English 1900A Introduction to Language and Literature

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					                                English 1900A
                   Introduction to Language and Literature
            Spring 2007 | Room TH333 | Tues, Thurs: 9:25 – 10:40 a.m.

Instructor:               Prof. Lance Semak
Office:                   TH 322
Office Telephone:         Please use email
Email:                    semalm@uleth.ca
Office Hours:             Tues. and Thurs., 12:30 – 1:30 p.m. or by appointment

Course Description:

This course will introduce students to university level research in literature.
Students will be required to critically respond to prose, drama and poetry in the
form of class discussion and essay writing. The course will cover effective
writing techniques, critical reading skills and critical thinking in the context of
literary studies.

Required Texts:

Booth, Alison, J. Paul Hunter and Kelly J. Mays. The Norton Introduction to
Literature. 9th ed. New York: W.W. Norton, 2005.

Steinbeck, John. The Grapes of Wrath. Penguin, 2002.

Vonnegut, Kurt. Breakfast of Champions. Delta, 1999.


Attendance and Participation                              10%
Pop quizzes and small assignments                         10%
First Paper (1200 words)                                  10%
Midterm                                                   20%
Second Paper (1800 words)                                 20%
Final Exam                                                30%


      Excellent                   Good               Satisfactory              Poor       Fail
 A+        A       A-      B+      B       B-     C+       C       C-     D+          D    F
100-97   96-92    91-87   86-82   81-78   77-74   73-70   69-66   65-62   61-58   57-50   49-0
          **Schedule is dependent on time and discussion and is subject to change**
DATE                                 READINGS                                  PAGES
Jan. 4       Introduction
Jan. 9

                1. Poetry Introduction & Interpretation                                  810
                2. Biographical Sketches: William C. Williams,                           808
                3. “T h e R e d W h e e l a rro w ”                                      926

                4.   Form Introduction & The Sonnet                                      1019-1025
                5.   Biographical Sketches: William Shakespeare, John Milton             1307,1304,
                6.           l                                   s
                     “S h a l I com p a re th e e to a sum m e r’ d a y”                 948
                7.                     d               i      s
                     “W h e n I co n si e r h o w m y lg h t i sp e n t”                 1028
                8.   “In th e P a rk” (H a rw o o d )                                    1031
Jan. 11         1.   Stanza Introduction                                                 1036
                2.   Biographical Sketches: E.E. Cummings, George Herbert                1297,1301
                3.             o l’
                     “B uffal B ils                                                      1044
                4.                 n
                     “E a ste r W i g s”                                                 1046

                5. Tone Introduction                                                     835
                6. Biographical Sketches: William Blake, Etheridge Knight,               1300, 1295
                   Thom Gunn                                                             1303
                7. “L o n d o n ” & A fte rw a rd                                        841-842
                8. “H a rd R o ck R e tu rn s to P ri n ...” & A fte rw a rd             840-841
                           m          a
                9. “In T i e of P l g u e & A fte rw a rd                                838-839
Jan. 16         1. Speaker Introduction                                                  861
                2. Biographical Sketches: William Wordsworth, Gwendolyn                  1309,794,
                   Brooks, Margaret Atwood                                               1295
                3. “S h e D w e l A m o n g th e . . .” & A fte rw a rd                  871-872
                4. “W e R e a l C o o l & A fte rw a rd                                  879-880
                5. “D e a th of a Y o u n g S o n . . .” & A fte rw a rd                 864-865
Jan. 18         1. Symbol Introduction                                                   955
                2. Biographical Sketches: Sharon Olds                                    1305
                           n                          n
                3. “L e n i g ra d C e m ete ry, W i te r of 1 9 4 1 ” & A fte rw a rd    956-957
                4. “A fte r a D e a th ” (B o rso n )                                    967

                1.   Metaphor and Simile Introduction                                    941
                2.   Biographical Sketches: David Ferry                                  1299
                3.                  s
                     “M y F a th e r’ G a rd e n ” & A fte rw a rd (W a g o n e r)       944-945
                4.                     ta ”
                     “A t th e H o sp i l                                                952
                5.                                l                              l
                     “T h e D e a th of th e B al T u rre t G u n n e r” (Ja rrel)       953
Jan. 23         1.   Grammar & Essay Writing
                2.   First paper assigned
Jan. 25
            PROSE FICTION

                1.   Plot Introduction                                                   66-67
                2.   James Baldwin Biographical Sketch                                   794
                3.              s u
                     “S o n n y’ B l e s”                                                91-113
Jan. 30         1.   Setting Introduction                                                219-221
                2.   Andrea Barrett Biographical Sketch                                  795
                3.             tto
                     “T h e L i ral Z o n e ”                                            221-227
                4.   Amy Tan Biographical Sketch                                         807
                5.            r
                     “A P ai of T i ckets”                                               236-249
Feb. 1      1.   Character introduction                                 150-155
            2.   Herman Melville Biographical Sketch                    804
            3.           e               ve
                 “B a rtl b y, th e S cri n e r”                        164-189
            4.      a            C             o         ca
                 F l n n e ry O ’ o n n o r B i g ra p h i l S ke tch   806
            5.                       s
                 “A G o o d M a n i H a rd to F i d ”n                  451-462
Feb. 6

            1.   Narration and Point of View Introduction               123-126
            2.   Edgar Allan Poe Biographical Sketch                    806
            3.                               la
                 “T h e C a sk of A m o ntil d o ”                      127-131
            4.   Ernest Hemingway Biographical Sketch                   801
            5.       l s ke          te e
                 “H il L i W hi E l p h a n ts”                         132-135
Feb. 8      1.   Symbol Introduction                                    262-264
            2.   Nathaniel Hawthorne Biographical Sketch                801
            3.   “Y o u n g G o o d m a n B ro w n ”                    264-273
            4.   Franz Kafka Biographical Sketch                        802
            5.   “A H u n g e r A rtist”                                274-279
Feb. 13     1.   Theme introduction                                     296-298
            2.   Charlotte P. Gilman Biographical Sketch                800
            3.               l         l
                 “T h e Y el o w W al p a p e r”                        667-678
Feb. 15

Feb. 20          **READING WEEK – NO CLASS**
Feb. 22          **READING WEEK – NO CLASS**
Feb. 27     1.   Kurt Vonnegut Handout
            2.   Breakfast of Champions
Mar. 1           Breakfast of Champions
Mar. 6           Breakfast of Champions
Mar. 8      1.   John Steinbeck handout
            2.   The Grapes of Wrath
Mar. 13          The Grapes of Wrath
Mar. 15          The Grapes of Wrath
Mar. 20     1.   Grammar and Essay writing
            2.   Second paper assigned


            3. Elements of Drama                                        1360-1370
            4. William Shakespeare                                      1683-1689
                     d              g s
            5. “A M i su m m e r N i h t’ D re am ”                     1690-1742
Mar. 22              d              g s
               “A M i su m m e r N i h t’ D re am ”
Mar. 27              d              g s
               “A M i su m m e r N i h t’ D re am ”
Mar. 29           l         d              g s
               F im : “A M i su m m e r N i ht’ D re a m ”
Apr. 3

                  l           d               g s
            1. F im : “A M i su m m e r N i ht’ D re a m ”
            2. Oscar Wilde Biographical Sketch                          2237
            3. The Life and times of Oscar Wilde
Apr. 5                                        n
               “T h e Im p o rta n ce of B e i g E a rn e st”           1879-1921
Apr. 10                                       n
               “T h e Im p o rta n ce of B ei g E a rn e st”
Apr. 12                                       n
            1. “T h e Im p o rta n ce of B e i g E a rn e st”
            2. Review for Final exam
Administrative Policies:

Attendance & Readings – You may attend class whenever you feel the need to
do so, but I would highly recommend coming as often as possible. If you choose
not to attend, you will find that your final grade will suffer due to missed quizzes
                            l so n                                          ci o
and assignments. Y o u w il al fi d tha t yo ur “a tte n da n ce a nd p arti p a ti n”
mark will be rather low. I take attendance everyday to reward those who attend
regularly. Readings in their entirety must be completed by the day indicated in
the readings schedule, and you will also be expected to provide critical
responses to the readings. Chronically late students will also be penalized.

Papers – Instruction on proper techniques and citation in the form of handouts
and lectures will be provided, but remember that this is NOT a composition
course. The prerequisite for this course, and acceptance into this university, for
that matter, requires a working knowledge of essay formulation. Papers are due
at the beginning of class on the dates stated above. Late papers will suffer a
loss of 5% per calendar day and will not be accepted after 5 days past the due
date. If you have circumstances that are out of your control that force you to
miss the deadline (this does not include lounging in your dark basement and
watching Pauly Shore movies or excessive partying at the Duke) talk to me well
in advance and we can likely work something out. You cannot hand in your
papers on the weekend, so please do not attempt to do so.

Quizzes & Assignments – These will be unannounced, and there will be no
opportunity for you to write them if you are not in class. All the marks for these
will be tallied up to create ten percent of your final mark.

Plagiarism & Cheating – If any student is caught plagiarizing or otherwise
cheating, they will receive a goose egg for a grade (0%). There are verification
services that the U of L subscribes to, so you will get caught. This course is
based heavily on discussion; do not let your discussions continue during quizzes
and examinations. Any talking during exams and quizzes will result in a grade of
0% and possible removal from the course.

Content – Some of the content we will be studying in this course may seem
offensive to some of you. This is a warning to those of you who find that you are
easily offended. If you fall into this category, I urge to remain in this course.
Understanding works from all walks of life is what studying literature is all about.

Recording devices – I do NOT allow audio and video recording to take place
during lectures. This violates the privacy of other students, and media can be
edited and published at will.