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English 202:

World Literature II

Fall 2006

 

Dr. Gavin Richardson

Room: BAC 43; Time: 9:25-10:40 TR

Office: A-17; Office Phone: 661-5317

Office Hours: 1:00-2:00 MWF and by appointment

E-mail: grichard@uu.edu

Pre-Requisites: English 111, 112

Homepage: http://www.uu.edu/personal/grichard/

 

Lawall, Sarah, et al., eds. The Norton Anthology of World Literature. 1650-The Twentieth Century.  2nd ed. Package 1 (Vols. D, E, & F). New

    York: W. W. Norton & Company, 2001.

 

Course Description:

E

 

nglish 202 will introduce you to a number of masterpieces from a variety of cultures, beginning with the Enlightenment in Europe and continuing to the present day. Our most basic goal is to read and enjoy some great literature, but English 202 is also designed to allow you to cultivate your own intellectual interests in the world around you.

 

Union University’s highest mission is to integrate faith and learning, and English 202 will offer you many opportunities to do so. By examining the literary expression of other faiths we may better understand what makes Christianity distinctive, and by examining the influence of Christianity upon literature, we may come to understand the important role Christianity has played in firing the artistic imagination of the Western world. In English 202, “religio et eruditio” is more than a motto.

 

Finally, this class is designed to help you read analytically and express your ideas more successfully in speech and writing. In order to achieve these goals you must make a significant commitment to this course. Your reading load will average between 15-30 pages per class meeting, so you need to budget your time accordingly. Coming to class well prepared and willing to discuss the assigned material will make English 202 a better experience for everyone.

 


PREPARATION FOR TEACHER LICENSURE:

 

For those of you pursuing your teaching certification, this course will help you:

 

Ø                   Emphasize the social, philosophical, aesthetic, and historical dimensions of literature.

Ø                   Understand regional, colloquial, cultural, and national diversity in language and literature.

Ø                   Know a wide range of literature from many periods and various genres and relate that knowledge to class reading and class writing.

Ø                   Make connections among various literary selections and between literature and other fine arts.

Ø                   Relate a wide range of print and visual texts, both classical and contemporary, to students’ lives.

 

ATTENDANCE:

 

You may not earn an A with more than 2 unexcused absences.

You may not earn a B with more than 4 unexcused absences.

You may not earn a C with more than 6 unexcused absences.

You may not earn a D with more than 8 unexcused absences.

 

If you are absent while representing Union in an official capacity, you may have this absence excused with a written statement from an appropriate authority.  If you are absent due to illness, I will excuse the absence provided that a physician or nurse provides a statement saying that you were too ill to attend class.  Even excessive excused absences may prevent you from fulfilling basic requirements of this course, so please stay healthy! 

 

EVALUATION:

 

Exam 1..........................................................................................20%

Exam 2..........................................................................................20%

Exam 3 (Final) .............................................................................25%

Essay..............................................................................................25%

Discussion questions and participation..........................................10%

 

The grading scale for this course is detailed in the Union University Undergraduate Catalogue (A 95-100; B 85-94; C 75-84; D 65-74; F 64 and below). All assignments are due at the beginning of class. Late assignments are penalized 1/3 letter for each school (not class) day late. You are responsible for getting me your papers regardless of unfavorable circumstances such as computer glitches. All work must be submitted in order to pass the course. Notify me if accommodations need to be made for disabilities of any kind.

 

ACADEMIC INTEGRITY:

 

Plagiarism can be broadly defined as using the ideas or words of others in your paper without proper acknowledgment. Using information from other term papers, websites, or even standard research tools without source citation is a serious breach of academic integrity, and ignorance of what constitutes plagiarism is no excuse. When in doubt, please consult your instructor about the appropriate use of quotation marks, paraphrase, and parenthetical citation. Flagrant acts of plagiarism (e.g., downloading all or portions of a paper from the Internet without proper citation, handing in the work of another as your own, repeated instances of plagiarism, etc.) shall result in a failing grade for the course and possible further disciplinary action taken by the University. Punishment for other forms of plagiarism may range from failing the assignment to failing the course. Union University “upholds the highest standards of honesty” (2002-2003 Undergraduate Catalogue 22), and the English department’s policy regarding plagiarism is an attempt to preserve these standards.

 

CRITICAL ESSAY:

 

You will write one 3-5 pp., typed and double-spaced critical essay in this course. Details about this assignment can be found on the forthcoming assignment sheet.

 

EXAMS:

 

There will be three exams which will consist of objective and short essay questions. You will have 75 minutes to complete each of the first two exams, and two hours to complete the Final. Major sections on previous exams have been: 1) Dates; 2) Identification and discussion of critical terms and characters; and 3) Identification and discussion of key passages. There is no spoon-feeding in this class; when we pause to discuss a critical term, a key passage, or prominent character, that’s your cue to pay close attention and take a few notes. The final will also feature a long essay which will likely be cumulative, as required by the University. There will be no alternates given for these exams. If you anticipate that an excused absence will conflict with an exam, please speak with me well ahead of time. You are responsible for furnishing your own bluebooks (exam booklets), which can be purchased at Lifeway

 

STUDY QUESTIONS:

 

In lieu of quizzes, I will assign a study question per class meeting to help guide your reading and make sure all students are keeping up. On occasion I will ask to see your responses, which will be graded on a √-,√, and √+ basis, roughly equivalent to an C, B, and A. However, the Study Question is not merely a policing measure; often the question will deal with a core concern, a critical term, or a key passage which will help you better engage the text and which you will see again on an exam or as part of a writing assignment option.  Study questions also serve as springboards into class discussion. If you are absent on the day I take up these questions, you may hand in a late assignment only if your absence is excused.

 

CELL PHONE ETIQUETTE:

 

This class is a “No Cell Phone Zone.” Please turn off all cell phones.  If you must have your phone on, please set it to buzz/vibrate.

 

EMAIL:

I often use email to communicate information regarding this course to the class at large, and I email the class via a Webadvisor option that allows me to send a note to all student accounts at once. You should regularly check your student email account, or you should make sure that all Union email is forwarded to an account you do check (e.g., Hotmail, Yahoo, etc.). See computing services on how to forward email.

 

ABOUT OUR TEXTS:

A required text means precisely that—required. Each student is required to have his or her own copy of the required textbook in the appropriate edition. The admittedly high cost of textbooks has prompted some students to consider book sharing. However, in an English course, such a plan is not good in theory, and even worse in practice. I am skeptical that a shared book can serve two students well, especially when one student has it at midnight on Monday and the other hasn’t finished his/her reading yet for the next day.

Furthermore, your course text provides you with more than just the subject matter. Each student ideally will engage in dialogue with the textbook, jotting notes, questions, reactions in the margins, not merely highlighting passages. If your textbook pages are clean and blank, you’re doing something wrong. A shared book does not allow for this individuated engagement with the text. In college, this is how we read—with pen or pencil in hand. If you’re concerned about the buyback potential of your book, use a pencil. But hopefully you will be more concerned about how much you’re learning in this class, which is why you came to Union instead of going to a much cheaper university a few miles down the road. Does it make sense to pay $20,000/ year to go to college, only to go cheap on the main thing, your course material?

While I am sympathetic to the cash-strapped student (I was one too not long ago), I do require each student to have his or her own textbook. After the third day of class, failure to possess your own copy of the required text will result in a 5 point participation grade penalty for each day you do not have a book.


MISCELLANY:

As per a departmental requirement, I keep all exams and papers for one year. You should also keep a copy of all out-of-class work in case I lose anything. This syllabus and first-day handout may be revised as necessary. I encourage you to call me in my office or at home (668-4888; 8:00 am-10:00 pm, please) if you need anything. If you have any concerns about this course, don’t wait until the last minute to voice them—talk to me while we can take steps to make this course a positive experience for you. My office, A-17, is located in PAC in the glassed-in Humanities Vestibule near the art gallery and wellness center, across from the language lab. Once you enter the humanities area my office is down the second corridor to the left, the last office on the left.


 

 

ENGLISH 202: WORLD LITERATURE II

Dr. Richardson

FALL 2006 SYLLABUS

 

Read all relevant author/text headnotes prior to the work on the syllabus.

 

Note: All PowerPoint lectures can be accessed from any network computer; simply open the Richardson folder on the O: drive.  To print multiple slides per page, click on FILE>PRINT and the choose “Handouts” at the “Print What:” menu option.

 

DATE

ASSIGNMENT

STUDY QUESTION / HOMEWORK

WEEK 1

THE ENLIGHTENMENT

 

Thursday, Aug. 31

Introductory comments; discussion of texts, syllabus, policies, and goals.

In-class lecture: The Englightenment.

 

WEEK 2

THE ENLIGHTENMENT

 

Tuesday, Sept. 5

Today is the last day to add a course.

Jean-Baptiste Poquelin Molière, Tartuffe, Acts I-II.

Review Matthew 10.34-37.  To what extent does Orgon’s speech in 1.5.18-22 accurately reflect this scripture?

Thursday, Sept. 7

Jean-Baptiste Poquelin Molière, Tartuffe, Act III.

How does Tartuffe exploit religion in his wooing of Elmire in Act III?

WEEK 3

THE ENLIGHTENMENT

 

Tuesday, Sept. 12

Jean-Baptiste Poquelin Molière, Tartuffe, Acts IV-V; Preface and all Petitions.

Clearly the preface and petitions demonstrate that Molière’s comedy engendered great criticism.  Write a paragraph in which you summarize the apparent charges against this play and its author.

Thursday, Sept. 14

Sor Juana Inés de la Cruz, Reply to Sor Filotea de la Cruz, pp. 403-14 ¶ 1.

From the opening paragraph alone we can get a sense of Sor Juana de la Cruz’s formidable prose style.  What can we tell about this 17th century intellectual from the first paragraph?

WEEK 4

THE ENLIGHTENMENT

 

Tuesday, Sept. 19

Sor Juana Inés de la Cruz, Reply to Sor Filotea de la Cruz, pp. 414 ¶ 2-430.

Review 1 Timothy 2:11-15 and Titus 2:1-5.  Now look at Sor Juana’s comments on Paul’s words about women (pp. 422-23).  How does she use Scripture to bolster her argument?  Do you find her argumentative strategies effective?

Thursday, Sept. 21

Jonathan Swift, “A Modest Proposal.”

How might this text be read as a critique of Enlightenment thinking?

WEEK 5

THE ENLIGHTENMENT

 

Tuesday, Sept. 26

Alexander Pope, “The Rape of the Lock,” pp. 489-503.

Pope implies that his heroine Belinda is so shallow that she cannot discern between important and unimportant things in this world.  Where do you see such implications in this poem?

Thursday, Sept. 28

Exam 1: Bring a bluebook.

 

WEEK 6

ROMANTICISM

 

Tuesday, Oct. 3

Today is the last day to drop a course.

In-class lecture: Romanticism.

William Blake, all selections.

In addition to being a great poet, William Blake was also an important painter. Discuss Blake’s poetry as an expression of the “painter’s eye,” his ability to represent the visual by means of the verbal.

Thursday, Oct. 5

William Wordsworth, all selections.

Wordsworth, like all the English Romantic poets, believed in nature’s power to calm us and influence us for the better. In what ways does his poetry reflect this idea?

WEEK 7

ROMANTICISM

 

Tuesday, Oct. 10

John Keats, “On First Looking into Chapman’s Homer”; “Ode on a Grecian Urn”; “To Autumn,” pp. 825 ff.

Discuss the meaning of the final two lines of “Ode on a Grecian Urn.”

Thursday, Oct. 12

Alfred, Lord Tennyson, “Ulysses,”; “In Memoriam: A. H. H.,” pp. 883 ff.

Tennyson wrote “In Memoriam: A. H. H.” after his dear friend Arthur Henry Hallam died in a swimming accident. Discuss how this poem presents religious faith as part of the grieving process.

WEEK 8

THE AGE OF VICTORIA

 

Tuesday, Oct. 17

 

Catch-up/TBA.

 

Thursday, Oct. 19

FALL HOLIDAY; NO CLASS.

 

WEEK 9

AMERICAN VOICES

 

Tuesday, Oct. 24

Hermann Melville, Billy Budd, Chapters 1-8.

Do you think the character traits of Captain Vere outlined in chapters 6 ff. make him a good captain?

Thursday, Oct. 26

(Faith in Practice special chapel at 10:00; class time will be altered.)

Hermann Melville, Billy Budd, Chapters 9-20.

In chapter 11, particularly p. 1004, the narrator tries to characterize the nature of Claggart’s depravity.  This is perhaps the most difficult passage in the book, and when Melville writes, “Dark sayings are these,” we would certainly agree with him!  Try to shine some light on these “dark sayings” and explain what the narrator is saying about Claggart’s wickedness.

WEEK 10

AMERICAN VOICES

 

Tuesday, Oct. 31

Hermann Melville, Billy Budd, Chapters 21-30.

If Billy Budd might a quasi-religious symbol, why does Billy not seem interested in the Chaplain’s discussion of salvation?

Thursday, Nov. 2

Exam 2: Bring a bluebook.

 

WEEK 11

AMERICAN VOICES

 

Tuesday, Nov. 7

Frederick Douglass, Narrative of the Life, chapters 1-3.

Discuss the role of singing and what it meant to Douglass.

Thursday, Nov. 9

Frederick Douglass, Narrative of the Life, chapters 4-7

 

How does Sophia Auld go from being so good to being so evil so quickly?

WEEK 12

AMERICAN VOICES

 

Tuesday, Nov. 14

Frederick Douglass, Narrative of the Life, chapters 8-10.

FCritical Essay due.

In chapter 10, Douglass recounts his difficult time with the “slave-breaker” Mr. Covey. On the one hand, Covey was brutal to Douglass; yet on the other, Douglass became more assertive. Was the time spent with Covey more a blessing or a curse to Douglass?

Thursday, Nov. 16

Frederick Douglass, Narrative of the Life, chapters 11-Appendix.

 

Discuss Douglass’ religious state.  After his ordeal and sharp criticism of Southern Christianity, can he be said to be a person of faith?

WEEK 13

MODERNISM

 

Tuesday, Nov. 21

T. S. Eliot, “The Waste Land.”

Eliot’s masterpiece of high Modernism, “The Waste Land,” was written in 1922—just a few years after the Great War (World War I).  Its structure can be quite a challenge; imagine a film montage in which a number of sequences are shown, one after the other, demonstrating troubled times and a failure to communicate.  Discuss the ways in which this difficult poem reflects the turbulent time in which it was written.

Thursday, Nov. 23

THANKSGIVING HOLIDAY; NO CLASS.

 

WEEK 14

WORLD VOICES

 

Tuesday, Nov. 28

Rabindranath Tagore, “Punishment,” pp. 1693-99.

Explain the significance(s) of Tagore’s title.

Thursday, Nov. 30

Leslie Marmon Silko, “Yellow Woman,” pp. 3141-3150.

 

In the traditional stories, Yellow Woman returns from her sojourn with some kind of gift or magical power. [Teacher’s Manual, p. 915]. In this narrative, what might be Yellow Woman’s gift?

WEEK 15

WORLD VOICES

 

Tuesday, Dec. 5

Yehuda Amichai, all selections; Mahmoud Darwish, all selections (supplied).

The first ten lines of Amichai’s “Of Three or Four in a Room” are fairly clear.  However, the last six lines depend upon the suggestiveness of Amichai’s imagery.  Choose one image (the voices without a knapsack, the hearts without provisions, prophecies without water, etc.) and explain how the image functions in the poem.

Thursday, Dec. 7

Catch-up/TBA.

 

WEEK 16

FINALS

 

Tuesday, Dec. 12, 2:00-4:00.

Final Exam: Bring 1-2 bluebooks.

 

 

 

 

 

“Omnia disce, videbis postea nihil esse superfluum.”

 

                                                         --Hugh of St. Victor

 

 

[“Learn everything. Afterward you will find that nothing has been superfluous.”]