. After the revision of the ending, explain whether you think the revision works better or the original ending works better. . 12. When we write letters and talk to people we know, we most often listen carefully and then answer the story our friend has told us with a comparable story of our own. Imagine that one of the characters from one of the novels we studied has written you a letter describing things that has happened to him or her in the course of the story. In your letter to the character, describe something in your own life that is similar to the story you have just read. You could make this realistic or fictionalize your answer. You'll write two letters--one from the fictional character to you--and a fictional or realistic-based letter from you to the character from the novel. 13. For the novel you read, select a character and write a characterization. For your thesis sentence, state the main character trait and explain this character trait through details from the novel such as a description of the character’s appearance, a description of the character’s actions, what others say about the character, and/or how others react to the character. 14. For the novel you read, state a theme for your thesis sentence, and in your essay demonstrate with details from the novel how the theme is developed. 15. For the novel you read, interpret the novel from a particular critical perspective: feminist, Marxist, psychoanalytical, cultural, historical, etc.
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