Program Revision Proposal:
Changes to an Existing Program
Form 3A
Version 2016-4-15
SUNY approval and SED registration are required for many changes to registered programs. To request a change to a
registered program leading to an undergraduate degree, a graduate degree, or a certificate that does not involve the creation
of a new program,' a Chief Executive or Chief Academic Officer must submit a signed cover letter and this completed
form to the SUNY Provost at program.review@suny.edu.
Section 1. General Information
a) Institution’s 6-digit SED Code: | 210500
Hast nto) Institution’s Name: | University at Albany, State University of New York
Information - - “ a: vs my
Address: | 1400 Washington Ave. Albany, NY 12222
b) List each campus where the entire program will be offered (with each institutional or branch
Program campus 6-digit SED Code):
LOSSES List the name and address of off-campus locations (i.e., extension sites or extension centers) where
courses will offered, or check here [ |] if not applicable:
¢) Program Title: | English
WNEU Me SED Program Code | 03001
Program to be
Changed Award(s) (e.g., A.A., B.S.):|B.A.
Number of Required Credits: | Minimum [120 ] If tracks or options, largest minimum [ — ]
HEGIS Code: | 1501
CIP 2010 Code: | 23.1302
Effective Date of Change: | Fall 2022
Effective Date of Completion? | Spring 2025
Registered Program Title: English; M/A with Information Science
programs linked | SED Program Code: 28829
to Program to be | Award: B.A./M.S.
Changed HEGIS Code: 1501/1601
Program Title: English; M/I with 40200 Albany Law School
SED Program Code: 89204
Award: B.A./J.D.
HEGIS Code: 1501/1401
Program Title: English; M/A with English
SED Program Code: 84498
Award: B.A./M.A.
HEGIS Code: 1501/1501
Program Title: English; M/A with Liberal Studies
SED Program Code: 38349
Award: B.A./M.A.
To propose changes that would create a new program, Form 3B, Creating a New Program from Existing Program(s), is required.
2 If the current program(s) must remain registered until enrolled students have graduated, the anticipated effective date by which continuing students
will have completed the current version of the program(s).
Program Title: English; M/A with Liberal Studies
SED Program Code: 38349
Award: B.A./M.A.
HEGIS Code: 1501/4901
d) Name and title: Kaitlyn Beachner Staff Associate for Undergraduate Programs
Campus Contact Telephone and email: 518-442-3949 kbeachner@ albany.edu
e) Signature affirms that the proposal has met all applicable campus administrative and shared
Chief Executive or | governance procedures for consultation, and the institution’s commitment to support the proposed
Chief Academic | Program. E-signatures are acceptable.
Officer Approval |Name and title: Carol Kim Ph.D. Provost and Senior Vice President for A cademic A ffairs
Signature and date: (aleeea 1-27-2022
If the program will be registered jointly’ with one or more other institutions, provide the
following information for each institution:
Partner institution’s name and 6-digit SED Code: Albany Law School 40200
Name, title, and signature of partner institution’s CEO (or append a signed letter indicating
approval of this proposal): Alicia Ouellette, President and Dean
[Section 2. Program Information ]
[ Section 2.1. Changes in Program Content ]
[ ] No changes in program content. Proceed to Section 2.2.
a) Check all that apply. Describe each proposed change and why it is proposed.
[X ]Cumulative change from SED’s last approval of the registered program of one-third or more of the minimum credits
required for the award (e.g., 20 credits for associate degree programs, 40 credits for bachelor’s degree programs)
[ ] Changes in a program’s focus or design
[X] Adding or eliminating one or more options, concentrations or tracks
[ ] Eliminating a requirement for program completion (such as an intemship, clinical placement, cooperative education,
or other work or field-based experience). Adding such requirements must remain in compliance with SUNY credit
cap limits,
[ ] Altering the liberal arts and science content in a way that changes the degree classification of an undergraduate
program, as defined in Section 3.47(c)(1-4) of Regents Rules
Description:
The curriculum in 1990 was focused on literary periods, a common structure at the time. Our current major has been
revised in line with larger trends in the discipline. The core of our major is organized around, on the one hand,
methodological approaches to literature (AENG 310) and on the other hand, foundational writing, and research
skills, which are appropriate for the major but also relevant to other areas of our students lives, in and beyond the
University (the sequence of AENG 205 to AENG 305). At the same time, the curriculum has been revised to include
the increased awareness of cultures beyond the United States and the United Kingdom that has marked the
discipline, while retaining the 1990 curriculum’s key place for writings by women and US-based minorities. At the
same time, the more traditional period courses still exist in two forms: in the two required literary surveys students
must take at the 200 level as well as at the 300 and 400 levels, where period courses are potential electives for our
3 If the partner institution is non-degree-granting, see SED’s CEO Memo 94-04.
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b) Provide a side-by-side comparison of all the courses in the existing and proposed revised program that clearly indicates
all new or significantly revised courses, and other changes.
B.A. English 1990 Requirements (1991 Bulletin):
B.A. English 2021 Proposal:
36 Credits in English, at least 18 at the 300 level
or above
36 Credits:
ENG 122 E & L— Reading Prose Fiction (3)
OR ENG 123 E & L— Reading Drama (3)
OR ENG 124 E & L— Reading Poetry (3)
Requirement Removed
AENG 2052Z - Introduction to Writing in English
Studies (3) New Course
AENG 305V — Studies in Writing About Texts (3)
New Course
ENG 210 - Introduction to English Studies (3)
AENG 310 — Introduction to English Studies (3)
Revised Course
3 Credits from:
ENG 251-269 — British Poetry Literature
ENG 295-296 — American Literature
ENG 320-326 — British Novel Literature
Requirement Removed
3 Credits from:
ENG 341-359 — Medieval Authors
Requirement Removed
3 Credits from:
ENG 362-374 — Women and Minority Authors
Requirement Removed
6 Credits from: (Literary Periods)
421-448 in the following pairs:
421-422; 422-423; 423-425; 425-426; 426-427;
432-433; 433-434; 426-432; 425-432; 426-433;
427-434; 447-448; 447-another period course
when approved; 448-another period course
when approved
Requirement Removed
Students in the Teacher Education Program
must also include 3 credits from linguistics
courses, i/e/ ENG 216Y. 217Y, 311Y, 312Y, 411
Requirement Removed
18 Credits from 300 - 400 level courses
Requirement Changed See Below for Update
3 Credits from Writing Course 300 level or above
Requirement Removed
Literature Survey Courses - 6 Credits from:
AENG 261 — American Literary Traditions (3)
Course title change
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AENG 291 - British Literary Traditions |: From the
Anglo-Saxon Period through Milton (3)
Revised Course
AENG 292- British Literary Traditions II: The
restoration through the Modern Period (3)
Revised Course
AENG 295 — Classics of Western Literature (3)
Course title change
AENG 297- Postcolonial Literary Traditions (3)
New Course
3 Credits from 200 — 400 level courses (see
course options below in Elective Offerings)
12 Credits from 300 — 400 Level Courses (see
course options below in Elective Offerings)
6 Credits from 400 Level Courses
(see course options below in Elective Offerings)
Optional Additional Writing Concentration —
Students electing to complete the Writing
Concentration take specific courses to fulfill
requirements within the English Major. Still
Required 36 Credits:
To fulfill one of the 200-400 level courses:
AENG 2402 — American Experiences (3)
New Course
3 Credits from the 300 - 400 Level Courses
requirements must be from these course
options:
AENG 306 — Literary Publication: History and
Practice (3) ew Course
AENG 350 - Contemporary Writers at Work (3)
New Course
AENG 360 —- Tutoring & Writing (3)
New Course
AENG 450 - Topics in Writing Studies (3)
New Course
In the 12 Credits from 300 — 400 Level Courses
requirements, 6 of the 12 credits must come
from these course options:
AENG 300 - Expository Writing
AENG 302 - Creative Writing
AENG 309 — Professional Writing
AENG 402 — Advanced Writing Workshop
Optional English Honors Track:
Students electing to take the Honors
concentration take these courses as they fulfill
requirements within English Major:
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To fulfill one 300 Level Required Course:
AENG 3992 — Honors Seminar (3)
New Course
To fulfill 4 credits of 400 Level Required Course:
AENG 498 — Thesis Seminar | (4)
New Course
To fulfill 3 credits of 400 Level Required Course:
AENG 499 — Thesis Seminar II (3)
New Course
Elective Course Offerings in 1990:
Elective Course Offerings in 2021:
AENG 200 Structure of English Words
New Course
A ENG 210 -Introduction to Literary Study
Course removed
A ENG 212- Introduction to Literary Criticism
Course removed
A ENG 215- Methods of Literary Criticism
Course removed
A ENG 216Y-Traditional Grammar and Usage
No change
A ENG 217Y -Introduction to Linguistics
No change
AENG 221- Old Testament Literature
Course removed
A ENG 222- Masterpieces of Literature
AENG 222- World Literature
Course title change
A ENG 223- Short Story
No change
A ENG 224- Satire
No change
A ENG 226- Study of a Literary Theme, Form, or
Mode
A ENG 226- Focus on Literary Theme, Form, or
Mode
Course title change
AENG 226P -The Literature of War
Course removed
A ENG 227- Literature and Technology
Course removed
A ENG 232 - Modern Drama
Course removed
A ENG 234- Modern Poetry
Course removed
A ENG 240/240T/240V/240Z American
Experiences Vew Courses
A ENG 241 - Popular Literature
Course removed
A ENG 242- Science Fiction
A ENG 242- Science Fiction
A ENG 243 - Literature and Film
AENG 243 - Literature and Film
A ENG 2432 - Four American Directors
Course removed
AENG 251- British Poetic Traditions |
Course removed
AENG 252- British Poetic Traditions II
Course removed
A ENG 253- British Novel |
Course removed
AENG 254 - British Novel II
Course removed
AENG 255 - British Drama
Course removed
A ENG 260- Forms of Poetry
Course removed
AENG 261- American Poetic Tradition
AENG 261- American Literary Tradition
Course title changed
A ENG 263- Nineteenth-Century American Novel
Course removed
A ENG 264- Twentieth-Century American Novel
Course removed
A ENG 265- American Drama
Course removed
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A ENG 269- Milton, Bacon, and the Making of the
Modern Mind
Course removed
AENG 270 Living Literature: Challenges in the
21st Century ew Course
AENG 271 Literature & Globalization: Challenges
in the 21st Century Vew Course
A ENG 272 Media, Technology and Culture:
Challenges in the 21st Century Vew Course
A ENG 289- Topics in English
Course removed
A ENG 291- The English Literary Tradition |: From
Anglo-Saxon Period through Milton
AENG 291- British Literary Traditions |: From the
Anglo-Saxon Period through Milton
Course title changed
Revised Course
A ENG 292-The English Literary Tradition II: From
the Restoration through Modern Period
AENG 292- British Literary Traditions II: The
Restoration through the Modern Period
Course title changed
Revised Course
A ENG 295- Classics of Western Literature |:
Ancient Epic to Modern Drama
A ENG 295- Classics of Western Literature
Course title changed
A ENG 296- Classics of Western Literature II:
Ancient Epic to Modern Novel
Course removed
A ENG 297 Postcolonial Literary Traditions
New Course
A ENG 300Z- Expository Writing No change
A ENG 301Z- Critical Writing Course removed
A ENG 302- Creative Writing No change
A ENG 305V Studies in Writing About Texts
New Course
A ENG 306 Literary Publication: History and
Practice New Course
A ENG 3082-Journalistic Writing
Course removed
A ENG 309Z- Practical Writing
A ENG 3092Z- Professional Writing
Course title changed
A ENG 311Y- History of the English Language
No change
A ENG 312Y- Approaches to English Grammar
Course removed
A ENG 315 Introduction to Literary Theory
New Course
A ENG 327- Biographical Writings
Course removed
A ENG 334 19th Century British Literature
New Course
A ENG 335 Literature in English after 1900
New Course
A ENG 337 19th Century American Literature
New Course
A ENG 338 American Literature after 1900
New Course
A ENG 341 -Chaucer
Course removed
A ENG 342 Study of an Author or Authors Before
Mid-18th Century
New Course
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A ENG 343 Study of an Author or Authors After
Mid-18th Century
New Course
A ENG 344 - Early Works of Shakespeare
Consolidated with ENG 345 into A ENG 346
Studies in Shakespeare
A ENG 345- Later Works of Shakespeare
Consolidated with ENG 344 into A ENG 346
Studies in Shakespeare
AENG 346 - Studies in Shakespeare
New Course
A ENG 348-Milton
Course removed
A ENG 350 Contemporary Writers at Work
New Course
A ENG 351 Studies in Technology, Media, or
Performance New Course
A ENG 352- Study of a British Author
Course removed
A ENG 353- Study of an American Author
Course removed
A ENG 354- Comparative Study of Authors
Course removed
A ENG 355 Studies in Film
New Course
A ENG 357 Studies in Drama
New Course
A ENG 358 Studies in Poetry
New Course
A ENG 359 Studies in Narrative
New Course
A ENG 360Y Tutoring & Writing
New Course
A ENG 362- Critical Approaches to Women in
Literature
A ENG 362- Critical Approaches to Gender and
Sexuality in Literature
Course title changed
A ENG 365- Comparative Study of Minority
Literatures
Course removed
A ENG 366- Minority Writers
A ENG 366- Critical Approaches to Ethnicity in
Literature
Course title changed
A ENG 367- Jewish-American Literature
A ENG 367- The Jewish Literary Imagination
Course title changed
A ENG 368- Women Writers
No change
A ENG 369 African-American Literature
New Course
A ENG 371 - Regional Studies in British Literature
Course removed
A ENG 372 Transnational Literature
New Course
A ENG 373 Literature of the Americas
New Course
A ENG 374 - Regional Studies in American
Literature
A ENG 374 - Cultural Studies
Course title changed
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Revised Course
A ENG 375 -The Literature of New York State
Course removed
A ENG 378- Mythic Concepts in Literature
Course removed
A ENG 382 - Literature and Other Disciplines
Course removed
A ENG 382U -The Psychiatric Case Study in
Literature
Course removed
A ENG 394- Oral Reading of Poetry
Course removed
A ENG 3982Z -Honors Seminar
Course removed
A ENG 399 - Honors Seminar 2
A ENG 399 - Honors Seminar
Course title changed to Honors Seminar
Revised Course
A ENG 400Z -Advanced Expository Writing
Course removed
A ENG 402Z Advanced Writing Workshop
New Course
A ENG 403-Writing Prose Fiction
Course removed
A ENG 404Z -Writing Drama
Course removed
AENG 405-Writing Poetry
Course removed
A ENG 410/410Y Topics in Contemporary Literary
and Critical Theory
New Course
AENG 411-Old English
AENG 411/411Y Topics in British Literature and
Culture
New Course
A ENG 412/412Y Topics in Film or Drama
New Course
A ENG 413/413Y Topics in American Literature
and Culture
New Course
AENG 416/416Y (= A WSS 416/416Y) Topics in
Gender, Sexuality, Race, or Class
New Course
A ENG 419/419Y Topics in Technology, Media,
and Performance
New Course
AENG 421- Literature of the Middle Ages
Course renumbered as A ENG 330 Literature of
the Middle Ages
AENG 422- Literature of the Earlier Renaissance
Course renumbered as A ENG 331 Literature of
the Earlier Renaissance
AENG 423- Literature of the Later Renaissance
Course renumbered as A ENG 332 Literature of
Later Renaissance
AENG 425-Literature of the Restoration and the
18th-Century Enlightenment
Course renumbered as A ENG 333 Literature of
the Restoration and the 18th Century
Enlightenment
AENG 426 - The Romantic Period
Course removed
A ENG 427 - The Victorian Period
Course removed
A ENG 428- Twentieth-Century British and Irish
Literature
Course removed
A ENG 432 -American Literature to 1815
Course renumbered as A ENG 336 American
Literature to 1800
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A ENG 433- American Literature to 1815-1865
Course removed
A ENG 434- American Literature to 1865-1920
Course removed
A ENG 435 -American Literature to 1920 to
Present
Course removed
A ENG 439- Contemporary American Novel
Course removed
A ENG 442 -Modern Drama before 1940
Course removed
A ENG 443 -Modern Drama after 1940
Course removed
A ENG 446 -Modern American Poetry
Course removed
A ENG 447 - The Historical Imagination |
Course removed
A ENG 448 -The Historical Imagination II
Course removed
A ENG 449/449Y Topics in Comparative
Literatures and Cultures
New Course
A ENG 450/450Y Topics in Writing Studies
New Course
A ENG 460/460Y Topics in Transnational Studies
New Course
A ENG 461 -Forms of Modern Fiction
Course removed
A ENG 465/465Y Topics in Ethnic Literatures in
Cultural Contexts
New Course
A ENG 482 -Study of a Literary Movement
Course removed
A ENG 485/485Y Topics in Cultural Studies
New Course
AENG 487 - Studies in Literature
Course removed
A ENG 488W/488Z Special Topics (1-6)
New Course
A ENG 489 -Advanced Topics in English
Course removed
A ENG 490 -Internship in English
AENG 390 — Internship in English
Course renumbered
A ENG 493 -Shakespeare Seminar
Course removed
A ENG 494 - Seminar in English
Course removed
A ENG 497 - Independent Study and Research in
English
A ENG 497 - Independent Study and Research in
English
Revised Course
A ENG 498 -Honors Seminar 3
A ENG 498 - Thesis Seminar | (4 Credits)
Course title changed
Revised Course
A ENG 499 - Honors Seminar 4
A ENG 499 - Thesis Seminar II (3 Credits)
Course title changed
Revised Course
Honors College Courses
(honors versions of English courses offered to
Honors College students, not offered to students
outside of Honors College)
T ENG 226/226W Focus on a Literary Theme,
Form, or Mode
New Course
T ENG 270 Honors Living Literature: Challenges in
the 21st Century
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New Course
T ENG 295 Classics of Western Literature
New Course
T ENG 102Z Introduction to Creative Writing
New Course
T ENG 243 Literature and Film
New Course
T ENG 291 British Literary Traditions |: From the
Anglo-Saxon Period through Milton
New Course
T ENG 297 Postcolonial Literary Traditions
New Course
c) For each new or significantly revised course, provide a syllabus at the end of this form, and, on the SUNY Faculty
Table provide the name, qualifications, and relevant experience of the faculty teaching each new or significantly revised
course. NOTE: Syllabi for all courses should be available upon request. Each syllabus should show that all work for
credit is college level and of the appropriate rigor. Syllabi generally include a course description, prerequisites and
corequisites, the number of lecture and/or other contact hours per week, credits allocated (consistent with SUNY
policy on credit/contact hours), general course requirements, and expected student learning outcomes.
d) What are the additional costs of the change, if any? If there are no anticipated costs, explain why.
This proposal requires no new resources or faculty to implement immediately. In proposing a new concentration in
Writing, we aim to draw attention to existing and regularly offered English courses, making implementation of the
proposal possible immediately. Multiple sections of A ENG 240z (4-12 sections), A ENG 302 (4 sections), and
AENG 309 (2-3 sections) are offered every semester. All the other courses named as options are offered at least once
every year, and many once every semester (such as A ENG 350 and A ENG 402). Students will have options in
terms of topics and available days/times in selecting course to fulfill the requirements of this concentration. Should
students set out to fulfill the new Writing Concentration but later change their minds, they may still pursue the
general English major.
| Section 2.2. Other Changes
Check all that apply. Describe each proposed change and why it is proposed.
[ ] Program title
[ ] Program award
[ ] Mode of delivery
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NOTES: (1) If the change in delivery enables students to complete 50% of more of the program via distance
education, submit a Distance Education Format Proposal as part of this proposal. (2) If the change involves
adding an accelerated version of the program that impacts financial aid eligibility or licensure qualification, SED
may register the version as a separate program.
Format change(s) (e.g., from full-time to part-time), based on SED definitions, for the entire program
1) State proposed format(s) and consider the consequences for financial aid
2) Describe availability of courses and any change in faculty, resources, or support services.
A change in the total number of credits in a certificate or advanced certificate program
Any change to a registered licensure-qualifying program, or the addition of licensure qualification to an existing
program. Exception: Small changes in the required number of credits in a licensure-qualifying program that do not
involve a course or courses that satisfy one of the required content areas in the profession.
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[Section 3. Program Schedule and Curriculum
a) For undergraduate programs, complete the SUNY Undergraduate Program Schedule to show the sequencing and
scheduling of courses in the program. If the program has separate tracks or concentrations, complete a Program
Schedule for each one.
b)
NOTES: The Undergraduate Schedule must show all curricular requirements and demonstrate that the program
conforms to SUNY’s and SED’s policies.
It must show how a student can complete all program requirements within SUNY credit limits, unless a longer
period is selected as a format in Item 2.1(c): two years of full-time study (or the equivalent) and 64 credits for an
associate degree, or four years of full-time study (or the equivalent) and 126 credits for a bachelor’s degree.
Bachelor's degree programs should have at least 45 credits of upper division study, with 24 in the major.
It must show how students in A.A., A.S. and bachelor’s programs can complete, within the first two years of full-
time study (or 60 credits), no fewer than 30 credits in approved SUNY GER courses in the categories of Basic
Communication and Mathematics, and in at least 5 of the following 8 categories: Natural Science, Social
Science, American History, Western Civilization, Other World Civilizations, Humanities, the Arts and Foreign
Languages
It must show how students can complete Liberal Arts and Sciences (LAS) credits appropriate for the degree.
When a SUNY Transfer Path applies to the program, it must show how students can complete the number of
SUNY Transfer Path courses shown in the Transfer Path Requirement Summary within the first two years of full-
time study (or 60 credits), consistent with SUNY’s Student Seamless Transfer policy and MTP 2013-03.
Requests for a program-level waiver of SUNY credit limits, SUNY GER and/or a SUNY Transfer Path require the
campus to submit a Waiver Request —with compelling justification(s).
EXAMPLE FOR ONE TERM: Undergraduate Program Schedule
Term 2: Fall 20xx Credits per classification
Course Number & Title Cr GER [LAS [Maj _|TPath New _| Prerequisite(s)
ACC 101 Principles of Accounting 4 4 4
MAT 111 College Mathematics 3 M 3 3 MAT 110
CMP 101 Introduction to Computers 3
HUM 110 Speech 3 BC 3 x
ENG 113 English 102 3 BC 3
Term credit total: | _16 6 9 7 4
For graduate programs, complete the SUNY Graduate Program Schedule. If the program has separate tracks or
concentrations, complete a Program Schedule for each one.
NOTE: The Graduate Schedule must include all curriculum requirements and demonstrate that expectations from
Part 52.2(c)(8) through (10) of the Regulations of the Commissioner of Education are met.
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SUNY Undergraduate Program Schedule (OPTION: You can paste an Excel version of this schedule AFTER this line, and delete the rest of this page.)
Program/Track Title and Award:
a)
b) Label each term in sequence, con:
c) Name of SUNY Transfer Path, if one exists: ___ English
English BA
Indicate academic calendar type: [ X ] Semester [ ] Quarter [ ] Trimester [ ] Other (describe):
stent with the institution’s academic calendar (e.g., Fall 1, Spring 1, Fall 2)
See Transfer Path Requirement Summary for details
d) Use the table to show how a typical student may progress through the program; copy/expand the table as needed. Complete all columns that apply to a course.
Fall 1: Spring 2:
Course Number & Title Cr_|GER | LAS | Maj | TPath | New | Co/Prerequisites |_| Course Number & Title Cr_|GER |LAS | Maj |TPath | New_| Co/Prerequisites
Free elective 3 AENG205Z Introduction to 3 3 3 xX X | Writing and Critical Inquiry
Writing in English Studies. (AENG 110z or UUNI 110)
UUNI 110 - Writing and Critical Inquiry | 3 BC 3 3 xX AENG200-level survey course 3 | OW 3 3 xX
*Local Requirement of all BS/BA (AENG 261, 291, 292, 295, or
students 297)
Natural Sciences Gen Ed 3 NS 3 Mathematics Gen Ed 3 M 3
General Education: International 3 | WC 3 Liberal Arts and Sciences 3 3
Perspective elective
Free elective 3 Free elective 3
Term credit totals: |_15 9 9 3 Term credit totals:
Fall 3:
Course Number & Title Cr _|GER | LAS | Maj | TPath | New | Co/Prerequisites Course Number & Title Cr_|GER |LAS | Maj |TPath |New _| Co/Prerequisites
AENG305VStudies in Writing about 3 3 3 X | AENG205Z AENG310 Intro to English 3 3 S! x
Texts Studies
AENG200-level survey course (AENG 3 H 3 3 xX AENG300-400 level restricted 3 3 3
261, 291, 292, 295, or 297) elective (1 of 4)
Foreign Language Gen Ed 3 FL 3 Arts Gen Ed 3 A 3
AENG 200 - 400 Elective 3 3 3 Xx Free Elective 3
US History Gen Ed 3. AH 3 Social Science Gen Ed 3 [| SS 3
Term credit totals: |_ 15 9 15 9 Term credit totals:
Fall 5:
Course Number & Title Cr _|GER | LAS | Maj | TPath | New | Co/Prerequisites Course Number & Title Cr_|GER |LAS | Maj |TPath |New _| Co/Prerequisites
AENG300-400 level restricted elective | 3 3 3 AENG300-400 level restricted 3 3 3
(2 of 4) elective (4 of 4)
AENG300-400 level restricted elective | 3 3 3 Liberal Arts and Sciences 3
(3 of 4) elective (upper-level)
Liberal Arts and Sciences elective 3 3 Free Upper Level Elective 3
Free Elective 3 Liberal Arts and Sciences 3 3
elective
Liberal Arts and Sciences elective 3 3 Liberal Arts and Sciences 3 3
(upper-level) elective (upper-level)
Term credit totals: |_15 0 12 6 Term credit totals:
Fall 7: c
Course Number & Title Cr _|GER | LAS | Maj | TPath | New | Co/Prerequisites Course Number & Title Cr_|GER |LAS | Maj |TPath | New | Co/Prerequisites
AENG400-level restricted elective (1 of | 3 3 3 AENG210 with AENG400-level restricted 3 3 3 AENG210 with grade of C
2) grade of C and elective (1 of 2) and AENG305V
AENG305V
Free Upper Level Elective 3 Free Elective 3
Challenges course (local Gen Ed 3 Xx 3 Liberal Arts and Sciences 3 3
requirement) elective
Liberal Arts and Sciences elective 3 3 Liberal Arts and Sciences 3 3
(upper-level) elective (upper-level)
Free Elective 3 Free Elective 3
Term credit totals: Term credit totals:
Number of SUNY C
R Categories:
Elective & Upper Division
Major: 24
Total
‘ Upper
Credits: 120 |GE
Division: 45
Program Totals (in credits):
Y Transfer Path
R Category
(SS), The Arts (AR),
KEY Cr: credits GER: SUNY General Education Requirement (Enter Category Abbreviation) LAS: Liberal Ai
Courses (Enter credits) New: new course (Enter X) Co/Prerequisite(s): list co/prerequisite(s) for the noted coui
Abbreviations: American History (AH), Basic Communication (BC), Foreign Language (FL), Humanities (H), Math (M), Natural s
Western Civilization (WC)
(Enter credits) Maj: Major requirement (Entei
ion: Courses intended primarily for juniors and seniors SUNY
Sciences (NS), Other World Civilizations (OW), Social Scien:
SUNY Undergraduate Program Schedule (OPTION: You can paste an Excel version of this schedule AFTER this line, and delete the rest of this page.)
English BA Writing Concentration
e) Indicate academic calendar type: [ X ] Semester [ ] Quarter [ ] Trimester [ ] Other (describe):
Program/Track Title and Award:
f) Label each term in sequence, con:
g) Name of SUNY Transfer Path, if one exists: ___ English
stent with the institution’s academic calendar (e.g., Fall 1, Spring 1, Fall 2)
See Transfer Path Requirement Summary for details
h) Use the table to show how a typical student may progress through the program; copy/expand the table as needed. Complete all columns that apply to a course.
Fall 1: Spring 2:
Course Number & Title Cr_|GER | LAS | Maj | TPath | New | Co/Prerequisites |_| Course Number & Title Cr_|GER |LAS | Maj |TPath | New_| Co/Prerequisites
Free Elective 3 AENG240Z American 3 3 3 x
Experiences
UUNI 110 - Writing and Critical Inquiry | 3 BC 3 xX AENG200-level survey course 3 | OW 3 3 xX
*Local Requirement of all BS/BA (AENG 261, 291, 292, 295, or
students 297)
Natural Sciences Gen Ed 3 NS 3 Mathematics Gen Ed 3 M 3
General Education: International 3 | OW 3 Liberal Arts and Sciences 3 3
Perspective elective
General Education: Humanities 3 H AENG 2052 - Introduction to 3 3 3 xX
Writing in English Studies
Term credit totals: | 15 12 9 Term credit totals: | 15 6 15 9
Fall 3: Spring 4:
Course Number & Title Cr_|GER | LAS | Maj | TPath | New | Co/Prerequisites |_| Course Number & Title Cr_|GER |LAS | Maj |TPath | New | Co/Prerequisites
AENG305VStudies in Writing about 3. 3 3 X | AENG205Z AENG310 Intro to English 3 3 3 x
Texts Studies
AENG200-level survey course (AENG 3 3 3 xX AENG306 Literary Publications: | 3 3 3 x
261, 291, 292, 295, or 297) History and Practice OR AENG
350 Contemporary Writers at
Work OR AENG 360 Tutoring &
Writing OR AENG 450 - Topics
in Writing Studies
Foreign Language Gen Ed 3 FL 3 Arts Gen Ed 3 A 3
AENG 200 - 400 Elective 3 3 3 xX Free Elective 3
US History Gen Ed 3 AH 3 Social Science Gen Ed 3 | SS 3
Term credit totals: |_15 6 $3 9 Term credit totals: | 15 6 12 6
Fall 5: Spring 6:
Course Number & Title Cr _|GER | LAS | Maj | TPath | New | Co/Prerequisites |_| Course Number & Title Cr_|GER |LAS | Maj |TPath | New_| Co/Prerequisites
AENG300-400. 3 3 3 AENG 300 - Expository Writing | 3 3 3
OR
AENG 302 - Creative Writing
OR
AENG 309 - Professional
Writing OR
AENG 402 — Advanced Writing
Workshop
AENG 300 - Expository Writing OR 3 3 3 Liberal Arts and Sciences 3
AENG 302 - Creative Writing OR elective (upper-level)
AENG 309 - Professional Writing OR
AENG 402 - Advanced Writing
Workshop
Liberal Arts and Sciences elective 3 3 Free Upper Level Elective 3
Free Elective 3 Liberal Arts and Sciences 3 3
elective
Liberal Arts and Sciences elective 3 3 Liberal Arts and Sciences 3 3
(upper-level) elective (upper-level)
GER
New | Co/Prerequisites Co/Prerequisites
AENG400-level restricted elective 3 AENG210 with AENG400-level restricted 3 3 AENG210 with grade of C
grade of C and elective and AENG305V
AENG305V
Free Upper Level Elective 3 Free Elective a
Challenges course (local Gen Ed 3 xX 3 Liberal Arts and Sciences 3 3
requirement) elective
Liberal Arts and Sciences elective 3 3 Liberal Arts and Sciences 3 3
(upper-level) elective (upper-level)
Free Elective 3 Free Elective 3
Term credit total
Program Totals (in credits
ions: Amet
Western Civilization (WC)
(Enter credits) New: new course (Enter X) Co/Prerequisite(s)
can History (AH), B
Total
Credits: 120
SU
GER: 30
Elective &
Term credit total
Upper
Division: 48
Upper Di
Major: 27
Number of SUNY GER Categories:
10
quisite(s) for the noted cout
asic Communication (BC), Foreign Language (FL), Humanities (H), Math (M), Natural
ence
es Upper Divisio’
Cours:
(Enter credits) Maj: Major requirement (Enter credits) TPat
intended primarily for juniors and seniors SUNY GER Categor:
ences (NS), Other World Civilizations (OW), Social
SUNY Transfer Path
nce (SS), The Arts (AR),
SUNY Undergraduate Program Schedule (OPTION: You can paste an Excel version of this schedule AFTER this line, and delete the rest of this page.)
Program/Track Title and Award: English BA_- Honors Track
i) Indicate academic calendar type: [ X ] Semester [ ] Quarter [ ] Trimester [ ] Other (describe):
j) Label each term in sequence, consistent with the institution’s academic calendar (e.g., Fall 1, Spring 1, Fall 2)
k) Name of SUNY Transfer Path, if one exists: ___ English See Transfer Path Requirement Summary for details
1) _Use the table to show how a typical student may progress through the program; copy/expand the table as needed. Complete all columns that apply to a course.
[Ralls SS | Spring 2:
Course Number & Title Cr_|GER | LAS | Maj | TPath | New | Co/Prerequisites Course Number & Title Cr_|GER |LAS | Maj |TPath | New _| Co/Prerequisites
Free elective 3 AENG205Z Introduction to 3 3 $ xX X | Writing and Critical Inquiry
Writing in English Studies (AENG 110z or UUNI 110)
UUNI 110 - Writing and Critical Inquiry | 3 BC 3 xX AENG200-level survey course 3 | OW 3 3 xX
*Local Requirement of all BS/BA. (AENG 261, 291, 292, 295, or
students 297)
Natural Sciences Gen Ed 3 NS 3 Mathematics Gen Ed 3 M 3
General Education: International 3 | WC 3 Liberal Arts and Sciences 3 3
Perspective elective
Free elective 3 Free elective 3
Term credit totals: |_15 9 12 3 Term credit totals:
Fall 3:
Course Number & Title Cr_|GER | LAS | Maj | TPath | New | Co/Prerequisites Course Number & Title Cr_|GER |LAS | Maj |TPath | New _| Co/Prerequisites
AENG305VStudies in Writing about 3 3 3 X | AENG205Z AENG310 Intro to English 3 3 3 x
Texts Studies
AENG200-level survey course (AENG 3 H 3 3 xX AENG300-400 level restricted 3 3 3
261, 291, 292, 295, or 297) elective (1 of 3)
Foreign Language Gen Ed 3 FL 3 Arts Gen Ed 3 A 3
AENG200-4001 elective 3 3 3 x Free Elective 3
US History Gen Ed 3 AH 3 Social Science Gen Ed 3 [| SS 3
Term credit tota 15 9 12 6 Term credit totals:
Fall 5:
Course Number & Title Cr _|GER | LAS | Maj | TPath | New | Co/Prerequisites Course Number & Title Cr_|GER |LAS | Maj |TPath | New | Co/Prerequisites
AENG300-400 level restricted elective | 3 3 3 AENG300-400 level restricted 3 3 3
(2 of 3) elective (2 of 3)
AENG 399Z - Honors Seminar 3 3 3 x Liberal Arts and Sciences 3
elective (upper-level)
Liberal Arts and Sciences elective 3 3 Free Upper Level Elective 3
Free Elective 3 Liberal Arts and Sciences 3 3
elective
Liberal Arts and Sciences elective 3 3 Liberal Arts and Sciences 3 3
(upper-level) elective (upper-level)
erm credit tot: Term credit totals:
Spring 8:
Course Number & Title Cr _|GER | LAS | Maj | TPath | New | Co/Prerequisites Course Number & Title Cr_|GER |LAS | Maj |TPath | New _| Co/Prerequisites
AENG 498 - Thesis Seminar | 3 3 3 Xx AENG 499 - Thesis Seminar lI | 3 3 3 x
Free Upper Level Elective 3 Free Elective 3
Challenges course (local Gen Ed 3 xX 3 Liberal Arts and Sciences 3 3
requirement) elective
Liberal Arts and Sciences elective 3 3 Liberal Arts and Sciences 3 3
(upper-level) elective (upper-level)
Free Elective 3 Free Elective 3
Term credit totals:
Program Totals (in credits):
Courses (Ent
Abbreviations
Western Civilization (WC)
credits) Ne’
Total
Credits: 120
Term credit totals:
Upper
Division: 45
Major: 24
Number of SUNY GER Categories:
ew course (Enter X) Co/Prerequisite(s):
American History (AH), Basic Communication (BC), Foreign Language (FL), Humanities (H), Math (M), Natural Sciences (NS), Other World Civilizations (OW), Social Science (S
co/prerequisite(s) for the noted course:
for juniors and seniors
UNY
Enter credits) Maj: Major requirement (Enter credits) TPath: SUNY Transfer Path
ion: Courses intended primari S
R Categor
), The Arts (AR),
SUNY Graduate Program Schedule OPTIO!
Program/Track Title and Award:
a) Indicate academic calendar type: [ ] Semester [ ] Quarter [ ] Trimester [ ] Other (describe):
b) Label each term in sequence, consistent with the institution’s academic calendar (e.g., Fall 1, Spring 1, Fall 2)
¢) Use the table to show how a typical student may progress through the program: copy/expand the table as needed.
d) Complete the last row to show program totals and comprehensive, culminating elements. Complete all columns that apply to a course.
: You can insert an Excel version of this schedule AFTER this line, and delete the rest of this page.)
Term I: Term 2:
Course Number & Title Credits _[ New |Co/Prerequisites Course Number & Title Credits [ New [Co/Prerequisites
Term credit total: PO Term credit total: PO
Term 3: Term 4:
Course Number & Title Credits [New |Co/Prerequisites Course Number & Title Credits [ New [Co/Prerequisites
Term credit total: P| Term credit total: Po
Term 5: Term 6:
Course Number & Title Credits | New |Co/Prerequisites Course Number & Title Credits [ New [Co/Prerequisites
Term credit total: PE Term credit total: Po
Term 7: Term 8:
Course Number & Title Credits [New |Co/Prerequisites Course Number & Title Credits [New [Co/Prerequisites)
Term credit total:
Term credit total:
Potal
Program Tota Credits:
Identify the required comprehensive, culminating element(s), such as a thesis or examination, including course number(s), if
applicable:
New: X if new course
19
Prerequisite(s): list prerequisite(s) for the listed courses
[Section 4. SUNY Faculty Table
a) If applicable, provide information on faculty members who will be teaching new or significantly revised courses in the program. Expand the table as needed.
b) Append at the end of this document position descriptions or announcements for each to-be-hired faculty member
(a)
(b)
©)
(d)
(e)
(f)
Faculty Member Name and Title and/or
Rank at the Institution
(Include and identify Program
Director.)
PART 1. Full-Time Faculty
Richard Barney, Associate Professor
% of Time
Dedicated
to This
Program
100
Program Courses
Which May Be
Taught
(Number and
le)
A ENG 359 Studies
in Narrative
T ENG 243
Literature and Film
A ENG 399z Honors
Seminar
Highest and Other
Applicable Earned
Degrees (include College
or University)
Ph.D. University of
Virginia
Discipline(s) of Highest
and Other Applicable
Earned Degrees
English
Additional Qualifications: List
related certifications and
licenses and professional
experience in field.
Lee Bickmore, Professor
A ENG 200 (= A
LIN 200) Structure
of English Words
PhD, University of
California, Los Angeles
Linguistics
Bret Benjamin, Associate Professor
100
AENG 271
Literature &
Globalization:
Challenges in the
21st Century
Ph.D. University of Texas
at Austin
English
Helen Regueiro Elam, Associate Professor
A ENG 449/449Y
Topics in
Comparative
Literatures and
Cultures
T ENG 295 Classics
of Western Literature
Ph.D., Brown
Comparative Literature
Erica Fretwell, Associate Professor
100
A ENG 337 19th
Century American
Literature
A ENG 413/413Y
Topics in American
Literature and
Culture
Ph..D. Duke University
English
Daniel Goodwin, Associate Professor
5%
AENG 488W
Special Topics in
English
MFA, Hunter College
Combined Media
20
(a)
(b)
(©)
(d)
(e)
()
Faculty Member Name and Title and/or
Rank at the Institution
(Include and identify Program
Director.)
% of Time
Dedicated
to This
Program
Program Courses
Which May Be
Taught
(Number and Title)
Highest and Other
Applicable Earned
Degrees (include College
or University)
Discipline(s) of Highest
and Other Applicable
Earned Degrees
Additional Qualifications: List
related certifications and
licenses and professional
experience in field.
Glyne Griffith, Professor
100
A ENG 465/465Y
Topics in Ethnic
Literatures in
Cultural Contexts
Ph.D., University of the
West Indies
English
Jil Hanifan, lecturer
100
T ENG 102Z
Introduction to
Creative Writing
D.A., University at Albany,
SUNY
English
Mike Hill, Professor
100
A ENG 485/485Y
Topics in Cultural
Studies
Ph.D., State University of
New York at Stony Brook
English
Eric Keenaghan, Associate Professor
(Chair)
100
A ENG 416/416Y (=
A WSS 416/416Y)
Topics in Gender,
Sexuality, Race, or
Class
T ENG 226/226W
Focus on a Literary
Theme, Form, or
Mode
AENG 306 Literary
Publication: History
and Practice
A ENG 358 Studies
in Poetry
A ENG 310 Reading
and Interpretation in
English Studies
AENG 497
Independent Study
and Research in
English
AENG 498/499
Thesis Seminar I &
I
Ph.D. Temple University
English
Kir Kuiken, Associate Professor
100
A ENG 334 19th
Century British
Literature
A ENG 343 Study of
an Author or Authors
Ph.D., University of
California, Irvine
English
21
(a)
(b)
(©)
(d)
(e)
()
Faculty Member Name and Title and/or
Rank at the Institution
(Include and identify Program
Director.)
% of Time
Dedicated
to This
Program
Program Courses
Which May Be
Taught
(Number and Title)
Highest and Other
Applicable Earned
Degrees (include College
or University)
Discipline(s) of Highest
and Other Applicable
Earned Degrees
Additional Qualifications: List
related certifications and
licenses and professional
experience in field.
After Mid-18th
Century
James Lilley, Associate Professor
100
A ENG 372
Transnational
Literature
A ENG 460Y Topics
in Transnational
Studies
Ph.D., Princeton
English
Ineke Murakami, Associate Professor
100
A ENG 357 Studies
in Drama
A ENG 412/412Y
Topics in Film or
Drama
ENG 291 and
T ENG 291 British
Literary Traditions I:
From the Anglo-
Saxon Period
through Milton
A ENG 292 British
Literary Traditions
II: The restoration
through the Modern
Period. AENG 346
Studies in
Shakespeare
Ph.D., University of Notre
Dame
English
Wendy Raphael Roberts, Associate
Professor
100
A ENG 270 Living
Literature:
Challenges in the
21st Century
A ENG 373
Literature of the
Americas
Ph.D., Northwestern
University
English
Helene Scheck, Associate Professor
100
A ENG 272 Media,
Technology and
Culture: Challenges
in the 21st Century
A ENG 342 Study of
an Author or Authors
Ph.D., Binghamton
University, SUNY
English
22
(a)
(b)
(©)
(d)
(e)
()
Faculty Member Name and Title and/or
Rank at the Institution
(Include and identify Program
Director.)
% of Time
Dedicated
to This
Program
Program Courses
Which May Be
Taught
(Number and Title)
Highest and Other
Applicable Earned
Degrees (include College
or University)
Discipline(s) of Highest
and Other Applicable
Earned Degrees
Additional Qualifications: List
related certifications and
licenses and professional
experience in field.
Before Mid-18th
Century
AENG 411/411Y
Topics in British
Literature and
Culture
T ENG 270 Honors
Living Literature:
Challenges in the
21st Century
Edward Schwarzschild, Associate
Professor
66
AENG
240/240T/240V/240
Z American
Experiences
A ENG 402Z
Advanced Writing
Workshop
A ENG 488W/488Z
Special Topics (1-6)
Ph.D., Washington
University
English
Charles Shepherdson, Professor
100
A ENG 410/410Y
Topics in
Contemporary
Literary and Critical
Theory
Ph.D., Vanderbilt
University
English
Paul Stasi, Associate Professor, Interim
Undergraduate Program Director
100
AENG
297 Postcolonial
Literary Traditions
A ENG 460/460Y
Topics in
Transnational
Studies
T ENG 297
Postcolonial Literary
Traditions
A ENG 335
Literature in English
after 1900
Ph.D., University of
California, Berkeley
English
Laura Tetreault, Assistant Professor
100
A ENG 419/419Y
Topics in
Ph.D. University of
Louisville
English
23
(a) (b) (©) (d) (e) ()
Faculty Member Name and Title and/or | % of Time | Program Courses Highest and Other Additional Qualifications: List
Rank at the Institution Dedicated Which May Be Applicable Earned Discipline(s) of Highest related certifications and
(Include and identify Program to This Taught Degrees (include College and Other Applicable licenses and professional
Director.) Program | (Number and Title) or University) Earned Degrees experience in field.
Technology, Media,
and Performance
Mary Valentis, Visiting Associate
Professor
100
AENG
315 Introduction to
Literary Theory
A ENG 338
American Literature
after 1900
A ENG 374 Cultural
Studies;
A ENG 350
Contemporary
Writers at Work
A ENG 351 Studies
in Technology,
Media, or
Performance
Ph.D. University at Albany,
SUNY
English
Laura Wilder, Associate Professor
Part 2. Part-Time Faculty
Christina Thyssen, lecturer
100
100
A ENG 205Z
Introduction to
Writing in English
Studies
A ENG 305V
Studies in Writing
About Texts
A ENG 355 Studies
in Film
A ENG 360Y
Tutoring & Writing
A ENG 450/450Y
Topics in Writing
Studi
A ENG 369 African-
American Literature
AENG
110Z Writing and
Critical Inquiry in
the Humanities
MFA University of Iowa,
Ph.D. University of Texas
at Austin
Ph.D. University at Albany,
SUNY
English
English
4
(a) (b) (c) (d) (e) ()
Faculty Member Name and Title and/or | % of Time | Program Courses Highest and Other Additional Qualifications: List
Rank at the Institution Dedicated Which May Be Applicable Earned Discipline(s) of Highest related certifications and
(Include and identify Program to This Taught Degrees (include College and Other Applicable licenses and professional
Director.) Program | (Number and Title) or University) Earned Degrees experience in field.
Part 3. To-Be-Hired Faculty (List as
TBH1, TBH2, etc., and provide
expected hiring date instead of name.)
25
English Syllabi:
A ENG 200 Structure of English Words
New Course
AENG 2052 - Introduction to Writing in English Studies (3) ew Course
A ENG 240/240T/240V/240Z American Experiences ew Courses
A ENG 270 Living Literature: Challenges in the 21st Century \Vew Course
A ENG 271 Literature & Globalization: Challenges in the 21st Century Vew Course
A ENG 272 Media, Technology and Culture: Challenges in the 21st Century \Vew Course
A ENG 291- British Literary Traditions I: From the Anglo-Saxon Period through Milton
Course title changed
Revised Course
A ENG 292- British Literary Traditions Il: The Restoration through the Modern Period
Course title changed
Revised Course
A ENG 297 Postcolonial Literary Traditions
New Course
A ENG 305V Studies in Writing About Texts
New Course
A ENG 306 Literary Publication: History and Practice \Vew Course
AENG 310 — Introduction to English Studies (3) evised Course
A ENG 315 Introduction to Literary Theory
New Course
A ENG 334 19th Century British Literature
New Course
A ENG 335 Literature in English after 1900
New Course
A ENG 337 19th Century American Literature
New Course
A ENG 338 American Literature after 1900
New Course
A ENG 342 Study of an Author or Authors Before Mid-18th Century
New Course
A ENG 343 Study of an Author or Authors After Mid-18th Century
New Course
AENG 346 - Studies in Shakespeare
New Course
A ENG 350 Contemporary Writers at Work
New Course
A ENG 351 Studies in Technology, Media, or Performance ew Course
A ENG 355 Studies in Film
New Course
A ENG 357 Studies in Drama
New Course
A ENG 358 Studies in Poetry
New Course
A ENG 359 Studies in Narrative
New Course
A ENG 360Y Tutoring & Writing
New Course
A ENG 369 African-American Literature
New Course
A ENG 372 Transnational Literature
New Course
A ENG 373 Literature of the Americas
New Course
A ENG 374 - Cultural Studies
Course title changed
Revised Course
A ENG 399 - Honors Seminar
Course title changed to Honors Seminar
Revised Course
A ENG 402Z Advanced Writing Workshop
New Course
A ENG 410/410Y Topics in Contemporary Literary and Critical Theory (3)
New Course
A ENG 411/411Y Topics in British Literature and Culture
New Course
A ENG 412/412Y Topics in Film or Drama
New Course
A ENG 413/413Y Topics in American Literature and Culture
New Course
A ENG 416/416Y (= A WSS 416/416Y) Topics in Gender, Sexuality, Race, or Class
New Course
A ENG 419/419Y Topics in Technology, Media, and Performance
New Course
A ENG 449/449Y Topics in Comparative Literatures and Cultures
New Course
A ENG 450/450Y Topics in Writing Studies
New Course
A ENG 460/460 Topics in Transnational Studies
New Course
A ENG 465/465Y Topics in Ethnic Literatures in Cultural Contexts
New Course
A ENG 485/485 Topics in Cultural Studies
New Course
A ENG 488W/488Z Special Topics (1-6)
New Course
A ENG 497 - Independent Study and Research in English
Revised Course
A ENG 498 - Thesis Seminar | (4 Credits)
Course title changed
Revised Course
A ENG 499 - Thesis Seminar II (3 Credits)
Course title changed
Revised Course
T ENG 1022 Introduction to Creative Writing
New Course
T ENG 226/226W Focus on a Literary Theme, Form, or Mode
New Course
T ENG 243 Literature and Film
New Course
T ENG 270 Honors Living Literature: Challenges in the 21st Century
New Course
T ENG 291 British Literary Traditions |: From the Anglo-Saxon Period through Milton
New Course
T ENG 295 Classics of Western Literature
New Course
T ENG 297 Postcolonial Literary Traditions
New Course
Page 1 of 4
A ENG 200 © A LIN 200) Structure of English Words (3 credit hours)
Instructor: Lee Bickmore, Professor
Office: AS 238 Office Hours, by appointment.
Phone: 442-4160
Email: lbickmore@albany.edu
Summer 2019 4wk1 May 8-June. Fully online, asynchronous
This course is delivered online and asynchronously. It meets or exceeds the total amount
of instructional and student work time expected in a traditional in-class course in every
week of a 15 week semester: three 55 minute sessions of classroom or direct faculty
instruction for every 3 credit course. The contact time achieved in this class is satisfied by
(1) instruction or interaction with a faculty member once a week for each week the course
tuns as well as (2) academic engagement through interactive tutorials, group discussions
moderated by faculty, virtual study/project groups, work with class peers and computer
tutorials graded and reviewed by faculty.
Course Prerequisites: None
Course Description: Introduction to the structure of English words, including the most
common Greek and Latin base forms, and the way in which related words are derived.
Students may expect to achieve a significant enrichment in their own vocabulary, while
learning about the etymology, semantic change and rules of English word formation.
Student Learning Objectives: In this course we will study the structure of English
words from a variety of perspectives. These include:
* Introduction to the history of English words (“etymology”) in their social,
demographic, cultural, and linguistic context
* Introduction to the principles of description and analysis of the sound system of
Modern English (“phonology”)
* Introduction to the principles and techniques of word constituent analysis
(“morphology”)
¢ Introduction to the analysis of word-meaning and the types of meaning change
(“semantics”)
* Introduction to some basic principles of stress-placement in English (“prosody”)
To acheive these goals, we will undertake the following:
« A detailed survey of the composition of the early vocabulary of English placed
in the context of population movements and conquests. Topics include: the
displacement of the Celts by the Anglo-Saxons, the Viking invasions and the
Anglo-Scandinavian “melting pot”, the Norman Conquest and the social
stratification of the vocabulary, the Renaissance focus on Classical learning, the
discovery of the New World, the globalization of English.
Page 2 of 4
¢ Analysis of and familiarization with the forms and meanings of some 450 roots
and 100 affixes, mostly of classical origin.
« Exposure to and analysis of about 3000 words of literate and/or specialized
usage; practice in parsing, recognizing the components, and guessing the
meanings of unfamiliar words derived from Greek and Latin.
Textbooks and other materials:
(1) Donka Minkova and Robert Stockwell. 2009. English Words. History and Structure.
Cambridge: Cambridge University Press.
(2) Workbook for English Words — the exercises are available free only online under
“Resources and solutions” (Exercises) on the book’s Cambridge University Press
website: www.cambrid ge.org/englishwords
Requirements and Grading (A-E):
Grading in this class will be based on the following: 3 quizzes (30%), 3 homework
assignments (30%), and one writing assignment (15%), and a cumulative final (25%).
Any homework tumed in late will receive a 10% per day penalty. No homework can be
accepted once the answer is presented in class (generally the class period following the
one where it is due).
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72)
D+ (67-69) D (63-66) D- (60-62) E<60
There are no make-up quizzes or tests unless it falls within the university’s medical
excuse policy
(http://www.albany.edu/health center/medicalexcuse.shtml).
Policy on academic integrity:
Academic integrity: “Every student has the responsibility to become familiar with the
standards of academic integrity at the University. Faculty members must specify in their
syllabi information about academic integrity, and may refer students to this policy for
more information. Nonetheless, student claims of ignorance, unintentional error, or
personal or academic pressures cannot be excuses for violation of academic integrity.
Students are responsible for familiarizing themselves with the standards and behaving
accordingly, and UAlbany faculty are responsible for teaching, modeling and upholding
them. Anything less undermines the worth and value of our intellectual work, and the
reputation and credibility of the University at Albany degree.” (University’s Standards of
Academic Integrity Policy, Fall 2013) For more information, see
http:/Awww.albany.edu/undergraduate_bulletin/regulations.html
Topics and assignments week by week: Week 1
What is this class about? The subjects of etymology and morphology. Introductory
information about dictionaries and online resources. Lexical heritage (pp.5-7). How did
Page 3 of 4
English get started? The Indo-European family of languages. The Germanic branch.
Reading: Textbook Ch. 2, p. 24-33.
Week 2
Vocabulary composition. Lexical heritage. Core vs. periphery. Patterns of word-
formation.
Reading: Chapter 1, pp. 7-23, Ch. 2, p. 32-45 and Ch. 3, p. 46-53.
Week 3
Assignment #1 on chapters 1-2 due
Etymology, source identification. Phonological and semantic nativization of loanwords.
Reading: Textbook Chapter 3, p. 54-61.
Week 4
How do we analyze words into parts? Morphemes and types of morphemes. Cognates
and words wish shared structure.
Reading: Textbook Chapter 4.
Week 5
Quiz # 1: Chapters 1 4.
How is allomorphy connected with phonetic processes? Elementary phonetics. English
vowels.
Reading: Chapter 5 up to p. 100.
Week 6
More on the history of English vowels (if needed). What do affixes contribute to the
meanings of words? The semantics of affixes. How do assimilation rules create variation?
Allomorphy through assimilation.
Reading: Textbook Chapters 5 and 6.
Week 7
Assignment #2 on chapters 4-6 due
What other kinds of variation create allomorphy? Allomorphy caused by deletion and
expansion.
Reading: Textbook Chapter 7.
Week 8
Quiz #2: Chapters 3 —7
Is allomorphy a universal process? The relationship between historical processes and
present-day allomorphy.
Reading: Textbook Chapter 8.
Week 9
More on derivational processes. Fossilized processes creating allomorphy: Grimm’s Law,
Gradation, Rhotacism. Unpredictable allomorphy.
Reading: Textbook Chapter 8.
Week 10
Page 4 of 4
How and why do meanings of words change? Semantic change in relation to social and
cultural change.
Reading: Textbook Chapter 9.
Week 11
Assignment #3 on chapters 7-9 due
The documentation and spread of semantic change. How do we discover semantic change
in dictionaries?
Week 12
Quiz # 3. Chapters 8 -9
The history and principles of stress assignment in English. How are classical words
pronounced in English?
Reading: Textbook Chapter 10.
Week 13:
The history and present-day status of “jargons”. Technical Vocabulary.
Week 14
Writing assignments due
Recently borrowed words, and their pronunciation. Attitudes to borrowing -- a historical
perspective and a present-day perspective.
Week 15
Review for Final Exam
Final Exam (cumulative)
AENG205Z Introduction | Meeting times: M & W 2:45-4:05 p.m.
to Writing in English Meeting place: Humanities 112
q Instructor email: Lwilder@albany.edu
Studies ‘ ne
Instructor’s office: Humanities 349
Fall 2016
Instructor’s office hours: M 12:30-2:30 p.m. & by appointment
Instructor’s office phone: 442-4084
TA’s email: Ljefferson@albany.edu
TA’s office: Humanities 389
TA’s office hours: M & W 4:15-5:15 p.m. & by appointment
Course website: on Blackboard
Section Class # 4790
Instructor: Laura Wilder
TA: Laurin Jefferson
Course Policies
Course Description:
A ENG 205Z Introduction to Writing in English Studies
Introduction to the forms and strategies of writing and close reading in English studies. The course
emphasizes the relationship between writing and disciplinary context, and such concepts as genre,
audience, and evidence. Required of all English majors. Must be completed with a grade of C or better
to register for A ENG 305V. Prerequisite(s): open only to declared and intended English majors and to
minors.
With AENG 305z, this course satisfies the “Advanced Writing” and “Information Literacy” core
competency requirements of the UA General Education Program.
Course credit hours: 3 credits
Student learning objectives: In addition to learning about the opportunities for and demands of writing
in English, our goals in this course are to learn how:
= todevelop the habits of experienced and scholarly writers, including revising, editing for style,
proofreading, and giving and using feedback
= todevelop the habits of experienced and scholarly readers, including close re-reading and
reading informed by literary theory, genre, and context
= todevelop a paper topic, think inventively about the texts you read and write, and formulate an
extended critical argument
= toorient your own observations, ideas, and arguments in relation to the arguments of other
readers and literary scholars
= torecognize and effectively use conventions of literary and cultural analysis and apply your
increasing knowledge of audience, evidence, genre, and style
= toconduct skillful research as a process of inquiry; to find, interpret, evaluate, summarize,
synthesize, and document information ethically and effectively
Required Texts: Available from the campus bookstore and Mary Jane Books (522 Washington Ave.):
Wolfe, Joanna and Laura Wilder. Digging into Literature: Strategies for Reading, Analysis, and
Writing. Boston: Bedford/St. Martin’s, 2016. ISBN 978-1-4576-3130-6
Available from Mary Jane Books (522 Washington Ave.):
A course packet for Professor Laura Wilder’s ENG205Z.
Available on 3 hour reserve at the U.Albany Library and streaming on Blackboard:
High Noon. Dir. Fred Zinnemann. Republic Pictures, 1952.
Attendance: You are expected to be punctual, to attend every class meeting, and to participate in all in-
class editing, revising, and discussion sessions. If you have more than five absences you will fail the
course. Save these “excused” absences to use when you are sick, or when you have an emergency. I will
take attendance at the start of every class. If for any unfortunate reason you arrive late, it is your
responsibility to see me after class to ask to be marked present. Late arrivals are disruptive to class, so
please do everything you can to avoid being late. More than three repeated late arrivals of more
than 5 minutes will be counted as one absence towards the five allowed maximum.
Cellphones and other portable electronic devices: Please turn off and stow away all portable
electronic devices during our class meetings.
Assignments and Grades: Your final semester grade (A-E) will be based on your work completing the
following assignments, calculated according to the following percentages:
Further description and grading criteria will be provided for
each paper. To pass the course, you must turn in on time a
e Paper 1 (4-5 pages)—20% complete “good faith” draft of each paper. The completion of
e Paper 2 (5-7 pages)—25% these drafts is a course requirement, and your peers and I will
e Paper 3 (5-7 pages)—25% respond to your drafts. To complete each final draft, you will
need to act upon the comments you will receive on your “good
faith” draft.
e Interview project (3-5 pages)—10%
« Homework assignments—10%
e Peer review and workshop contributions—10%
Grade Scale: A (93—100) A— (90—92) B+ (87—89) B (8386) B— (80—82) C+ (77—79) C (73—76)
C— (10—72) D+ (67—69) D (63—66) D— (60—62) E<60
If you have questions about a grade you receive in this course, wait at least 24 hours after receiving
the grade to contact me (please read carefully all feedback and develop specific questions). However,
do not wait until the end of the course to contact me. Any substantial question about a grade must be
made within two weeks of receiving the grade. Do not discard any drafts, assignments, papers, or
research materials you produce during the semester until you receive a final grade for the course.
Procedures for submitting assignments: Ensure your name and the date submitted appear on the first
page of each assignment.
e Homework assignments and peer review letters: These assignments should be typed, printed,
and brought to class on their due date. For peer review letters, two printed copies are necessary—
one for the instructor and one for the classmate recipient of the letter.
e “Good faith” drafts of papers 1-3: Bring one hardcopy to class and submit a digital copy to
Blackboard before the class meeting on their due date. When submitting drafts on Blackboard,
please first save your file in one of these formats: .doc, .docx, or .rtf. Use the “Draft & Paper
Submission” link on Blackboard to upload the file for your paper from your computer (look for
the “attach file” tool). Double space your drafts, use a 10 or 12-point serif font (eg. Times New
Roman), use 1 inch margins all the way around the text, and number your pages. Center (but do
not underline, italicize, or place in quotations) a title you give your paper. In other words, format
your drafts as you would following the MLA conventions for printed academic essays.
e Final drafts of papers 1-3: Submit a digital copy to Blackboard by the specified time on their
due date. When submitting final drafts on Blackboard, please first save your file in one of these
formats: .doc, .docx, or .rtf. Use the “Draft & Paper Submission” link on Blackboard to upload 2
the file for your paper from your computer (look for the “attach file” tool). Double space your
final drafts, use a 10 or 12-point serif font (eg. Times New Roman), use | inch margins all the
way around the text, and number your pages. Center (but do not underline, italicize, or place in
quotations) a title you give your paper. In other words, format your papers as you would
following the MLA conventions for printed academic essays.
Sharing your work with the class: Regularly, you will be required give your drafts to other members
of the class for feedback and discussion. Once during the semester you will be scheduled to have one of
your drafts discussed in a full-class or small-group draft workshop. This draft will be placed on
Blackboard for other members of the class to read. Participation in these peer review and workshop
activities is a course requirement.
Late Assignments and Drafts: Papers, drafts, and other assignments must be turned in during class
time on the date they are due as listed in our course schedule. Failure to submit drafts will result in
failure for the course. Drafts handed in late may not receive peer and instructor feedback, though
thorough revision is still expected. Late final essays may be penalized by lowering the grade
earned one full grade for each day after the due date the essay is late. It is best to contact me prior
to an important deadline if you may be unable to meet it.
Scholastic Honesty: Turning in work that is not your own or any other form of scholastic dishonesty
will result in a major penalty, including possible failure for the assignment or the course. If it appears
that you have committed some form of scholastic dishonesty, such as plagiarism or collusion, I will
contact you to discuss the matter at once and bring the matter to the attention of the Dean of
Undergraduate Education. The incident will be treated in accordance with the University at Albany
policies, and further penalties of confirmed, egregious cases can include suspension or expulsion.
From the University’s Undergraduate Bulletin, Academic Regulations:
Presenting as one's own work the work of another person (for example, the words, ideas, information,
data, evidence, organizing principles, or style of presentation of someone else). Plagiarism includes
paraphrasing or summarizing without acknowledgment, submission of another student's work as one's
own, the purchase of prepared research or completed papers or projects, and the unacknowledged use of
research sources gathered by someone else. Failure to indicate accurately the extent and precise nature
of one's reliance on other sources is also a form of plagiarism. The student is responsible for
understanding the legitimate use of sources, the appropriate ways of acknowledging academic, scholarly,
or creative indebtedness, and the consequences for violating University regulations.
Examples of plagiarism include: failure to acknowledge the source(s) of even a few phrases, sentences,
or paragraphs; failure to acknowledge a quotation or paraphrase of paragraph-length sections of a paper;
failure to acknowledge the source(s) of a major idea or the source(s) for an ordering principle central to
the paper's or project's structure; failure to acknowledge the source (quoted, paraphrased, or
summarized) of major sections or passages in the paper or project; the unacknowledged use of several
major ideas or extensive reliance on another person's data, evidence, or critical method; submitting as
one's own work, work borrowed, stolen, or purchased from someone else.
We will be covering the use of sources and other relevant issues such as acceptable collaboration on
writing projects extensively in class. For documentation purposes, it will be important to keep track of
resources you consult during your writing process, so get in the habit early on of “bookmarking” or
otherwise keeping track of websites you explore when thinking about paper topics and jotting down title
and author information for print materials. I may ask you to provide me with photocopies or printouts of
research materials you use. If you have any questions about the use you are making of sources for your
assignments, see me before you hand in your work.
Writing Center: If you are having difficulties with an assignment, or just simply want someone to
brainstorm potential paper topics with or discuss possible writing strategies and organizational
techniques to help you get started, I strongly encourage you to use the services offered by the University
at Albany’s Writing Center in Humanities 140. Here you will find trained tutors capable of assisting you
at any step of the writing process. Because they are well aware of issues surrounding scholastic honesty,
you need not worry that their assistance is collusion (whereas when receiving assistance from a well-
meaning friend or family member, you may need to be more vigilant to detect and avoid possible
collusion, for which you may be penalized). Contact information and office hours for the writing tutors
may be found at: www.albany.edu/writing.
Reasonable accommodation policy: Reasonable accommodations will be provided for students with
documented physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe
you have a disability requiring accommodation in this class, please notify the Director of the Disability
Resource Center (Campus Center 137, 442-5490). That office will provide the course instructor with
verification of your disability, and will recommend appropriate accommodations.
ENG205Z Introduction to Writing in English Studies
Course Schedule
Week | Day Discussion Topics and Assignment Due Dates
1 M Introductions & objectives of the course.
8/29 Discuss 3 poems on Fever: Bradstreet, Plath, Hughes.
WwW Discuss “Chapter 1: Why Join Critical Conversations about Literature?” and “Chapter
8/31 2: What Is Literary Analysis?” including Silko’s “The Man to Send Rain Clouds”
from Digging Into Literature (DiL—Chp 1 & 2 are also available as pdf files on
Blackboard).
*Homework due: Exercises from Dil that appear on pages 4, 18, 20, & 34-36.
(Remember to type, print, and bring to class your homework assignments to
receive credit for them towards your final grade.)
M9/5_| Labor Day. No class meeting.
2 W 9/7 | Discuss “Chapter 3: From Surface to Depth” to page 58 from DiL.
*Homework due: Exercises from Dil that appear on pages 46-47, 54-55, &
56-58. (Remember to type, print, and bring to class this and all your future
homework assignments to receive credit for them towards your final grade.)
M Discuss Gliick’s “Gretel in Darkness” (pages 58-59) and “Chapter 4: Patterns” to page
3 9/2 73 from DiL.
*Homework due: Exercises from Dil that appear on pages 59, 66, 69-70, &
2B.
WwW Discuss Ondaatje’s “The Cinnamon Peeler” and sample essays (pages 74-81) from
9/14 DiL.
*Homework due: Questions and Exercises from DiL that appear on page 76.
M Discuss “Chapter 5: Digging Deeper” through page 110 from DiL.
4 9/19 Introduction to Paper 1.
*Homework due: Exercises from Dil that appear on pages 85, 87, 89, 93, 97,
100, 103, 105, & 106
WwW Discuss Bass’s “Antlers,” pages 110-119 from DiL.
9/21 *Homework due: Questions from DiL that appear on pages 119-120.
M Discuss “Chapter 6: Opposites” (including Walker’s “Everyday Use”) from DiL.
5 9/26 *Homework due: Exercises from Dil that appear on pages 126, 128-129, &
130.
WwW Discuss Chapter 13 “Developing a Thesis and Organizing Your Essay” and “Chapter
9/28 14: Presenting Textual Evidence Effectively” from DiL.
*Homework due: Exercises from Dil that appear on pages 277, 282, 288, &
295.
M No class meeting.
6 10/3
WwW Discuss Chapter 15 “Revision and Peer Review” from DiL,
10/5 Draft exchange and peer review letter assigned.
Introduction to the interview project.
*Homework due: Exercise from DiL that appears on page 309.
*“Good faith” draft of Paper 1 due. Bring one hardcopy to class AND submit
via Blackboard before class.
M Workshop paper | drafts.
7 10/10 *Homework due: print, annotate in preparation for workshop discussion, and
bring to class the papers selected for workshop.
*Paper | peer review letter due (bring two copies).
WwW No class meeting.
10/12 _| Paper 1 drafts returned with instructor comments on Blackboard.
M Editing paper 1.
8 10/17 | Introduction to Paper 2: Context-informed Analysis
Discuss “Chapter 7: Context” from DiL and poems by Wheatley and Giovanni in
course packet.
*Homework due: “Now Practice on Your Own: The World is Too Much with
Us” from Dil on page 156 and exercises on pages 159-162, & 167-168.
WwW Discuss “Chapter 8: Genre and Form” from DiL.
10/19 | Discuss poems by Bradstreet in course packet.
*Homework due: Exercises and Questions from DiL that appear on pages 177,
179-180, 185-187, & 189.
*Paper | due. Submit via Blackboard by 9:00 p.m. While submitting, in the
Blackboard Assignment Submission “Comment” window describe what you
consider to be the three most important revisions you made.
M Discuss Crane’s “The Bride Comes to Yellow Sky” in course packet and the film
9 10/24 | High Noon (available online on Blackboard & on 3 hour reserve at Library).
*Homework due: List 10 potential questions and 2 potential candidates for
your interview project.
WwW Discuss Chapter 11 “Joining the Critical Conversation” from _DiL.
10/26 *Homework due: Exercises from Dil that appear on pages 226-229, 235, &
241. For the exercise on page 235, use an article written about the literary text
you plan to write about for paper 2.
M Discuss Poe’s “The Pit and the Pendulum” and Gilman’s “The Yellow Wallpaper” in
10 10/31 | course packet.
Ww Draft exchange and peer review letter assigned.
11/2 *“Good faith” draft of Paper 2 due. Bring one hardcopy to class AND submit
via Blackboard before class.
M Workshop paper 2 drafts.
1 11/7 *Homework due: print, annotate in preparation for workshop discussion, and
bring to class the papers selected for workshop.
WwW Workshop paper 2 drafts.
11/9 Paper 2 drafts returned with instructor comments on Blackboard.
*Homework due: print, annotate in preparation for workshop discussion, and
bring to class the papers selected for workshop.
*Paper 2 peer review letter due (bring two copies).
M Discuss Chapter 9 “Social Relevance” and Chapter 10 “Theoretical Lens” from DiL
12 11/14 | and the excerpt from Du Bois’s The Souls of Black Folk in DiL pages 325-333.
Introduction to Paper 3: Interpreting Through a Theoretical Lens
*Homework due: Exercises from Dil that appear on pages 198, 204, 206, 210,
& 217.
WwW Discuss Bruner’s “Self-Making Narratives” in DiL pages 334-355.
11/16 *Homework due: “Now Practice on Your Own” in DiL page 356.
*Paper 2 due. Submit via Blackboard by 9:00 p.m. While submitting, in the
Blackboard Assignment Submission “Comment” window describe what you
consider to be the three most important revisions you made.
M Discuss selection from Foucault’s Discipline and Punish in DiL pages 356-384.
13 11/21 *Homework due: “Now Practice on Your Own” in Dil page 384.
WwW No class meeting.
11/23
M Discuss selection from Kolodny’s The Lay of the Land in DiL pages 384-396 and
14 | 11/28 | Bak’s “Escaping the Jaundiced Eye: Foucauldian Panopticism in Charlotte Perkins
Gilman’s ‘The Yellow Wallpaper” in course packet.
*Homework due: “Now Practice on Your Own” in DiL pages 396-397.
WwW Discuss Chapter 12 “Using All of the Strategies on a Single Work” from DiL.
1130 *Homework due: “Now Practice on Your Own” in Dil pages 256-262.
M Roundtable discussion of results of interview projects.
Hay 12/5 *Interview project due.
WwW Draft exchange and peer review letter assigned.
12/7 *“Good faith” draft of paper 3 due. Append 3 specific questions about your
draft that you are interested in having a supportive reader respond to. Bring
one hardcopy to class AND submit via Blackboard before class.
M Paper 3 workshop.
16 | 12/12 | Instructor reply to your three questions about your draft of paper 3 will be sent to you
via email by 12/14.
*Homework due: print, bring to class, and prepare to discuss papers selected
for workshop.
*Paper 3 peer review letter due (bring two copies).
M *Paper 3 due. Submit by 11:00 a.m. While submitting, in the Blackboard
12/19 Assignment Submission “Comment” window describe what you consider to be
the three most important revisions you made.
E. Schwarzschild
Associate Professor
Class: TTH 11:45-1:05/BB205
Office: HU324
Office Hours: T 1:30-3:30 & by appt
Phone: 442-4389
E-mail: eschwarzschild@albany.edu
SYLLABUS _ English 240z (#7997}—American Experiences (3 credits) —Fall 2016
A ENG 240Z American Experiences (3 CREDITS)
An exploration of life in 218‘ century America, this small seminar examines issues of diversity
and pluralism including race, class, gender, sexuality, disability, and citizenship through the
study of American literature, media, and culture and through students’ own writing projects.
In this section of 240V we will study many examples of contemporary art that seem to explore
possible “rewritings” of “America.” Our central texts (fiction, nonfiction, drama, film, and other
arts) will be drawn to a large extent from the work of authors and artists visiting campus this
term under the auspices of the New York State Writers Institute and the University Art Museum.
Our chosen texts will inform and inspire our in-class discussions and activities. Furthermore, in
response to our chosen texts, we will write critically, creatively, and frequently. My hope for the
course is that, by the end of the term, you will have honed your ability to write cogently and
compellingly about some of the multiple challenges we face living in 21st century America.
(Fulfills UAlbany’s “Challenges for the 218‘ Century” requirement; only one version of English
240/T/V/Z may be taken for credit). No pre-requisites.
Student Learning Objectives:
e Write cogently and compellingly about some of the multiple challenges we face living in
21st century America
¢ Understand contemporary conversations on diversity and the arts in the U.S.
Required Texts:
--Stephen Adly Guirgis, Between Riverside and Crazy
--Laura van den Berg, The Isle of Youth
--Adam Johnson, editor, The Best American Nonrequired Reading 2015
--Colm Toibin, Brooklyn
AND: Additional readings posted to Blackboard as necessary
Basic Requirements:
ATTENDANCE--Please come to class on time and prepared. More than two
unexcused absences will lower your grade for the course. Repeated lateness will be counted
as an unexcused absence.
Schwarzschild/240V-—-2
PARTICIPATION—We will be exploring this new, contemporary territory together.
This course will work best if we all contribute our discoveries, questions, and insights. In
addition, class will often be organized to facilitate group-work and the success of this format
requires your active participation. You will frequently share your written work with each other.
Articulating your thoughts about the work of others will help you to better critique your own
writing. Remember, also, that your peers are sharing something significant with you. We should
treat the work we share with respect and consideration--that is, we should read it, think about it,
and discuss it as carefully and constructively as we can.
WRITING ASSIGNMENTS—AIl writing assignments need to be turned in on time,
typed, and double-spaced, with page numbers and with 1" margins all around. Do not
submit papers via e-mail. Some assignments will be graded, others will be checked in. Late
papers not accepted.
READINGS.--The requirement here is simple. Keep up with the reading. Read
everything more than once. Read the texts that are assigned. Read other texts that catch your
eye. Read texts you hear about. Read, read, read.
Additional Requirements:
RESPONSE PAPERS--I see these papers as, essentially, crafted critical/creative
journals. They provide a space for you to test out arguments and observations concerning our
readings and discussions. You should write about issues, passages, images, contrasts, and/or
similarities that puzzle you, intrigue you, catch your interest. I do not expect you to reach
closure in these papers, but I do expect you to focus on and attend to something specific.
These papers are for beginnings --they are for raising questions, suggesting preliminary answers,
imagining longer projects.
These papers should not include summaries of the readings or discussions, nor should they
include excessive quotations from the texts (though, of course, you will find it necessary and
helpful to quote briefly from the works you discuss). These papers should be 2-3 pages long.
SHORT QUIZZES--There will be frequent quizzes to help inspire you to keep up with
the reading. These quizzes will not be difficult, unless you haven’t done the reading.
EVENT VISITS—Y ou will be required to attend and write about 2 events that involve
our visiting authors/artists.
FINAL PROJECTS--We will talk more about these as the semester progresses. The
projects should be 10-12 pages long and they will consist of both critical and creative work.
Grading:
20% = Attendance/Participation/Presentations 20% = Quizzes and event reports
25% = Response papers and other writing exercises 35% = Final project
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76)
C- (70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Schwarzschild/240V--3
Please note: If you attend class regularly, contribute to discussion, and do all of the assigned
work in a timely, thoughtful fashion, your grade should be in the B range. Grades of A and A-
are reserved for truly exceptional work.
E-mail:
Feel free to e-mail me to make appointments and to ask questions about your work and to inform
me about emergency situations. You should not e-mail me to ask about assignments/work that
you missed. If you miss class, it is your responsibility to find out what you missed from your
classmates.
A Note on Plagiarism:
Don’t do it. The work you turn in should be original work you have written exclusively for this
class. The university has extremely strict penalties for plagiarism. See the relevant pages in
your Undergraduate Bulletin for more details.
Basic Schedule:
1/21—Introduction + Tobias Wolff, “Bullet in the Brain”
1/26—Discuss and write about “An Oral History of Neftali Cuello” (BANR 229-240)
1/28—Discuss and write about “Who Wants to Shoot an Elephant?” (BANR 1-19)
2/2—Diseuss and help select additional readings from BANR
2/4—BANR treading, TBA.
**First response paper due in class
2/J—POETRY—teadings and discussions from Komunyakaa and Bitsui
2/11— POETRY—readings and discussions from Komunyakaa and Bitsui
**Poetry exercise due in class
***K omunyakaa on campus
2/16— POETRY—teadings and discussions from Komunyakaa and Bitsui
2/18—Art Museum Visit (details TBA)
**Second response paper due in class
***Bitsui on campus
2/23—Discussion/Screening of David Shapiro’s documentary, Missing People
Schwarzschild/240V--4
2/25—Discussion/Screening of David Shapiro’s documentary, Missing People
***2/26—Shapiro on campus
3/1—Diseuss and write about Between Riverside and Crazy
3/3—Discuss and write about Between Riverside and Crazy
***Guirgis on campus
3/8— Discuss and write about Between Riverside and Crazy
**Third response paper due in class
3/10—Discuss and write about Between Riverside and Crazy
3/15 & 3/17—NO CLASS/SPRING BREAK
3/22—NONFICTION—discuss and write about BANR selections
3/24— NONFICTION—discuss and write about BANR selections
**Nonfiction exercise due in class
3/29— NONFICTION—discuss and write about BANR selections
3/31— NONFICTION—discuss and write about BANR selections
**Final project proposal due
4/5—FICTION—discuss and write about Jsle of Youth
4/7— FICTION—discuss and write about Isle of Youth
4/12—FICTION—discuss and write about Brooklyn
**Fourth response paper due
4/14— FICTION—discuss and write about Brooklyn
4/19— FICTION—discuss and write about Brooklyn
4/21— Final project presentations
***van der Berg on campus
4/26— Final project presentations
4/28—Final project presentations
***4/29—Toibin on campus
Schwarzschild/240V--5
5/3— Final project presentations
**Final projects due by 5PM
AENG 270 Living Literature: Challenges in the 21st Century
Topic: Pocahontas
Professor Wendy Roberts
Spring 2018
T/Th 11:45-1:05 / HU 128
Office: Humanities 341
Office Hours: T/Th 1:30-2:30 or by appointment Phone: 442-4075
Email: wroberts2@albany.edu
Course credit hours: 3 credits Pre-requisites - None
Learning Objectives:
Students will be able to:
— engage and critique the difficult history and legacy of colonialism in contemporary
literature, film, and historical writing
— develop a thoughtful approach to the analysis of Native American representation and
its relation to U.S. culture and politics through the example of Pocahontas
— construct an alternative to the contemporary romantic narrative of and with
Pocahontas
— create their own academic community by honing their skills as cooperative team
members and engaged interlocutors
— respond to and offer further oral interpretations of texts supported by textual evidence
during group or class discussions
— apply modes of close reading and textual analysis
Course Texts: All texts may be purchased at Mary Jane Books 465-2238. It is highly
recommended that you purchase books in print form. If you purchase electronic books, you
must bring a tablet or laptop to class and have corresponding notes on your reading available for
you toreference quickly. You may not read e-books on a smart phone. If the e-book becomes
an issue for participation in the course, you will be asked to purchase a print version or lose your
in-class activity points for that unit.
John Davis, Captain Smith and Princess Pocahontas: An Indian Tale, 1805 (ISBN 1275866093)
Monique Mojica, Princess Pocahontas And The Blue Spots (ISBN 0889611653)
Camilla Townsend, Pocahontas and the Powhatan Dilenma (ISBN 0809077388)
Robert S. Tilton, Pocahontas: The Evolution of an American Narrative (ISBN 0521469597)
Roxanne Dunbar-Oriz, An Indigenous Peoples' History of the United States (ISBN 080700040X)
Course Reader
You will need to purchase, rent, or borrow the following films:
Pocahontas (Disney)
The New World, Director Terrence Malick
Avatar, Director James Cameron
Course Description
General Course Description in Bulletin:
A ENG 270 Living Literature: Challenges in the 215* Century (3):
Thinking critically about the relationship between the past and the present through literary texts.
This course explores the persistence of the past in contemporary literature or the relevance of
literary traditions to contemporary challenges.
Course Description Specific to Professor Roberts:
The Content: Pocahontas has been a beloved icon since the colonization of the Americas by the
British and the founding of the United States. But other than Disney’s movie and the ever
popular Indian princess Halloween costume, what do you really know about this figure? This
course will examine an array of texts--from the primary sources in which Pocahontas first
figured in the sixteenth century to the film Avatar. Plumbing the depths of the “real” Pocahontas
will help us think about the different ideological roles she has served for the American nation
and the ways such representations have inhibited (and continue to inhibit) progress toward
Native American sovereignty.
The Approach: Research shows that learning takes place best in an interactive environment in
which learners are held accountable for their work and receive frequent feedback on their
progress. I have designed this course around these principles. What will it look like?
The Process: The course content is divided into multiple sequences, with each focused ona
specific aspect of the course’s subject. You will do much of the processing and analysis of the
literature and fine tuning of your ideas in teams into which you will be placed on the first day of
class and will stay in for the entire semester. Your interactions and performance in your team
will be crucial to your success in the course. For each sequence, we will go through a similar set
of steps:
1. You will read a substantial portion of the reading for the learning sequence on your own
and will take a Readiness Assessment Test (RAT) on that section at the beginning of the
unit of study. You will actually take each RAT twice—once on your own and once as a
team. Both grades count.
2. As the Sequence progresses, you will continue reading literary texts and engage in in-
class and out-of-class activities, both on your own and as a member of your team, that are
designed to help you gain facility with the material.
3. Each unit will end witha final assessment to demonstrate the fluidity of the knowledge
that you have acquired.
Evaluation Method (Grades A-E):
Readiness Assurance Process / 10% individual and 10% team) 20%
Frequent, short, in-class tasks 20%
(some team, some individual)
2 Short Papers 20%
2 In Class Exams 20%
Final Exam 15%
Team Member Performance (peer graded) 5%
Grade Scale: A (93-100) A— (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C-
(70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Working in Teams: Reading new material can be difficult— but you are not alone! Learning is
best thought of as a collaborative enterprise. As such, you will be working in stable teams forthe
entire semester. Several graded assignments will involve in-class collaboration with other
students, including team tests and assorted critical thinking tasks. At the end of the semester, you
will also be asked to evaluate the “helpfulness” of the contributions of each of your team
members and to assign a grade that counts as part of their grade for this course. It will not be
possible to give all members of your team the same number of points.
Attendance and Make-up Policy: Missed assignments receive no credit: there is simply no way
to make up “real-time” class work. If you must miss class, you have the following “safety
valves”: 1) The average of the best 90% of your in-class work (both individual and team
components) will count toward your grade; 2) the lowest RAT grade (individual and team
components) will be dropped from the calculation of your average.
Regarding papers: Late papers will be accepted but marked down one half a letter grade
each day they are late.
Lateness-Tardiness Policy: If you need to arrive late or leave early and thereby miss part or all
of an in-class assignment, you will receive no credit for that assignment, neither for the
individual work nor for the work of your team in your absence. [f-you know that it will be
difficult for you to consistently get to class on time and stay for the entire period, you should
drop the course and take it at a later date, when your life’s circumstances are more manageable.
Cell Phone and Laptops: Please turn off cell phones before entering the classroom. You are
encouraged to bring your laptops/tablets, but please refrain from activities that are not directly
related to in-class work. Smart phones are not appropriate for reading course texts.
Plagiarism & Academic Integrity: When you write your papers, you should clearly credit any
sources from which you borrow. You should not turn in any work that is not your own.
University at Albany considers plagiarism (accidental or otherwise) a severe violation of the
educational trust. When you take tests, you must keep your eyes on your own work unless
collaboration is explicitly permitted/required. Violating academic integrity in this course will
result in a failing grade and an official report to the administration. You may review the ,
University’s policies here: https:/Awww.albany.edu/undergraduate_bulletin/regulations.html .
Provisions for Students with Disabilities: Any student with a verified/documented disability
requiring special accommodations should speak to me and to Disability Resource Center (518-
442-5490) as soon as possible, and by no later than the second week of classes. All such
discussions will be held in the strictest confidence.
Th Jan 22
T Jan 27
Th Jan 29
T Feb3
Th Feb 5
T Feb 10
SCHEDULE OF READINGS, TESTS, ASSIGNMENTS
[* indicates the reading is in the Course Reader]
Sequence One: Thinking Red
Introduction, Teams, practice RAT
SNOW DAY
Readings Due: *Robert Conley, “We Wait”; *Vine Deloria, “American Fantasy”
Application: Conley and Deloria
RATI1
Readings Due: Roxanne Dunbar-Ortiz, An Indigenous Peoples' History of the
United States, Introduction, “This Land” and Chapter 1 “Follow the Corn”;
*Rayna Green, “The Pocahontas Perplex”; *David D. Smits, “The ‘Squaw
Drudge”
Application: Rayna Green, “The Pocahontas Perplex”; David D. Smits, “The
“Squaw Drudge”
Short paper 1 due Friday at Midnight via Blackboard
Sequence Two: Romancing the Princess: The Early Stories
RAT2
Readings Due: *John Smith, except from A Generall Historie of Virginia (1624);
*Clara Sue Kidwell, “Indian Women as Cultural Mediators”; *Kathleen Brown,
"In Search of Pocahontas" from The Human Tradition in Colonial America; John
Davis, Captain Smith and Princess Pocahontas (pages 1-56)
Th Feb 12
T Feb 17
Th Feb 19
T Feb24
Th Feb 26
T Mar 3
Th Mar 5
T Mar 10
Th Mar 12
T Mar 17
Th Mar 19
T Mar 24
Th Mar 26
T Mar 31
Th Apr 2
Application: Smith, Brown, and Kidwell
Reading Due: Camilla Townsend, Pocahontas and the Powhatan Dilemma,
Chapters 1 through 5.
Application: Townsend
Application: first half of John Davis (1-56)
Reading Due: Finish John Davis and Tilton, Pocahontas, Chapters 1 and 2
Application: Davis and Tilton
In Class Exam 1
Sequence Three: Indian Removal and the Developing Stories
RAT3
Readings Due: George Washington Parke Custis, Pocahontas, or The Settlers of
Virginia; Tilton, Chapter 3: “The Pocahontas Narrative in the Era of the Romantic
Indian”
Application: Custis, Pocahontas and Tilton, Chapter 3
Application: Custis, Pocahontas and Tilton, Chapter 3
Reading Due: Tilton, Chapter 4, John Gadsby Chapman’s Baptism of Pocahontas
Application: Tilton, Chapter 4
In Class Team Task instead of Exam/ still worth 10%
Spring Break
Spring Break
Sequence Four: The Reel Pocahontas
RAT4
Reading Due: Camilla Townsend, Pocahontas and the Powhatan Dilemma,
Chapters 6 though 9; *Renato Rosaldo, “Imperialist Nostalgia”
Viewing Due: Disney’s film Pocahontas
Application: Disney’s film Pocahontas and Townsend
Reading Due: *Steven Mintz, "Movies, History, and the Disneyfication of the
Past: The Case of Pocahontas."
Application: Disney’s film and Mintz
Viewing Due/Application: Terrence Malick’s film The New World
T Apr7 No Class / Short Response Online
Th Apr9 Application: Malick’s film and Rosaldo
T Aprl4 Viewing Due: James Cameron’s Avatar
Application: Avatar
Th Aprl6 Application: Avatar
Short Paper 2 Due Friday at Midnight via Blackboard
Sequence Five: Unsettling Settler-Colonialism: Natives Representing Natives
T Apr 21 RATS5
Reading Due: *excerpts from Custalow, Dr. Linwood "Little Bear," and Angela
L. "Silver Star" Daniel. The True Story of Pocahontas: The Other Side of History;
*Andrea Smith, Conquest, “Sexual Violence as a Tool of Genocide”
Th Apr 23 Application: Custalow and Smith
T Apr 28 Application: Custalow and Smith
Th Apr 30 Reading Due: *excerpts from Unsettling Ourselves
Application: excerpts from Unsettling Ourselves
T May 5 Application: excerpts from Unsettling Ourselves
And Review.
Th May 7 Reading Day
F May 8 10:30am -12:30pm COMPREHENSIVE FINAL EXAM
AENG271 : Literature & Globalization: Challenges in the 21st Century
Class #: 7156
UAlbany Main Campus, HU 128
Mondays and Wednesdays 4:15PM - 5:35PM
Spring 2018
Bret Benjamin (bbenjamin@albany.edu)
Office: Humanities 326 (442-4071)
Office Hours: : T-TH 3:00-4:00 pm and by appointment
COURSE CREDIT HOURS: 3
COURSE PREREQUISITES/COREQUISITES: None. No priorknowledge of literary studies is
required.
COURSE DESCRIPTION:
® Undergraduate bulletin course description:
Examination of contemporary world literature in the light of the challenges of globalization
e Course introduction:
When you opena novel set in a culture that seems "foreign" to you, you may hope the storyteller
will be a knowledgeable, clear-sighted guide to an unfamiliar part of the world. When first read
the novel Midnight's Children, I too expected it to hold a mirror up to the "truth" about India and
its people. I later realized the storyteller was a liar in more ways than one: he often made
"mistakes" and contradicted what he said earlier. He even dared to deliberately draw attention to
ways he may not be in a state of mind to be trusted. Salman Rushdie, the author, confessed he
"went to some trouble to get things wrong," even regarding historical facts about India, and said
the "wrongness feels right." Why? The novel became a quest to find out what the purpose of
such unreliability may be.
This semester, we will read novels that cross the borders of culture and nation and investigate
the counter-intuitive ways the storytellers seem to want to slow down or obstruct our search for
the unfiltered "truth" about "others." We will observe how such unreliable storytellers build,
destroy, and rebuild a relationship with us, the "foreign" readers.
The novels we will read are contemporary: Exit West by Mohsin Hamid, NW by Zadie Smith,
My Name Is Red by Orhan Pamuk, Austerlitz by W.G. Sebald, and Midnight's Children by
Salman Rushdie.
STUDENT LEARNING OBJECTIVES
Upon completion of this course, students will be able to:
apply modes of close reading and textual analysis
You will become a more observant reader of not only literary fiction but also various other acts of
storytelling pervasive around us, by practicing analysis of how stories are told (that is, how the
author and/or narrator mediates our access to the storyworld through narrative form) not just what
happens in the storyworld.
understand and apply theoretical models when interpreting texts
You will gain competency in applying several concepts from narratology that are useful tools for
analyzing the various characteristics and effects of narrators, especially unreliable narrators.
distinguish between different critical approaches to textual interpretation
You will complete introductory readings, with a list for recommended further reading, on several
ongoing scholarly debates about the significance of nationalism, colonialism, modernization and
globalization. You will compare how various scholars used these concepts to analyze the varying
historical, political experiences of readers of various communities. You will then investigate
connections between these scholarly arguments and the phenomenon of what readers ofa certain
community, especially our own U.S. reading community, tend to expect and notice when
consuming stories produced in a different cultural / political community, for example, a novel
from India.
identify a pertinent issue and support an analytic argument about it amidst conflicting
viewpoints, effectively revise drafts in response to constructive criticism, and apply
disciplinary genre conventions including argumentative strategies, organizational
structures, citation practices, and acceptable forms of evidence
You will practice communicating your analytic observations about a novel’s themes and narrative
form ina clear prose style and format suitable to a college-level audience, and practice
incorporating specific examples from the novel into your essay to support your argument.
UALBANY GENERAL EDUCATION COMPETENCIES: This English course meets the following
General Education Requirement: Challenges in the 21* Century
COURSE MATERIALS:
1) The following five novels are required for this class. You will be considered absent if you do not bring
the assigned book dates we are scheduled to discuss it (though if you are still encouraged to stay and audit
the discussion). Be sure to obtain a print copy. You will not be permitted to use digital formats of these
primary discussion texts in class. These books are readily available (used or new) through libraries, the
campus bookstore or on-line book vendors.
Ly
4.
5.
Midnight's Children: A Novel. Author: Salman Rushdie, ISBN: 97808 12976533, Publisher:
Random House
Exit West. Author: Mohsin Hamid, ISBN: 9781432847654, Publisher: Gale Group
Austerlitz. Author: W. G. Sebald, ISBN: 9780812982619, Publisher: Random House Publishing
Group
My Name Is Red. Author: Orhan Pamuk, Erdag Goknar (Translator), ISBN: 9780375 706 851,
Publisher: Knopf Doubleday
NW. Author: Zadie Smith, ISBN: 9780143123934, Publisher: Penguin Publishing Group
2) You need reliable access the internet and a printer. [ will assign supplementary readings in the form
of PDF files or other web content available through Blackboard. You will need to print reading materials
to bring to class when requested.
COURSE REQUIREMENTS:
Assignment Descriptions:
Five short reading responses (30 points x 5 = 150 points = 16.66 % of semester point total):
Post observations in about 250-500 words about the novel you are reading in response to
questions or prompts on Blackboard. Due dates: Feb 5, Feb 12, Feb 19, Mar 26, Apr 9.
Mid-term literary analysis paper (200 points = 22.22 % of semester point total): Essay in 8-
10 double spaced pages, MLA format. You will closely analyze passages from a novel to help
other readers notice interesting features of the form of narration and develop a thesis about how
this distinct form of storytelling, which may often seem unreliable or unconventional, affects the
reader’s habits of thinking on key thematic issues you found in the novel. A strong essay will not
only highlight key passages and demonstrate what is unusual about the form of storytelling, but
furthermore, give a clear sense of what is at stake in this formal innovation. Due Mar 14.
Final literary analysis paper (250 points = 27.77 % of semester point total): Essay in 10-15
double spaced pages. The task is similar to the mid-term: you will choose one of the three novels
we read since mid-term and closely analyze the narrative form and develop a thesis about how
this form affects your interpretation of the work. Due May 16.
By this time in the semester I expect you to have benefited from class lectures showing
examples of how student writing submitted in the mid-term could have been revised for greater
clarity and specificity, and therefore your final essay will be graded with more rigorous criteria.
Examinations:
Five reading progress quizzes (20 points X 5 = 100 points = 11.11 % of semester point total):
Closed-book, true or false questions to briefly check that you are reading the novels on schedulee:
Dates: Feb 5, Feb 19, Mar 19, Apr 2, Apr 16.
Five reading progress exams (40 points X 5 = 200 points= 22.22 % of semester point total):
Open-book exam in which you write paragraph length responses to questions regarding
interesting formal features of the novel(s) and conceptual “keywords” discussed in class lectures.
Dates: Feb 14, Feb 28, Mar 28, Apr 11, Apr 25.
GRADING
Grading Scheme: A-E; 3.0 credits
Five short reading responses (30 points x 5 = 150 points)
e Five short reading responses (30 points x 5 = 150 points)
e Final literary analysis paper (250 points)
e Mid-term literary analysis paper (200 points)
e Five reading progress quizzes (20 points X 5 = 100 points)
* Five reading progress exams (40 points X 5 =200 points)
How to calculate your grade:
(Total points you earned) + (Total points possible to earn) x 100= Your percentage grade.
Use the following chart follows to convert your percentage into a letter grade.
UNIVERSITY POLICIES:
Policy on Academic Integrity:
Every student has the responsibility to become familiar with the standards of academic integrity at the
University. Student claims of ignorance, unintentional error, or personal or academic pressures cannot be
excuses for violation of academic integrity. If there is any possibility of confusion, it is your
responsibility to ask the instructor in advance. Refer to the undergraduate bulletin for University's
Standards of Academic Integrity: http://www.albany.edu/undergraduate_bulletin/regulations.html.
Here is the University’s definition of plagiarism: “Presenting as one's own work the work of another
person (for example, the words, ideas, information, data, evidence, organizing principles, or style of
presentation of someone else). Some examples of plagiarism include copying, paraphrasing, or
summarizing without acknowledgment, submission of another student's work as one's own, the
purchase/use of prepared research or completed papers or projects, and the unacknowledged use of
tesearch sources gathered by someone else. Failure to indicate accurately the extent and precise nature of
one's reliance on other sources is also a form of plagiarism. Students are responsible for
understanding legitimate use of sources, the appropriate ways of acknowledging academic, scholarly, or
creative indebtedness.”
Plagiarism also includes the following:
1) “Plagiarizing yourself” by turning in the same (or near same) work for more than one course. All
written homework must be new, original work that has not been previously submitted for academic credit.
2) The piecemeal construction of a “new” text out of others’ texts (including documents and webpages
found on the internet)
3) The failure to document primary and/or secondary sources or any factual information and statistical
data that is not “common knowledge”
4) Stealing others’ ideas and/or arguments, even if you paraphrase their texts and “translate” their
language into your own words
5) Not crediting your classmates’ work, their comments in group workshops, class discussions, and out-
of-class discussions, or materials presented by the instructor in class.
Penalty for first discovery of any amount of plagiarism:
e Automatic reduction of two letter grades for the entire course (example: your semester grade
will drop from A to C) and
e = The instructor submits a Violation of Academic Integrity Report (VAIR) to the Dean of
Undergraduate Studies.
Penalty for second offense:
e Automatic failure for the entire course, without exceptions and
e The instructor submits a second to Violation of Academic Integrity Report (VAIR) the Dean
of Undergraduate Studies. A second report will trigger a student conduct hearing and any
resulting penalties by the University.
The University does not permit any student to drop a course to avoid the penalty for plagiarism.
Reasonable Accommodations:
Reasonable accommodations will be provided for students with documented physical, sensory,
systemic, cognitive, learning and psychiatric disabilities. If you believe you have a disability requiring
accommodation in this class, please notify the Director of the Disability Resource Center (Campus Center
130, 518-442-5490, DRC@albany.edu). That office will provide the course instructor with verification of
your disability, and will recommend appropriate accommodations.
If you are registered with DRC at the University of Albany, please present a letter of accommodation
in a timely manner, preferably within the first two weeks of the semester.
For more information about the DRC: http://www.albany.edu/disability/prospective-new.shtml
Sexual Violence Prevention and Title IX Reporting:
Title IX of the Education Amendments of 1972 is a federal civil rights law that prohibits
discrimination on the basis of sex in federally funded education programs and activities.
The SUNY -wide Sexual Violence Prevention and Response Policies prohibit offenses defined as
sexual harassment, sexual assault, intimate partner violence (dating or domestic violence), sexual
exploitation, and stalking. The SUNY-wide Sexual Violence Prevention and Response Policies apply to
the entire University at Albany community, including students, faculty, and staff of all gender
identities. The University at Albany provides a variety of resources for support and advocacy to assist
individuals who have experienced sexual offenses.
Confidential support and guidance can be found through the Counseling Center (518-442-5800,
https://www.albany.edu/counseling center/), the University Health Center (518-442-5454,
https://www.albany.edwhealth center/), and the Interfaith Center (518-489-
8573, https://www.albany.edu/spirituality/onCampus.shtml). Individuals at these locations will not
report crimes to law enforcement or university officials without permission, ex cept for in extreme
circumstances, suchas a health and/or safety emergency. Additionally, the Advocates at the University at
Albany’s Advocacy Center for Sexual Violence are available to assist students without sharing
information that could identify them (518-442-CARE, https://www.albany.edu/advocacycenter/).
Sexual offenses can be reported non-confidentially to the Title IX Coordinator within The Office for
Equity and Compliance (518-442-3800, https://www.albany.edu/equity-compliance/, Building 25, Room
117) and/or the University Police Department (518-442-3131, http://police.albany.edw/).
Please note, faculty members are considered “responsible employees” at the University at Albany,
meaning that they are required to report all known relevant details about a complaint of sexual violence to
the University’s Title IX Coordinator, including names of anyone involved or present, date, time, and
location.
In case of an emergency, please call 911.
OTHER CLASS POLICIES:
How to Submit Homework:
« Submit a// assignments online on Blackboard by the deadline. Double check that each
submission is in the correct designated folder of Blackboard, in the specific length and file format
requested.
e Tonly accept PDF and .doc or .docx files. Files in .pages format or links to content in the cloud
are unacceptable.
¢ Double-check the status of all your on-line submissions before the deadline! Don’t risk losing
points because your file is hidden in the wrong folder in Blackboard or cannot be opened for
technical reasons.
e Only on occasions when you are specifically requested, bring a printed copy of your homework
assignment to class (in addition to submitting it on Blackboard for safekeeping). I may needa
printed copy to speed up grading or to use during an in-class activity.
Attendance Policy:
* 9ormore absences: Automatic failure of the course.
© 7-8 absences: The penalty will be directly applied to your final grade. I will deduct a FULL letter
from your final semester grade. For example, an “A” will become a “B”; a “B+” will become a
“cy
* 5-6 absences: The penalty will be directly applied to your final grade. I will deduct a half letter
from your final semester grade. For example, an “A” will become a “A-
e Any absences of 4 or less will be recorded to keep a total tally but these will NOT be directly
applied as a penalty on your final semester letter grade. This is intended as a pre-emptive, built-in
accommodation given for personal emergencies and important events such as religious
observations, civic or family obligations, etc. For most students, this eliminates the need to
present medical notes or other documentation to the instructor personally for short-term illnesses,
unless your total tally exceeds 4 absences. (For long-term medical issues, refer to the bullet point
on “Medical Excuse” below.)
e Even if youare physically present and submit the classroom work, the instructor will have the
authority to count you as absent for the following reasons.
- Disruptive behavior (chatting with neighbors, refusing to answer direct questions, etc.)
- Inappropriate use of electronic devices (cell phones, laptops, etc.)
- Arriving more than 10 minutes late
- Leaving class early without informing me of the necessity beforehand.
- Not having the book or manuscript required for discussion
- Sleeping
- Other
* Medical Excuse: If you have a medical issue that prevents you from attending class for a long
term, please be sure to seek your academic advisor, disability resource center staff, or other
appropriate channels on campus for guidance and mediation, since it is beyond the instructor’s
professional capability to fairly evaluate each student’s medical needs and accessibility requests.
Please refer to the University's Medical Excuse Policy:
http://www.albany.edu/health center/medicalexcuse.shtml
Late Assignment Policy:
e For the mid-term or final paper:
If you need to an alternate deadline, you must contact me at least two weeks in advance.
If you are planning your schedule ahead of the deadline responsibly, I can accommodate a
delay of a few days (but no longer than a week).
e For Blackboard reading response posts, preparatory exercises, quizzes, exams and other
graded activities in the classroom: No late work accepted. No exceptions.
You cannot “make up” activities that other students completed and submitted in the
classroomata later time, because the activities are designed to be interactive with other
people in the class or useful at a specific stage in the course. Please also be aware that you
should not expect the instructor to repeat in-class presentations for absent students. (See the
section on “Policy on Late Work” below). I urge you to make it a principle to be absent only
for emergencies and important events such as religious observations, civic or family
obligations, etc.). I encourage you to form study-partnerships with classmates to help
remind each other of assignments, help take notes, and provide feedback on one another’s
drafts. Also make use of the couple of extra credit events at the New York State Writer’s
Institute that you can attend as an alternative opportunity to supplement your participation
points.
Incomplete Policy:
An “incomplete” is likely to become a serious burden on your academic progress. Do not request an
incomplete except in highly unusual, exceptionally extenuating circumstances, and do not expect that all
requests will be accepted.
Threatening or Hostile Behavior:
e Any threatening or hostile behavior directed against me or classmates will result in (a)
immediate notification of Judicial Affairs, (b) the offender’s non-negotiable, automatic
failure for the class and (c) possible academic probation, suspension, or expulsion from
UAlbany.
Inclement Weather and Class Cancellations:
e Inthe event that the University cancels one or more class meetings due to inclement weather,
or in the rare event that I need to reschedule the class due to a personal emergency, I will
email the class about adjustments to upcoming assignments.
e Inthe event of such unforeseen cancellations, itis your responsibility to check your email and
our course page on Blackboard in a timely manner to stay informed about any revisions to the
reading and writing schedule.
Electronic Devices in Class:
e Asa general rule, use of electronic devices in a manner that is irrelevant to the class will be
considered disruptive behavior and is strictly prohibited. As already stated above (see
“Attendance Policy”), the instructor has the authority to count you as absent.
¢ Laptops are prohibited except in cases where the student has spoken to the instructor in
advance about a strong preference for taking notes on a computer. Students who have made a
special arrangement to use laptops for note-taking in class will be requested to sit near the
front closer to the instructor to facilitate eye-contact. I also discreetly spot-check the screen of
students laptops before and during class to prevent distracting misuse of technology. Do not
have any private (or otherwise inappropriate) information open to view on your screen.
Phones are prohibited at all times, except to call emergency services. Do not plan on taking notes
or looking up materials on your smart phone.
Email Policy:
¢ In general, please allow up to 48 hours for your e-mail to be read.
* Tencourage questions and comments by e-mail, but before hitting “send,” review the following
list of common faux pas.
- You forgot to sign your name and I can’t figure out who you are.
- Your e-mail does not meet basic standards of academically appropriate language and courtesy.
- Your e-mail asks for information that I already clearly provided in the syllabus, assignment
handout, ete.
- Your e-mail demands a written response in a manner that significantly exceeds my time
constraints. If you’d like to discuss a working draft of your manuscript before the final
deadline, for example, you are welcome to email me the draft in advance, but then you should
make an appointment to come and discuss the draft together during office hours instead of
simply passively requesting a long written response from me.
Inclusive Learning Environment:
It is expected that each of you will contribute to creating an inclusive and respectful learning
environment. You are expected to treat each other with dignity and value differences in perspectives.
Hurtful or hateful language and actions will not be tolerated.
COURSE SCHEDULE:
Session Date Topics / Class Plan / Text Readings/Assignments
# You Need to Bring Due Before Class
“(BB)” means the text is available on
Blackboard
1 Jan 24 W
Overview of Syllabus
2 Jan 29 M Introduction to some key Look over the syllabus PDF file (BB)
terms: “Levels of Narration,”
"Narrator" "Implied Author"
and "Unreliability"
* Tu
January Gish Jen Craft Talk “Explaining the East-West Culture Gap” in the Science
30 2018 Library Standish Room at 4:15 pm, followed by a presentation at the
Huxley Theatre, NYS Museum Cultural Education Center at 7:30 pm
Extra
Credit https://www.albany.edu/writers-inst/
Event
3 Jan 31 W_ (Continued) Introduction to
some key terms: “Levelsof Be prepared to discuss the PDF file
Narration,” "Narrator" Keywords 1 ("Unreliable Narrators")
"Implied Author" and
"Unreliability" .
Be prepared to discuss the PDF file of an
excerpt from Salman Rushdie's essay
collection Imaginary Homelands
4 Feb 5 M_ Midnight's Children by
Salman Rushdie. Bring the (1) Post a short reading response of 250-
whole book. 500 words (writing prompt on BB).
Reading Progress Quiz
10
11
12
13
14
15
Feb7
Feb 12
Feb 14
Feb 19
Feb 21
Feb 26
Feb 28
Mar 5
Mar7
Mar 12
Mar 14
Mar 19
Mar 21
2
Z2E <5
Midnight's Children by
Salman Rushdie
Midnight's Children by
Salman Rushdie
Midnight's Children by
Salman Rushdie
Reading Progress Exam
Exit West by Mohsin Hamid
Reading Progress Quiz
Exit West by Mohsin Hamid
Exit West by Mohsin Hamid
Exit West by Mohsin Hamid
Reading Progress Exam
Spring Break
Spring Break
Midterm Point
Austerlitz by W.G. Sebald
Reading Progress Quiz
Austerlitz by W.G. Sebald
Be prepared to discuss the PDF file
Keywords 2 ("National Culture &
Nationalism")
(2) Post a short reading response of 250-
500 words (writing prompt on BB).
Be prepared to discuss the PDF file
Keywords 3
(3) Post a short reading response of 250-
500 words (writing prompt on BB).
Be prepared to discuss Be prepared to
discuss the PDF file Keywords 4
Choose one of the two novels we’ve read.
Post a draft thesis / key question(s) you'd
like to explore regarding an aspect of the
form of narration and its effects on the
reader. Provide quotes of passages from
the novel you plan to analyze (writing
prompt on BB).
Midterm Paper Workshop
Midterm Paper Workshop
Midterm Paper Due
Be prepared to discuss the Be prepared to
discuss the PDF file Keywords 5
Be prepared to discuss the Be prepared to
discuss the PDF file Keywords 6
16
17
18
19
20
21
22
23
24
25
26
Mar 26
Mar 28
Apr2
Apr4
Apr9
Aprll
Apr 16
Apr 18
* Apr 19
Extra
Credit
Event
Apr 23
Apr 25
Apr 30
Austerlitz by W.G. Sebald
Austerlitz by W.G. Sebald
Reading Progress Exam
My Name Is Red by Orhan
Pamuk
Reading Progress Quiz
My Name Is Red by Orhan
Pamuk
My Name Is Red by Orhan
Pamuk
My Name Is Red by Orhan
Pamuk
Reading Progress Exam
NW by Zadie Smith
Reading Progress Quiz
NW by Zadie Smith
(4) Post a short reading response of 250-
500 words (writing prompt on BB).
Be prepared to discuss the Be prepared to
discuss the PDF file Keywords 7
(5) Post a short reading response of 250-
500 words (writing prompt on BB).
Be prepared to discuss the PDF of
excerpts from an essay "Two Paths for
the Novel" by Zadie Smith
Salman Rushdie gives craft talk at 4:15 pm in Lecture Center 25,
followed by a presentation at 7:30 pm in Page Hall in the Downtown
Campus 135 Western Avenue
https://www.albany.edu/writers-inst/
NW by Zadie Smith Choose a novel we’ve read since mid-
term. Post a draft thesis / key question(s)
you'd like to explore regarding an aspect
of the form of narration and its effects on
the reader. Provide quotes of passages
from the novel you plan to analyze
(writing prompt on BB).
NW by Zadie Smith
Reading Progress Exam
Final Paper Workshop
27
28
29
May 2
May 7
May 9
May 14
May 16
May 22
Last day of classes
Final exam week
Final exam week
Expected date final grades
will be available on
MyUAlbany by 12 pm.
Final Paper Workshop
Final Paper Workshop
Final Paper Workshop
Final Paper Due
AENG 272 (7157); Media, Tech., and Culture. Professor Scheck, HU 322
Spring 2018 (3 credits); No Pre-requisites Office Hours: TTH 1:30-2:30 pm or by appt.
TTH 11:45-1:05, HU 123
hscheck@albany.edu
Technologies of the Book
COURSE OVERVIEW AND OBJECTIVES
According to the Undergraduate Bulletin, AENG 272 Media, Technology and Culture: Challengesin
the 21st Century (3 credits), provides an “[e]xamination of how technology and mediashape our
experiences in the 21st century, through analysis of a range of texts including film, television and
digital media alongside more traditional literary materials.”
In this version of the course we will examine Technologies of the Book. As we become increasingly
immersed in the digital age, it may seem absurd to think of the book as a technological advance.
And yet, the development of the book form in the European west from scroll to codex to early
printed books and pamphlets radically changed the way individuals and groups treated knowledge.
Indeed, the changing technologies of the book affected cognition itself and even led to the
development of the computer. This course will trace the development of various technologies that
correspond to the book in order to consider issues of literacy alongside processes of reading,
writing, and book production. These developments willin turn reveal cognitive and aesthetic shifts
in the intellectual culture of the ancient, medieval, and early modern West. Cultivating an
appreciation for the early history of reading, writing, and books will yield insights into our own
shifting reading, writing, and publishing practices as well as our habits and abilities of cognition.
Students will gain an appreciation for technologies
associated with the form and production of the book
through hands-on workshops and a field trip as well as
through literary and historical readings. Short papers
and projects will bolster readings, lecture, and
discussion. End-of-semester projects will give students
an opportunity to perform in-depth analysis of one
early book (in facsimile) while also looking to the future
of the book in the digital age. Looking to the past and
future of one of the most influentialtechnologies the
world has produced, this course meets the General
Education requirement “Challenges in the 21st
Century."
HOW TO SUCCEED IN THIS COURSE
Recognizing that you have many course options, we
assume that you registered for this particular course
because you are interested in learning more about
something we all have come to take for granted—the
seemingly mundane book—and the cultures that
produced it over the course of millennia and into the
next millennia; we expect, therefore, that you are
intellectually committed to this course. Assignments
are structured carefully to instruct and to challengein
different registers: literary, historical, analytical,
interpretive/critical. we hope you will find the readings
and assignments interesting, enjoyable, and rewarding, if challenging. If you have any difficulty
understanding or following the parameters or logic of an assignment, or any of the reading material,
please don't hesitate to ask in class or in private. Course policies are meant to ensure steady
progress in completing assignments and fairness to all. Above all, courtesy and freedom of
expression are the key principles of the course and are meant to foster an open exchange of ideas.
Come prepared to engage the material and each other. Challenge yourselfand the ideas promoted
by the various texts, your peers, and, yes, even (especially?) your instructors. If you have any
problems meeting these policies and expectations, please speak with Dr. Scheck in private so that
we can devise a plan to ensure your success. TEXTS (AVAILABLE AT THE CAMPUS BOOKSTORE)
Required
Keith Houston, The Book: A Cover-to-Cover Exploratoin of the Most Powerful Object of our Time.
NY: Norton, 2017. Also available in Kindle format, for those interested.
Michael Leong, "Who unfolded my origami brain?" Fence Digital, 2016. Available for $1.99 here:
http: / /fencedigital.com/projects /.
Recommended
All English majors should own or have access to (and use) the MLA Handbook, a good dictionary,
and a good reference grammar. The Purdue University Online Writing Lab (OWL) is a useful
resource. You will find their coverage of MLA Style format here:
https: / /owl.english.purdue.edu/owl/resource/747/05/. Also worth bookmarking are their Writing
in Literature section: https: //owl.english.purdue.edu/owl/section/4/17/ and their General
Writing section: https://owl.english.purdue.edu/owl/section/1/.This is the next best thing to
owning the MLA Handbook and a reference grammar.
***Note: Students must have appropriate text(s) in class. We will dismiss any student not having the
necessary texts and will mark that student absent for that day.***
Requirements and Grading Breakdown
Course work will be evaluated on an A-E grading scale and will be weighted as follows:
Worksheets /practicums/quizzes 20%
Essay form journal entries 20%
‘Zine project 20%
Early book project 20%
Workshops and presentations 20%
Students are required to attend a field trip to Siena College Library Department of Special
Collections. Students will be responsible for getting to the Library. Any
fears/doubts/reservations /issues, please meet with Dr. Scheck as soon as possible to discuss.
ALL ASSIGNMENTS (GRADED OR NOT) MUSTBE COMPLETED IN ORDER TO PASS THIS COURSE.
Grade Scale: A(93-100) A- (90-92) B+ (87-89) B (83-86) B-(80-82) C+(77-79) C(73-76) C-(70-72) D+ (67-69)
D(63-66) D-(60-62) E<60
Practical Matters Save EVERYTHING, especially work relating to your final paper (research,
outlining, drafting, revising, etc.). You can never be too careful. Take detailed (and useful) notes on
your reading and researchas well as in class. Develop a system to organize all of the information
you will be accumulating. Keep up! All assignments in this course, from the reading assignments
to the drafts for the final paper, build upon one another. To neglect one aspect of the course,
therefore, will negatively affect your performance in other aspects of the course. If you are having
difficulty balancing your
workload, please see me or your faculty mentor to discuss strategies for relieving the pressure,
keeping you on track, or getting you back on track.
Prepare for the worst and it won't happen. Computers are wonderful innovations, but they are not
flawless. Hard drives crash, flash drives/CDs can become unreadable, printers can run out of ink
or toner, etc., and we all know how easy it is to lose or misplace a flash drive or CD. Some tips: be
sure to back up your work frequently and regularly, always save to more than one place (flash
drive/S drive/ hard disk, for example), protect your media (don’t just throw them in your bag
unprotected), do not wait until the last day to complete your paper, especially ifyou are relying on
shared computer equipment, always bring your own paper and memory device for use on campus,
keep an extra toner or ink cartridge available. The Help Desk is a wonderful resource, but they
cannot work miracles.
Policies
Attendance Policy
Perfect attendance is expected and will be rewarded. Students missing more than 8 classes (the
equivalent of 4 weeks of classes!) willnot pass the course. It would be difficult to succeed in the
course missing more than 4 classes, since so much of the course depends on assignments the
student must complete or submit in class. Excused absences are still absences, though in certain,
extenuating circumstances I may offer an alternate assignment to make up the missed work and
any graded assignments due that day. In such cases, students must notify me as soon as possible
and meet with me to discuss the possibility of make-up work directly upon return (not two weeks or
two months later). Attendance for all workshops is mandatory.
Lateness
Habitual lateness will not be tolerated. _Imay excuse a student froma class if s/he shows up more
than 15 minutes late. Even a few minutes can be very disruptive, so please be prompt. Students
may be excused from the class if lateness becomes excessive and/or disruptive.
Late Papers
Late papers, if accepted, will be heavily penalized: 1/3 of a letter grade for each day late (i.e., from
B+ to B, for example). Be sure to budget your time realistically in order to get all papers in on time.
Since you'll be drafting in advance and working in stages, timely submissions should not be a
problem.
Disability Accommodation
Any student having a disability is entitled to reasonable accommodation once the condition has
been documented and the student is registered with the Disability Resource Center. If you believe
you have a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 130, 442-5490). That office will provide me with
verification of your disability, and will recommend appropriate accommodations.
Disruptive Behavior
This course is based on the active and open exchange of ideas, and therefore the classroom
environment must be such that all feel comfortable voicing their opinions, sharing their work,
challenging (politely) perspectives or statements, critiquing a classmate’s work, etc. Rudeness will
not be tolerated. Other forms of disruptive behavior include inappropriate comments, dozing,
texting, other forms of disengaged behavior or resisting instruction, arriving late, leaving early,
leaving during the class session (particularly during collaborative work), even for a short time.
Obviously there are times when one may need to leave the classroom to tend to an emergency, or
someone may unwittingly blurt out something inappropriate, but those should be rare exceptions.
And just because one person needs to leave the room does not give license to others to follow suit.
Disruptive behavior may result in dismissal from the class session and/or referral to the Office of
Conflict Resolution and possibly dismissal from the course.
Devices in the Classroom
Use of electronic devices is permitted in class ONLY for the purposes of accessing the relevant
course text(s) for the day. Students using e-texts will need to show me at the beginning of class.
Inappropriate use of laptops, smart phones, tablets, etc., willresult in dismissal from the class for
that day, in which case I will alsomark you absent (whether the offense occurs at the beginning or
end of class).
Technology Failure
It seems to happen routinely; andit seems to happen especially when thereis a lot at stake (i.e., a
paper due). I regret that I cannot waive penalties in these instances.
Conferences
Students are REQUIRED to meet with me toward the end of the semester. (We will schedule
appointments when the time draws near.) Of course students are also encouraged to meet with me
earlierin the semester to discuss papers, readings, and overall progress. Pleasemake an
appointment if office hours are not convenient.
Academic Integrity
Plagiarism and other forms of academic dishonesty will not be tolerated. Unless otherwise stated, all
work is to be conducted and produced individually and all work submitted must be the student’s
own, unless the assignment specifically calls for collaboration and/or external sources; external
sources must be properly credited. Students should familiarize themselves with the University's
policies on academic dishonesty (see the Undergraduate Bulletin:
https: //www.albany.edu/undergraduate_bulletin/regulations.html). Such acts willresultina
failing grade for the assignment and, quite possibly, the course. ALL incidents of academic
dishonesty will be referred to the Office of Undergraduate Education. To learn more about
plagiarism and how to avoid it, view the “Plagiarism 101” informational website and tutorial at
http: / /library.albany.edu/usered/plagiarism/index.html.
TENTATIVE COURSE SCHEDULE
JAN
JAN
FEB
23 Course Introduction
25 Explorations: Defining our terms. After doing some general research using the
internet as well as whatever dictionaries and encyclopedias you choose, formulate a
short essay (600-900 words) on the book object (BB Journal). That is, what exactly
do we mean by “book”? What makes a book a book? What in your experience is the
range of possibilities (print and electronic)? Is a book without words still a book? What
about a story in words but not contained ina material form? What technologies
associated with the book most affect the nature of the book? Do you think the book is
going the way of the dinosaur, or is it being transformed usefully by digital technology
so that it will remain with us?
30 Special books: old, odd, favorite. Bring a book or two to share with the group.
Try to find the oldest book still on our library shelves, for example, or bringa
childhood favorite or an unusual yard sale find. Whatever you think might contribute
to our discussion. Short essay due: Personal Favorites (600 to 900 words) (BB
Journal). What are your reading preferences? What is your relationship to “the book”?
Do you have a favorite book (not text, but the actual physical or digital form that
contains and presents the text)? Have you ever read a book that prompted an
epiphany of some sort or changed your outlook?
1 The end of the book? Read The Economist edition posted in folder on BB and
compose a short essay (600 to 900 words) (BB Journal).
6 Zine Workshop--Class collaboration. ‘Zine project overview and guidelines.
8 Morgan Library early writing exploration
13 The Book, intro. and chs. 1-2.
15 The Book, chs. 3-4. Chinese calligraphy workshop.
20 The Book, chs. 5-6. European Calligraphy workshop.
22 The Book, chs. 7-8. European Calligraphy workshop.
27 The Book, chs. 9-10. Papermaking workshop/ Special Collections.
MAR 1 The Book, chs. 11-12. Papermaking workshop/ Special Collections
6 The Book, chs. 13-14. Antique Books, courtesy of James Steerman
8 The Book, chs. 15 and Colophon. Ben Nadler on Zines.
MAR 13-16 No Class.
MAR 20 Virtual Book exhibit. Explore Manuscript and Early Print Book repositories
APR
MAY
(links and worksheet on BB).
22 Book Transformation Workshop with Megan Stasi
27 Zines due. VERY short presentations (1-2 mins.) Submit Zine with typed
overview and highlights (600 words).
29 Marie de France, short works (BB)
3 Old English riddles and poems (BB); The Exeter Book.
5 Christine de Pizan, excerpts (BB).
10 Manuscript Road Trip Practicum. Details TBA.
12 The European Age of Print. Early Print Books in England Practicum. Be
prepared to share.
17 Complete Practicum on Exploring Incunables (early printed books) (BB). Be
prepared to share your findings. Submit your report, typed, at the end of class.
19 Complete ArchBook Project Practicum (BB)
24 1) Read Leong, Origami Brain; 2) Select Book or Manuscript for final project; 3)
Review essay due (900 words) (BB Journal). Consider the terrain we’ve traversed
thus far. What aspect(s) do you find most interesting, and why? Think about the
surprises (or disappointments?) our readings and practicums have revealed. Be
prepared to share.
26 Book/ Manuscript Project Workshop. Bring notes on selected Codex to work
from.
1 Happy May Day! Book/Manuscript project. Research Progress Reports (3 to 5
minutes). Work sheets due.
3 Book/ Manuscript project. Research Progress Reports (3 to 5 minutes).
8 Last Class. Dreaming the new book. New technologies exploration essay due
(900 words) (BB Journal).
Book/MS project due Monday, May 14, by 5 pm. Submit via BB.
Instructor: Dr. Ineke Murakami Course section: 4801
Semester: Fall 2017 Meeting: T, R 1:15-2:35
imurakami@albany.edu HU 129
Hours: R, T 2:45-3:45 p.m. and by appointment Office: HU 328; 518-442-4072
British Literary Traditions I
AENG 291 (3 Credits) No Pre-requisites
Course Description:
This course is a survey of major works in the English literary tradition, from the Anglo-Saxon
period to the late Renaissance. As the word “survey”—from the Latin super (over) and videre (to
look at or view)—suggests, this course will involve moving swiftly through a select “overview”
of a recognized literary tradition, from Beowulf to Paradise Lost. While we will try not to
entirely overlook some of the writers who tend to slip from such surveys—women and non-elite
writers—you should regard this as an introduction to what is, in fact, a much richer, more
heterogeneous field than we can possibly cover in the space of one semester. Exploring some of
the artistic, historical, and philosophical issues that preoccupied writers in the British Isles for
centuries, we will sample diverse genres and characters who have influenced writers and
filmmakers from Tolkein to Benioff and Wiess (“Game of Thrones”). Expect to read selections
of premodern epic and lyric poetry, drama, and prose.
A note on course types:
ca Seminars (300-400-level classes) are usually organized around one particular author,
school of writers, or topic in what is often a single temporal period (i.e. the Harlem
Renaissance of the American 1920s). Asa result, seminars focus in depth on a handful
of primary texts and some key criticism about these texts. Seminars also adopt theoretical
approaches that illuminate particular texts to give students a better understanding of the
texts and topic of the course.
c Surveys like English 291 offer an opportunity to gain breadth of knowledge as a
complement to the depth gained in seminars. British Literature I covers many historical
periods, and is organized in a rough chronology to give you a sense of the changes in
form, literary style, and social and political landscapes in relation to the particular culture
in which a text was produced. Surveys contribute to:
¢ literary knowledge—a.k.a. the sense of being “well read.”
¢ historical knowledge.
¢ greater clarity about what you like and don’t like in literature. Surveys are like a
quick tour of a large region (in this case, about 900 years of English literature).
You take in a few highlights of things to be seen and done. These may urge you to
return to the places you liked best for an extended stay (through a seminar).
c The large number of texts covered means that theoretical, critical, and historical
readings have been kept to a minimum. To save time and keep your homework focused
on literature, I add to or broaden the short contextual information in our primary reader,
The Broadview Anthology. This information reflects the critical consensus of centuries of
critical scholarship (i.e., peer-reviewed books, articles, and conversations in pre-modern
studies communities).
Objectives:
©% To develop skills of literary interpretation based on close textual analysis
©% To deepen knowledge of literary history
«% To gain a broad familiarity with historical trends in the development of English as a literary
language
© To stimulate thinking about how writers in historically remote cultures used literature to
promote, challenge or come to grips with their culture’s beliefs, values, and habits
«% To strengthen analytical and argumentative writing
© To introduce some fundamental literary forms, terms, and concepts
Satisfies the following Gen. Ed. Reqs.: Humanities and International Perspectives
Required Texts: (available at UAlbany Bookstore). Use ISBN numbers to assure that you
have the correct editions:
’ Abrams, M.HA-Glossary-of Literary-Lerms 14" edition ISBN:-978-4285465067
* The Broadview Anthology of British Literature. 2-volume package. BABL One: The
Medieval Period 3e (202X) and BABL Two: Renaissance & Early 17C 3e (2909).
Package ISBN: 9781488102455
¢ ERes (electronic reserve) material, including all YouTube clips and web pages assigned
on schedule. Available through Blackboard
+ Norton Topics Online. See ERes on Blackboard for access to these very short articles
+ Shakespeare, William. Macbeth. Stephen Orgel, ed. The Pelican Shakespeare, ISBN:
978-0143128564
Requirements and Evaluation:
1. Preparation and participation 15%
2. Five short papers 45%
3. Midterm exam 20%
4. Final exam 20%
Grade Scale: A(93-100) A- (90-92) B+ (87-89) B (83-86) B-(80-82) C+(77-79) C(73-76) C-(70-72)
D+(67-69) D(63-66) D-(60-62) E<60
1. Preparation and participation consist of the following:
@M Demonstrated reading. Excellent students may find a text baffling, but they try to work
through it by marking up the text with questions for discussion or to provide evidence
to support in-class comments. Marking up a text is a standard active reading practice
in English studies (for a quick refresher, see Princeton’s active reading strategies at
http://www. princeton.edu/mcgraw/library/for-students/remember-reading/).
Tip: use Post-It Notes to write in your text if you plan to sell your books back.
You are responsible for ALL of the texts assigned, whether we cover them or not in
class; they may show up on exams. ALWAYS BRING YOUR BOOKS AND/OR ANY
CURRENT Eres TEXTS IN HARDCOPY TO CLASS! If you are unprepared
because you have not read and/or lack your book or other materials, you may be
2.
i]
dismissed from class and marked “absent” for the day.
M Class Discussion and group work. We learn by asking questions, and working things
out through the intellectual labor of discussion (with your classmates as well as with me),
and any small assignments, like the “ME Read Aloud.” I strive to make the classroom an
environment that facilitates active learning; in return, I expect to see you engaged.
- Any disruptive behavior will receive one verbal warning. After that, dismissal
from class will follow, and it will count as an absence. No exceptions. Disruptive
behavior includes, but is not limited to: sleeping or dozing off; using electronic
devices; excessive bathroom breaks when not ill; working on things other than
work for our class.
M Attending class regularly. Class attendance is mandatory. This isa fast-paced course,
so missing even a day will put you behind. You may miss three classes—no excuses
necessary—before your grade drops by one third letter grade (and one third letter
grade with each subsequent absence). If extenuating circumstances arise (illness, etc.)
please contact me immediately to discuss make-up work. You are responsible for
keeping track of your own absences. Lateness is disruptive, therefore, three late arrivals
or early departures will be the equivalent of one absence. If you arrive late, see me after
class to make sure I mark you present for the class.
Checking UAlbany e-mail on a daily basis. It is University policy that students check
their UAlbany e-mail account daily. I use e-mail regularly to communicate important
changes in the schedule, clarify assignments, and occasionally add something to in-class
conversations.
M Electronic devices. Turn them off and keep them off in class. Take notes ‘old school’:
studies show handwritten notes enable you to understand and retain more (see ERes
article) If you text, make or receive a call, etc., it is disruptive behavior. I will ask you to
leave, and it will count as an absence.
Five short papers. Full assignments available on Bb “Contents” page under
“Assignments.” Paper lengths for all: One page, single spaced.
1. The Word Definition Essay
2. The Poetic Conceit Essay
3. The Poetic Stanza Essay
4. The Dramatic Monologue Essay
5. The Epic Speech Essay
Late paper policy: I do not accept late papers. If you need an extension on an
assignment, please contact me as soon as possible--at least 24 hours before the paper is due.
Paper grading criteria: There are three main criteria: 1) how well you choose the word,
line, or lines to analyze; 2) the quality and precision of your analysis; 3) the mechanics of
paper writing (e.g. articulation of thesis, organization of ideas, grammar and spelling). In
general, it makes for better analysis to focus on words, lines, and passages that open up
interpretation rather than close it down. Explain how ambiguities, complexities, and
contradictions work in the text rather than ignoring or simplifying them.
Turning in Procedure: On or before the due date, please upload your polished
paper to the “Safe Assign” folder created for each assignment on Blackboard.
3+4. Two exams. There will be two in-class exams—a midterm exam and a longer final exam.
The first exam will cover the first half of the course, and the second exam will cover the
second half. They will share the same basic structure: each exam will feature two
sections that will ask for identification and explication of passages, and the definition
of terms. The final exam will also include a section to write on your choice of short
essay questions you will receive in advance of the exam. On both exams, you will be
responsible for all assigned readings, even if we do not discuss them in class. This includes
“background” material.
Academic Integrity a.k.a. Do not plagiarize. Depending on the severity of the offense, it may
result in suspension, expulsion, or a failing grade for the course.
Plagiarism is presenting as one's own work the work of another person (for example, the words, ideas, information,
data, evidence, organizing principles, or style of presentation of someone else).
Examples of plagiarism include: failure to acknowledge the source(s) of even a few phrases, sentences, or
paragraphs; failure to acknowledge a quotation or paraphrase of paragraph-length sections of a paper; failure to
acknowledge the source(s) of a major idea or the source(s) for an ordering principle central to the paper's or project's
structure; failure to acknowledge the source (quoted, paraphrased, or summarized) of major sections or passages in
the paper or project; the unacknowledged use of several major ideas or extensive reliance on another person's data,
evidence, or critical method; submitting as one's own work, work borrowed, stolen, or purchased from someone
else.
Other Tips for Success:
* Plan ahead. Schedule the dates papers come due so that you have time to draft, revise
and polish them. Also, I have tried to make Tuesdays heavier reading days than
Thursdays, so please plan accordingly.
* Your margin notes can be seeds for papers (and this is a good habit to get into for upper
level classes). Stay alert to the odd detail (the Wife of Bath’s “gat toothed” smile), to
contradictions in the text, or to the alienating concept. These can lead to interesting
papers.
* Take plenty of notes in class. You can always recycle what you don’t use, and
experience has shown that those who take excellent notes do the best in this class.
* Use my office hours to: get extra help with your reading (Middle English and Early
Modern English can be challenging) or get questions answered. I am also easy to reach
through email, and am happy to clarify course materials or answer other questions in that
way, as well.
British Literary Traditions I
Fall 2017
Schedule (subject to change)
E = ERes text (via Blackboard) sv = short video linked to ERes; BA1 - Broadview Anthology I, Medieval;
BA2 = Broadview Anthology 2, Renaissance; NTO = Norton Topics Online; Mac ~ Macbeth
Week} Date in-class Activity Reading due
« Introductions Class syllabus and schedule
Aug. 29 |*"Old English?" email: Deutscher, NYT article on language
as thinking
4 Early Middle Ages BA1: "Intro. to Medieval Period,” xxxviii-
Aug. 31 |" Discuss "The Dream of the Rood" and"The —_|xxxix; "Dream of the Rood," 49-52; "Wife's
Wife's Lament" Lament,"46-7; Beowulf Prologue + Fitts 1-
* Context and beginning of Beowulf 2, 65-71
Beowulf and its cultures BA‘: "Language & Prosody," Ixv-Ixviii,
Sept. 5 |" Discuss Conditions of production Beowulf, Fitts 3-23, 71-90; E: svBeowulf,
2 Bagby; Beowulf on Stearorume Website
Sept. 7 "A great high barrow:" the monuments of men |BA1: Beowulf, Fitts 24-43, 91-111
: « Finish Beowulf
High Middle Ages BA1: "Marie de France," "Lanval," 210-11,
* Discuss "Lanval," lais, and legends 219-33; and to prep for Thurs. read re:
Sept. 12 development of ME, Lxviii-Lxxi;
NTO: Middle Ages>"King Arthur:
3 Romancing"
« Discuss General Prologue BA1: "Geoffrey Chaucer," 410-13;
Sept. 14 |* Practice reading Chaucer's Middle English “Canterbury Tales , General Prologue, 427-
aloud 445; E: sv Gen. Prologue Rap;
Late Middle Ages BA1:; "Miller's Prologue + Tale," 479-491:
4 Sept. 19 | Discuss "Miller's Tale" NTO: "Medieval Estates and Orders;"
>Texts & Contexts>"Estates Satire"
lass:suspended = Rosh Hoshanah Seeecomcmmenmans SSS
= Discuss "The Wife of Bath" BA1: Chaucer, "The Wife of Bath's
Sept. 26 |. Discuss women in the Middle Ages Prologue and Tale," 492-513
» Discuss medieval drama and performance BA1: Anonymous, Mankind , 753-773 (may
5 conventions read William's modernized version on Eres
Sept. 28 |= Discuss Mankind and moral play alongside , but know ME version for exam);
Word Essay due 9/29 - upload to BB "Lollardy," 690; E: sv Terry Jones "Medieval
Peasants"
» Discuss Middle English lyrics + musicality BA‘: Anonymous, "Middle English Lyrics,"
all except "Now Skrynketh" + "Lenten is,"
Oct. 3 Come prepared to read four lines of any 248-56; E: "Middle English Pronunciation;"
Middle English lyric ALOUD (you choose) _|sv all "Middle English Lyrics" clips
Early Modernity BA2: "English Language in 16th c." xevi;
6 Sonnets and sonnet sequences Petrarch + Wyatt, 130,"They flee," 115;
= Continental influences, English Petrarchism _|"Elizabethan Sonnet," 127; Sidney from
Oct. 5 A&S (3326), #7; #39, #45; Shakespeare
Conceit Essay due 10/114 - upload to BB
#18. #20, #116, #129, #130, #138 (675f);
Mary Q of S Elizabeth, 445; Spenser #67,
#75 (320f); E: "English Petrarchism"
Week| Date In-class Activity Reading due
« Discuss Montaigne, New World colonization, [BA2: Montaigne, "Of Cannibals," 475-6;
Oct. 10 {England in the conquest and slavery debate “Other Lands, Other Cultures," 470; Eliz.
Adventurers" to "Powhatans," 479-81
7 Theatrum mundi, language and the purpose-_|E: Sidney, “Defence of Poesy” 677-78 "Our
built theater tragedies and comedies", sv Original
Oct. 12 |" A word about the Midterm Pronunciation of Shakespeare; Globe
* Marlowe's mighty line Theatre, Virtual Tour; BA2: Marlowe,
Doctor Faustus, Act |, (592f)
* Discuss Doctor Faustus BA2: Marlowe, Doctor Faustus, Acts 2-3
MT Oct. 16 |, Midterm Exam
8 « Discuss Doctor Faustus BA2: Marlowe, Doctor Faustus, Acts 4-5;
Oct. 17 NTO:> 16th C>"Magician, Heretic, and
Playwright"
= Discuss The Faerie Queene , forms and BA2: "Edmund Spenser," The Faerie
Oct. 19 |purposes Queene , Proem, Book 1, canto 1-3 (194F);
"Christian Armor” "Erasmus" 317-9
9 * Discuss The Faerie Queene BA2: Spenser, FQ Book 1, canto 4-6,
Oct. 24 (194f); E: Sidney's "Defense of Poesy,"
Three Kinds of Poets, 958-961
» Discuss The Faerie Queene BA2: Spenser, FQ, Book |, canto 7-9,
Oct. 26
(194f)
10 = Finish The Faerie Queene BA2: Spenser, FQ, Book |, canto 10-12,
Oct. 31 Istanza Essay due 11/4 -upload to BB (194f)
* Discuss Knox's argument BA2: "Elizabeth |" 398; Elizabeth's poems
Nov. 2 |* Discuss Elizabeth's political use of poems, _|(€nd w/Queen Katherine, 402) + Tillbury
P speech, 411; E: Knox, "The Monstrous
speeches and Petrarchism fi a
Regiment of Women," approx. 4 pgs.
17th Century Poetry: Reactions to Petrarchism |BA2: John Donne "The Flea,
= Discuss "Metaphysical" lyrics, and Cavalier _|"The Sunne Rising," "The Canonization,"
11 poetry Holy Sonnet #14; Andrew Marvell, "To His
Coy Mistress;" George Herbert;
Nov.7 "Redemption"; "Easter Wings;" Ben
. Jonson,"Upon My 1st Son"; Robert Herrick,
“Upon Julia's Clothes," "To the Virgins"
(look up poets by name 1194f); NTO: "The
Early Seventeenth Century, 1603-1660"
» Discuss Macbeth Mac: Acts 1-2; + intro. material "The
12 Nov. 9 Theatrical World" ix-xv; E: sv "17th Century,
a Virtual Reconstruction"
Nov. 14 |" Discuss Macbeth Mac Acts 3-5; BA2: Scott, Gifford on
: Witchcraft
Milton, Paradise Lost BA2: John Milton, 968; Paradise Lost Book
1-2 990-1019; NTO: Early 17th
1s Nov..16 Monologue Essay due 11/20 - upload to |C~>"Paradise Lost in Context">'"Civil Wars
BB of Ideas"
Week|, Date In-class Activity Reading due
«Discuss Paradise Lost
Nov. 21 BA2: Milton, PL, Book 3-4, 1019-1039
14 -Noy:23 :/Class suspended:<Thanksgiving: break ::: {O9:some reading for 28th osc
; E: Milton, PL Books 5 and 6; NTO: Early
Subversion 17th c.>read "Gender, Family, Household"
Nov. 28 and>Texts + contexts>exerpts, Petition of
‘Women; M. Fell, "Women's Speaking
Justified"
«Discuss Paradise Lost, heavenly or carnal BA2: Milton, PL, Book 7 argument +
Nov. 30 jlove; the felix culpa excerpt, 1041, Book 8 argument + exc,
1042-1046, Book 9 1046-1061
Out of Eden "with wand'ring steps and slow" BA: Milton, PL, Book 10, 1061-1076, Book
Dec. 5 |, Finish Paradise Lost 11 arg (1076), Book 12, 1076-1079
Last day of class Review Day - bring notes + questions
Dec.7 |Epic Speech Essay due 12/8 - upload to
BB
Dec. 13 |Final Exam: 10:30-12:30 p.m. HU 129 (usual room)
Instructor: Dr. Ineke Murakami Office: HU 328
Semester: Fall 2020 Phone: 442-4072
imurakami@albany.edu
Hours: By appointment
AENG 292-6168 British Literary Traditions II: The Restoration through the Modern Period, 3 Credits
Time/Place Online: Synchronous and Asynchronous Mixed
Wednesdays/Fridays on Zoom (1:10-2:30pm) and on Blackboard
Semester Spring 2021
Course Description:
This three-credit course will survey a variety of works from these periods using the genre
that becomes infamous in the end of the 17" century—namely the novel. Accordingly, this class
will follow the development of the realist novel as it depicts a variety of female characters. This
approach will allow us to trace how the form of the novel changes and alters over time in the
hands of different authors as well as analyzing how the content of the novel changes to depict
one subject matter. We will consider such questions as how is women’s agency and subjectivity
depicted in these novels from different times? How do the challenges women face change or not
change in each novel? How is women’s sexuality and desires treated in these novels? Does the
novel’s development as genre mimic or complicate women’s struggle to gain autonomy? Authors
may include Daniel Defoe, Aphra Behn, Jane Austen, Mary Shelley, Henry James and others.
Potential assignments could include short analysis papers, class facilitations, discussion posts
and a final project. This class meets all the University requirements for the General Education
Humanities credit. No pre-requirements for this class.
Required Texts/Editions Available at Amazon and in the Campus Bookstore
Daniel Defoe: Roxana: The Fortunate Mistress (Oxford World’s Classics)
e ISBN-13: 978-0199536740
e Also available for FREE at https://www.gutenberg.org/files/30344/30344-h/30344-h.htm
Jane Austen: Northanger Abbey (Barnes & Noble Classic Series)
e ISBN-13: 978-1593082642
e Also available for FREE at https://www.gutenberg.org/files/121/121-h/121-h.htm
Henry James: Washington Square (Dover Thrift Edition)
e ISBN-13: 978-04864043 18
e Also available for FREE at https://www.gutenberg.org/files/2870/2870-h/2870-h.htm
Virginia Woolf: Mrs. Dalloway
e ISBN-13: 978-0156628709
Additional Essays will be posted on Blackboard.
Note: Both the syllabus and schedule are subject to change. It is your responsibility to be
checking updates on blackboard and via your email.
Course Details
Objectives:
1. To read and engage intentionally with a variety of novels from the 17", 18", 19" and 20"
centuries in the United Kingdom.
2. To learn about a variety of philosophical, theoretical, and historical movements as the
context for these novels.
3. To write thoughtful and clearly articulated arguments based on original ideas using
specific evidence from the text to support your own close reading.
4. To exhibit thoughtful analyses of texts through discussion (in person and online) and
through writing.
5. To build confidence in reading, thinking, and writing critically/intelligently.
Expectations:
1. Show up to class having done all of the class reading and assignments
2. Actively participate in class (showing that you’re listening by nodding, sharing your own
ideas etc.)
3. Speak respectfully to your peers and your professor and about any topics or readings
4. Be open to addressing your own inherent preconceived notions about new ideas
5. Consistently and routinely interact with the required number of posts and responses.
1. This means, that you are logging into Blackboard and checking your university
email consistently (every other day or so).
2. Iwill send weekly updates be via email or Blackboard updates about changes to
the syllabus, calendar, assignments etc.
6. Communicate openly and in a timely manner with me when you experience issues
1. Please don't wait to ask questions or to make me aware if you're struggling. I can
help you when I know what's going on, and I want you to succeed.
2. Ask questions! If you have a question chance are other people in the class do too!
When you raise your questions, you help everyone.
Modality:
This class is an online class with both synchronous and asynchronous components.
e The synchronous (real time) component will be our bi-weekly zoom meetings on
Wednesdays and Fridays from 1:10-2:30pm.
e The asynchronous components will consist of our blackboard discussions on
Monday-Wednesdays at your own discretion.
Attendance and Engagement Policy:
This class is designed to be highly interactive and discussion based. It is imperative that you
attend the Zoom meetings. Students’ grades may be lowered by ” a letter grade (A to A-) if they
are absent in more than 3 Zoom classes. If a student misses 5 classes or more, he/she may
receive a failing grade for the (entire) course.
e Again, in these unprecedented times, if you are having difficulty attending class due
to Covid-19 or other restrictions please let me know and we’ll work something out.
e You are responsible for keeping track of your absences.
e Attendance in class is more than logging on to Zoom.
o Texting or using technology for non-class related activities, sleeping, etc. will
result in your being marked absent from class for that day.
o Preparation (reviewing readings and materials before class)
o Asking questions (either out loud in zoom or in the chat function)
o Specifically referring to the ideas from readings and discussions
e “Religious Observance: New York State Education Law (Section 224-A) - Campuses are
required to excuse, without penalty, individual students absent because of religious
beliefs, and to provide equivalent opportunities for make-up examinations, study, or work
requirements missed because of such absences. Faculty should work directly with
students to accommodate absences. Students should notify the instructor of record in a
timely manner.”
For more information regarding attendance and absences please check
http://www.albany.edu/undergraduateeducation/attendance.php
http://www.albany.edu/health_center/medicalexcuse.shtml
Reasonable Accommodations and Special Considerations:
Everyone learns differently, and each student comes in with a variety of needs. If you have
accommodations that you need in order to be successful in this class, please make an
appointment with me during the first week of class. Additionally, the Disability Resource Center
is available to the help with the accommodations process. It is located in Campus Center 137,
their phone number is (518) 442-5490. http://www.albany.edu/disability/prospective-new.shtml
Zoom:
On Wednesdays and Fridays from 1:10-2:30pm we will meet virtually on Zoom. Link on
Blackboard. This will be a time for us to come together to discuss the readings and deepen our
understanding of the issues at hand.
e When you sign on to Zoom you should mute yourself and remain muted unless you are
speaking.
e Situate yourself somewhere as quiet and un-distracting as possible
e You should refrain from doing other work than what we’re doing in class.
e Please note due to University policy, lectures must be recorded.
e Also, any messages sent in zoom chat (even in “private” conversations between
participants) is recorded in the chat transcript.
Communication Policy:
This class will run best when we are open and honest with each other. Please feel free to visit
during my office hours, and email me with any concerns, problems or questions throughout the
semester. My goal is to support you as best as possible, so that you may be as successful as
possible. I check my email every day. You can expect to hear from me within 24 hours weekdays
and within 48 hours on weekends.
Academic Integrity:
l expect that all the work you turn in is your own and has been produced for this class. It goes
without saying, do not plagiarize. If you have questions, please ask. Plagiarism could result in
automatic failure of this course.
Additionally:
It is every student's responsibility to become familiar with the standards of academic
integrity at the University. Claims of ignorance, of unintentional error, or of academic or
personal pressures are not sufficient reasons for violations of academic integrity.
Plagiarism Presenting as one's own work the work of another person (for example, the
words, ideas, information, data, evidence, organizing principles, or style of presentation
of someone else). Plagiarism includes paraphrasing or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase of
prepared research or completed papers or projects, and the unacknowledged use of
research sources gathered by someone else. Failure to indicate accurately the extent and
precise nature of one's reliance on other sources is also a form of plagiarism. The student
is responsible for understanding the legitimate use of sources, the appropriate ways of
acknowledging academic, scholarly, or creative indebtedness, and the consequences for
violating University regulations. (University’s Standards of Academic Integrity Policy,
Fall 2013). http://www.albany.edu/undergraduate_bulletin/regulations.html
Covid-19 Contingency:
Obviously, we are still in the middle of the pandemic. If you or a family member, roommate etc.
were to fall ill and you are unable to complete your work for a period of time, we will find a
solution to make sure that you can still be successful in this class. If such a case arises please
communicate with me as soon as possible.
Reading Reflections:
This is a weekly assignment intended to help you process your thoughts as you read. They are
due on Mondays uploaded to Blackboard by 11:59pm. The reading reflection is divided into
three sections: thoughts of agreement, thoughts of disagreement and questions. Each section is
designed to push you to interact with the text as you read. More details will be given in class.
Weekly Responses:
Each unit you will be put into a group of approximately 3 other classmates. On Mondays, after
you upload your Reading Reflection to Blackboard you will copy and paste your questions from
that Reading Reflection onto a discussion thread for your group also by Monday at 11:59pm. By
Wednesday at class time (1:10pm), you will respond to at least three questions from your
classmates. Your answers should be approximately 100-150 words. The sole goal is not to try
and be right in answering the question, but in furthering the discussion and helping your
classmates think through the text. You will also then respond to one of the answers to your own
question—addressing whether you agree/disagree and whether they helped you think about the
question differently. Again, you are not trying to answer the question but deepen the discussion.
These responses should be approximately 50 words.
Unit Papers:
Each unit will conclude with a Unit Response which will be a literary critical analysis of
approximately 1 page. The goal of these papers is to create a specific and interesting thesis
statement that you then support with quotations form the text and your own ideas. All work
should be done in MLA format. More information will be given on these projects in class. All
papers are due by 11:59 pm on Blackboard on the day their assigned.
Character Project:
We will conclude the semester by focusing on character analysis. You will create a fake
Wikipedia page for one of the characters we have encountered in our reading. A well-developed
character would probably work better, but lesser characters will lend your more imaginative
creativity. More information to be given in class.
Presentation Based on Project:
As part of our concluding work, you will each create a 5-7 minute presentation using a visual aid
(PowerPoint/GoogleSlides) and audio component (you speaking). Your presentation should walk
your viewer through the important parts of your Character Project as well as adding NEW
information that cannot be gained by just reading your character project. More information to
come.
Final Reflection Paper:
This is a short 2-3 page paper that summarizes the important lessons from the semester. You
should highlight at least four big takeaways from the readings and/or classes as well as including
your impressions of your classmates’ presentations.
Grades:
I will follow an A-E grading system, with each letter grade indicating a specific level of
understanding and achievement, i.e. A-Excellent, B-Good, C-Fair, D—Poor, and E—Failure.
Numerical representations of letter grades stand as follows: (The grade of E is a failing grade and
cannot be used to fulfill graduation requirements.)
Weekly Posts & 50 pts =
Responses to 5 pts/week
Classmates
Reading Reflections 100 pts = Grade Scale:
10 pts/week A= 93-100
Unit 1 Response 100 pts ‘A= 90-92
Unit 2 Response 100 pts Bt= 87-89
Unit 3 Response 100 pts B= 83-86
B-= 80-82
Character Project Rough | 10 pts CH= 77-79
Draft
Character Project Final | 100 pts
Character Project 50 pts
Presentation
Responses to Character | 20 pts = E= Below 60
Project 5 pts /response
Final Reflection Paper 50 pts
Readings and Assignments Calendar
Unit 1: The Restoration (17" Century)
W—2/3
F—2/5
M—2/8
W— 2/10
F—2/12
M—2/15
W—2/17
F—2/19
M—2/22
W—2/24
F—2/26
M—3/1
Ww—3/3
Introduction Day
Roxana
e Preface-65 (If using the digital version, it’s approximately 90 pages
per class meeting)
¢ “Introduction” Norton Anthology: The Restoration and the 18"
Century (on Blackboard)
Reading Reflection #1 due on Blackboard
e Post your three questions from your RR
Roxana con’t...66-95
e Respond to at least 3 questions from classmates in your group
e Respond to | answer to your question(s)
Roxana con’t...96-150
Reading Reflection #2 due on Blackboard
e Post your three questions from your RR
Roxana con’t...151-190
e Respond to at least 3 questions from classmates in your group
e Respond to | answer to your question(s)
Roxana con’t...191-230
Reading Reflection #3 due on Blackboard
e Post your three questions from your RR
Roxana con’t...231-280
e Respond to at least 3 questions from classmates in your group
e Respond to | answer to your question(s)
Roxana con’t...281-330/ Fantomina??
Reading Reflection #4 due on Blackboard
Unit 2: The Enlightenment (18"" Century)
F—3/5
Northanger Abbey 7-54 (Chapters 1-8)
e Final Draft Unit 1 due on Blackboard at 11:59pm
M—3/8 Reading Reflection #5 due on Blackboard
e Post your three questions from your RR
W—3/10 Northanger Abbey con’t...55-98 (Chapters 9-13)
e Respond to at least 3 questions from classmates in your group
e Respond to | answer to your question(s)
F—3/12 Northanger Abbey con’t...99-152 (Chapters 14-20)
M—3/15 Reading Reflection #6 due on Blackboard
e Post your three questions from your RR
W—3/17 Northanger Abbey con’t...153- 195 (Chapters 21-25)
e Respond to at least 3 questions from classmates in your group
e Respond to | answer to your question(s)
F—3/19 Northanger Abbey con’t...196-236 (Chapters 26-End)
M—3/22 Reading Reflection #7 due on Blackboard
Unit 3 — Victorian Period (19" Century)
W—3/24 Washington Square 1-43 (Chapters 1-9)
e Final Draft Unit 2 due on Blackboard at 11:59pm
F—3/26 Washington Square con’t... 44-87 (Chapters 10-18)
e “Introduction” Norton Anthology: The Victorian Age (on Blackboard)
M—3/29 Reading Reflection #8 due on Blackboard
e Post your three questions from your RR
W—3/31 Washington Square con’t...88-127 (Chapters 19-27)
e Respond to at least 3 questions from classmates in your group
e Respond to | answer to your question(s)
F—4/2 Washington Square con’t...128-166 (Chapters 28-End)
M—4/5 Reading Reflection #9 due on Blackboard
Unit 4 — Modern Period (20 Century)
W—4/7 Mrs. Dalloway 3-48
e Final Draft Unit 3 due on Blackboard at 11:59pm by Monday 4/18
F—4/9 Mrs. Dalloway con’t...49-100
e “Introduction” Norton Anthology: The Twentieth Century and Beyond
(on Blackboard)
M—4/12 Reading Reflection #10 due on Blackboard
Ww—4/14
F—4/16
e Post your three questions from your RR
Mrs. Dalloway con’t...101-150
e Respond to at least 3 questions from classmates in your group
¢ Respond to | answer to your question(s)
Mrs. Dalloway con’t...151-194
e Rough Draft of Character Project Due
End of Synchronous Meetings
W—4/21
F—4/23
W—4/28
F—4/30
Ww—S/5
F—S/7
W—5/12
Post Update to Group about Status of Character Project
Final Draft of Character Due on Blackboard by 11:59pm
Post Update to Group about Status of Presentation
Presentation on Character Project Due on Blackboard by 11:59pm
Watch and respond to 2 presentations from your group
Watch and respond to 2 presentations from your group
Final Reflection Papers Due on Blackboard by 11:59pm
e Last day to turn in work.
Paul Stasi pstasi@albany.edu
English 297/9786 3 units, No Pre-requisites Office: HUM 338
T Th: 11:45—1:05 PM HU 123 OH: T 1:30-3:30; by appt.
Spring 2017: Postcolonial Literary Traditions
Course Description (from the course bulletin): Representative works of the formerly
colonized world, with attention to necessary historical and intellectual background information.
Works to be chosen from at least three regions beyond Europe.
And more specifically: The phrase “postcolonial literature” has become a kind of catch-all,
designating works written by countries that have been colonized, which is to say, most of the
earth. But the word “postcolonial” is itself confusing. Does it designate a historical period? If so,
does that period encompass all the time since the initial colonial encounter, or only those years
after the end of formal political rule? Or is the term, rather, an ontological one, describing the
culture(s) produced by colonialism? And if this is the case, how is it possible to construct a
single story out of the disparate histories of colonial countries? In this course we will attempt to
answer some of these questions by reading texts from India, Africa and the Pacific Rim. Our aim
will be to understand both what such texts have in common witheach other, but also to attend to
the different situations out of which they emerge.
Required Texts: Chinua Achebe, Things Fall Apart, Tayeb Salih, Season of Migration to the
North; Jose Rizal, Noli Me Tangere; Salman Rushdie, Midnight's Children; Chimamanda Ngozi
Adichie, Americanah. Books are available at the Campus bookstore.
Course Policies: The grade breakdown is as follows: 10% reading quizzes; 10% participation;
20% midterm #1; 30% midterm #2; 30% final paper. Midterms will be in class and will consist
of short answers based on the reading. The final paper is 3-5 pages in length and will be on
Americanah. The reading quizzes (weekly) will be easy if you do the reading. Participation is
discussed in more detail below. Grade Scale: A(93-100) A- (90-92) B+ (87-89) B (83-86) B-(80-82) C
+(71-79) C(73-76) C-(70-72) D+(67-69) D(63-66) D-(60-62) E<60.
Participation: Class participation does not, simply, mean coming to class, nor does it mean
logging in one superficial comment per day. It means, instead, that you are engaged in the
course and making your best attempt to come to terms with the material. This can be
demonstrated in class or in office hours. You are allowed 4 excused absences for whatever
reason. After that your participation grade will suffer. I will take an automatic 1/3 grade off for
each day you miss after the first four (meaning the highest possible grade you can get for
participation if you miss five classes is an A-, six a B+, etc.) If you miss ten or more classes
you automatically fail the course. If you attend class regularly but never speak or come to
office hours, the best you will get for participation is a B. Do not answer your phone in class. If
I catch you text-messaging I will throw you out and mark you absent. I will also mark you late
if you come to class after I take attendance (and absent if you come to class partway through).
Two lates equals an absence.
English 297 2
General Education: This course fulfills the International Perspectives General Education
Requirement. As such, it will enable you to demonstrate:
« aknowledge and understanding of the history, cultures and/or traditions of any region,
nation, or society beyond the United States; and how that region, nation, or society relates
to other regions of the world
« anunderstanding of a region or culture from the perspective of its people(s)
* an understanding of the reciprocal interactions between individuals and global systems
« an ability to use the analytic tools of a specific discipline to engage in comparative and/or
historical analyses of cultures, nations, and regions
* an understanding of the economic, political, historical, and cultural relationships between
different world regions resulting from contact, interaction, and/or influence
Student Learning Objectives:
« students will be able to compare and contrast the experience of colonialism in the Middle
East, South Asia and Africa
« students will be able to think both conceptually and historically about the experience of
colonialism
¢ students will learn to reflect on the complex relationship between colonized and
colonizing cultures
Electronic Devices: You must have all electronic devices turned off and stowed away during
class. Even the most attentive of us can not resist the internet when it is directly in front of us.
You must read — and bring — actual books to class, so that we can look at them, cite them and
discuss them. You will not get very far in Midnight’s Children if you try to read it on an iPhone.
Email: I am happy to answer questions through email, but I would ask that you hold to the bare
minimum of communicational etiquette. Recall that Iam an English professor and try to include
grammar and actual English words in your email. Salutations are welcome. And please include
your name as it is not always clear who “bc1239534” is.
Academic Integrity: It should go without saying that all work must be your own. Any use of
outside sources, including general information taken from the internet, must be appropriately
cited. Here is the University’s definition of plagiarism: “Presenting as one's own work the work
of another person (for example, the words, ideas, information, data, evidence, organizing
principles, or style of presentation of someone else). Some examples of plagiarism include
copying, paraphrasing, or summarizing without acknowledgment, submission of another
student's work as one's own, the purchase/use of prepared research or completed papers or
projects, and the unacknowledged use of research sources gathered by someone else. Failure to
indicate accurately the extent and precise nature of one's reliance on other sources is also a form
of plagiarism. Students are responsible for understanding legitimate use of sources, the
appropriate ways of acknowledging academic, scholarly, or creative indebtedness.” Should you
be caught plagiarizing, you will fail the course and your violation will be reported to the
University. Quite simply, there is no purpose to higher education if you wish me to rubber stamp
English 297 3
someone else’s work. I spend all my time reading student work and published papers. Do not
test me. Every semester I catch someone plagiarizing. Don’t let it be you.
Disability Resources: Reasonable accommodations will be provided for students with
documented physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you
believe you have a disability requiring accommodation in this class, please notify the Director of
the Disability Resource Center (Campus Center 137, 442-5490). That office will provide the
course instructor with verification of your disability, and will recommend appropriate
accommodations.
Websites:
Additional information about academic integrity:
http://www.albany.edu/undergraduate_bulletin/regulations.html
About general education requirements:
http:/(www.albany.edu/generaleducation/implementation-timetable.php
About the DRC:
http://www.albany.edu/disability/prospective-new.shtml
English 297 4
Schedule of Readings:
Week 1: 1.24; 1.26
Day 1: Introduction
Day 2: Chinua Achebe, Things Fall Apart (Part One, chapters 1-6; pgs 3-51)
Week 2: 1.31; 2.2
Day 1: Things Fall Apart (finish Part One, pg. 125)
Day 2: Things Fall Apart (Parts Two and Three)
Week 3: 2.7; 2.9
Day 1: Tayeb Salih, Season of Migration to the North, (up to page 73)
Day 2: Season of Migration, Part Two
Week 4: 2.14; 2.16
Day 1: Season of Migration (finish the novel)
Day 2: Jose Rizal, Noli Me Tangere, chapters 1-17
Week 5: 2.21; 2.23
Day 1: Noli Me Tangere, chapters 18-28
Day 2: Noli Me Tangere, chapters 29-36
Week 6: 2.28; 3.2
Day 1: Noli Me Tangere, chapters 37-45
Day 2: Noli Me Tangere, chapters 46-56
Week 7: 3.7; 3.9
Day 1: Noli Me Tangere, chapters 57-Epilogue
Day 2: MID TERM #1
SPRING BREAK
Week 8: 3.21; 3.23
Day 1: Salman Rushdie, Midnight's Children, (Book One, through end of “Under the Carpet”
Day 2: Midnight’s Children (finish Book One)
Week 9: 3.28; 3.30
Day 1: Midnight's Children (Book Two, through “My Tenth Birthday”)
Day 2: Midnight's Children (Book Two, through “Movements Performed by Pepperpots”)
Week 10: 4.4; 4.6
Day 1: Midnight's Children (finish Book Two, Book Three through “Sam and the Tiger”)
Day 2: Midnight's Children (finish Book Three)
English 297
Week 11: 4.13
Day 1: MID TERM #2
Week 12: 4.18; 4.20
Day 1: Chimamanda Ngozi Adichie, Americanah, Part 1, Part 2, chapters 1-6 (1-106)
Day 2: Americanah, Part 2, chapters 7-14 (107-175)
Week 13: 4.25; 4.17
Day 1: Americanah, Part 2, chapters 15-22 (175-278)
Day 2: Americanah, Part 3 (280-349)
Week 14: 5.2;5.4
Day 1: Americanah, Part 4 (349-454)
Day 2: Americanah, Part 5, Part 6, chapters 42-49 (457-517)
Week 15: 5.9
Day 1: Americanah, chapters, Part 6, 50-end (518-588)
FINAL PAPER (0n Americanah) DUE 5.16 AT 5:00 PM
ENG305V: Studies in Writing about Meeting times: MWF 11:30 a.m.-12:25
Texts (Courtship and Colonization: The British P-™.
Novel) Meeting place: Humanities 116
3 credit hours Instructor email: lwilder@albany.edu
Fall 2017 Instructor’s office: Humanities 367
Section Call # 8181 Office hours: M & F 1:30-2:30 p.m.
Instructor: Laura Wilder Office phone: 442-4129
Course Policies
Course Description and Objectives: Intensive study of the forms and strategies of writing in
English studies. Students will engage with a variety of literary, critical, and theoretical texts. The
course emphasizes students’ own analytical writing. Prerequisite(s): C or better in A ENG 205Z.
Open to declared English majors only.
Each serving the larger objective to develop advanced critical writing and close reading skills
relevant to scholarship in English Studies, the goals of this course are to learn how:
e totrace aconcern of literary scholarship through multiple perspectives and through a range
of relevant primary texts
e torhetorically analyze literary scholarship and to apply your growing awareness of its
conventions and theoretical underpinnings
e to locate an issue that warrants extended research and literary analysis and organize a critical
response to this issue
e todevelop advanced research skills, including the location and use of primary and secondary
sources
to orient your interpretations in relation to the arguments of other scholars
to revise as a process of further invention, and, as a member of a collaborative writing
community, to detect and describe further revision, research, and editing possibilities in
others’ writing
In pursuit of these goals, in this particular section of ENG305Z we will read and write in response
to three English novels (Jane Austen’s Mansfield Park, Charlotte Bronté’s Jane Eyre, and Joseph
Conrad’s Heart of Darkness) and a selection of literary scholarship on them. Because 100 years lie
between the publication of Mansfield Park and Heart of Darkness, these novels can be said to
represent the nineteenth-century development of this genre, a tradition that only began in the
previous century with Daniel Defoe’s Robinson Crusoe (1719) and Samuel Richardson’s Pamela
(1740). In Pamela’s thorny road to marriage and Crusoe’s shipwreck we can see the establishment
of the novel’s conventional courtship plot and its complex relationship with the “Age of Empire.”
While we will certainly legitimately digress from this path over the course of the semester, I
propose we examine the problems, issues, and questions that rise at this intersection of the English
novel’s representation of relentless and elaborate wooing leading to heterosexual wedding and its
imperial backdrop. We will thus be engaging questions at the intersection of feminist and
postcolonial literary scholarship—questions that were for a long time overlooked by literary
scholars who read these three novels for other purposes, and questions that are thus today still lively
areas for research, interpretation, and debate.
Required Texts:
Available from the University at Albany Bookstore and Mary Jane Books (214 Quail St.):
Austen, Jane. Mansfield Park. Ed. Claudia L. Johnson. New York: Norton, 1998.
Bronté, Charlotte. Jane Eyre. Ed. Margaret Smith. Oxford: Oxford UP, 2000.
Conrad, Joseph. Heart of Darkness. Ed. Ross C. Murfin. 2"¢ ed. Boston: Bedford/St.
Martin’s, 1996.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 6" ed. New York: Modem
Language Association, 2003.
Additionally, several required journal articles, book chapters, and excerpts are available for this
course through our library’s electronic reserves (locate through the ERes link at
http://library.albany.edu or connect directly to our reserves page at
http://eres.ulib.albany.edu.libproxy.albany.edu/eres/coursepage. aspx?cid=2321).
Assignments and Grades: Grade Scale: A(93-100) A- (90-92) B+ (87-89) B (83-86) B-(80-82) C
+(77-79) C(73-76) C-(70-72) D+(67-69) D(63-66) D-(60-62) E<60. Your final semester grade (A-E)
will be based on performance on the following assignments, calculated according to the
following percentages:
Paperl(4-Spages)—15%
Paper2(4-Spages)—20%
Research project (15-18 pages)—35%
Further description and grading criteria will be provided for each paper and the research
project. To pass the course, you must tum in on time a complete “good faith” draft for
each of these assignments. The completion of these drafts is a course requirement, and
your peers and I will respond to your drafts. To complete each final draft, you will need
to act upon the comments you will receive on your “good faith” draft.
Peer review and workshop contributions—10%
Papers 1 & 2 and various steps towards the completion of the research project will
receive feedback from your classmates. The quality and helpfulness of this feedback
will be evaluated. You will also be assigned to serve as a formal respondent to a
classmate’s research project draft. In this role you will initiate and lead discussion of
your classmate’s draft during our research project workshops at the end of the
semester. The quality of this presentation will be evaluated. This assignment,
together with our informal class discussions, will fulfill the University’s oral
discourse requirement.
Discussion forum postings (a.k.a. our collaborative reading journal)—10%
Brief rhetorical analyses of literary scholarship—10%
On many of the days we are scheduled to discuss works of literary scholarship, you
will be expected to prepare a 1-2 page analysis of some aspect of the scholarship’s
thetoric. You should briefly summarize what you see as the main point or thesis of
the scholar’s argument and then identify and describe some of the rhetorical
strategies you find interesting, such as the scholar’s method for handling
counterarguments, assumptions about what qualifies as evidence to support claims,
presentation of his or her persona or ethos, organization, or style.
If you have questions about a grade you receive in this course, wait at least 24 hours after
receiving the grade to contact me (please read carefully all feedback and develop specific
questions). However, do not wait until the end of the course to contact me. Any substantial
question about a grade must be made within two weeks of receiving the grade. Do not discard any
assignments, drafts, or research materials you produce during the semester until you receive a final
grade for the course.
Required Format for Your Papers: “Good faith” drafts, final drafts, and rhetorical analyses must
be typewritten/word processed. On the first page place the following information in the upper left-
hand corner: Your name; my name; ENG305Z, and the date the assignment is handed in. Center
(but do not underline, italicize, or place in quotations) a title you give your paper. Double space
your papers, use a 10 or 12-point serif font (eg. Times New Roman), and use | inch margins all the
way around the text. Clip your pages together using a paper clip. With final drafts, attach earlier
drafts with instructor and peer comments.
Attendance: You are expected to be punctual, to attend every class meeting, and to participate in
all in-class editing, revising, and discussion sessions. If you have more than six absences you will
fail the course. Save these “excused” absences to use when you are sick, or when you have an
emergency. I will take attendance at the start of every class. If for any unfortunate reason you
arrive late, it is your responsibility to see me after class to ask to be marked present. Even then, if
you are significantly late (ie. more than half of class), your tardiness may count towards you six
absence total.
Late Assignments and Drafts: Papers, drafts, and other assignments must be tumed in during class
time on the date they are due as listed in our course schedule. Drafts handed in late may not
receive written feedback from the instructor. Late final essays may be penalized by lowering
the grade earned one full grade for each day of class after the due date the essay is late. If you
cannot attend class on the date an assignment is due, arrange to have a classmate submit your work
for you during scheduled class time, place it in my mailbox in the English department mailroom or
under my office door by the end of our scheduled class time, or send your work to me as an
attachment to an email by the end of our scheduled class time (if the assignment is a revised essay,
return your earlier draft with my comments as soon as possible; your paper will not be graded until I
receive your earlier draft).
Scholastic Honesty: Turning in work that is not your own or any other form of scholastic
dishonesty will result in a major penalty, including possible failure for the assignment or the course.
If it appears that you have committed some form of scholastic dishonesty, such as plagiarism or
collusion, I will contact you to discuss the matter at once and bring the matter to the attention of
Academic Affairs. The incident will be treated in accordance with the University at Albany
policies, and further penalties of confirmed, egregious cases can include suspension or expulsion.
From the University’s Undergraduate Bulletin, Academic Regulations:
Presenting as one's own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Plagiarism includes paraphrasing or summarizing without acknowledgment, submission of another
student's work as one's own, the purchase of prepared research or completed papers or projects,
and the unacknowledged use of research sources gathered by someone else. Failure to indicate
accurately the extent and precise nature of one's reliance on other sources is also a form of
plagiarism. The student is responsible for understanding the legitimate use of sources, the
appropriate ways of acknowledging academic, scholarly, or creative indebtedness, and the
consequences for violating University regulations.
Examples of plagiarism include: failure to acknowledge the source(s) of even a few phrases,
sentences, or paragraphs; failure to acknowledge a quotation or paraphrase of paragraph-length
sections of a paper; failure to acknowledge the source(s) of a major idea or the source(s) for an
ordering principle central to the paper's or project's structure; failure to acknowledge the source
(quoted, paraphrased, or summarized) of major sections or passages in the paper or project; the
unacknowledged use of several major ideas or extensive reliance on another person's data,
evidence, or critical method; submitting as one's own work, work borrowed, stolen, or purchased
from someone else.
We will be covering the use of sources and other relevant issues such as acceptable collaboration on
writing projects extensively in class. For documentation purposes, it will be important to keep track
of resources you consult during your writing process, so get in the habit early on of “bookmarking”
or otherwise keeping track of websites you explore when thinking about paper topics and jotting
down title and author information for print materials. I may ask you to provide me with
photocopies or printouts of research materials you use. If you have any questions about the use you
are making of sources for your assignments, see me before you hand in your work.
If you are having difficulties with an assignment, or just simply want someone to brainstorm
potential paper topics with or discuss possible writing strategies and organizational techniques to
help you get started, I strongly encourage you to use the services offered by the University at
Albany’s Writing Center in Humanities 140. Here you will find trained tutors capable of assisting
you at any step of the writing process, including research and documentation. Because they are
well aware of issues surrounding scholastic honesty, you need not worry that their assistance is
collusion (whereas when receiving assistance from a well-meaning friend or family member, you
may need to be more vigilant to detect and avoid possible collusion, for which you may be
penalized). Contact information and office hours for the writing tutors may be found at:
www.albany.edu/writing.
ENG305Z Studies in Writing about Texts
Fall 2005, Laura Wilder, Section Call # 8181
Course Schedule
Key
ERes = The library’s electronic reserves. Find our reserves page through the ERes link at
http://library.albany.edu or connect directly to our reserves page at
http://eres.ulib.albany.edu.libproxy.albany.edu/eres/coursepage. aspx?cid=2321.The password to
access the electronic reserves resources for this course is: eng305wil. When we are scheduled to
discuss texts from our electronic reserves, you must print the texts and bring them to class.
*DF= At least two substantive online Discussion Forum (located on our WebCT site) postings
due anytime this week. One posting each week should be a substantive reply to another
classmate’s posting. Our discussion forum will act as our collaborative reading journal. It is a
place to informally try out ideas-in-progress, bring observations to our notice, raise genuine
questions, and respond to the observations and ideas of others. It is also a place to return to when
brainstorming for our papers, especially our extended research project. Your postings should be in
response to any of the primary or secondary texts scheduled for discussion during the week you
post. In order to facilitate discussion, be sure to include parenthetical citations of page numbers so
that we can re-read quotations and evidence you refer to in-context. Also, please create a subject
title that illuminates your posting’s central concern.
Week | Day | Discussion Topics and Assignment Due Dates
1 M Introductions.
8/29_| Burke’s parlor metaphor.
WwW Discuss Wilder’s "The Rhetoric of Literary Criticism’ Revisited: Mistaken
8/31 | Critics, Complex Contexts, and Social Justice" (ERes).
Research project assigned.
F 8/2 | Discuss selection from Boone’s Tradition Counter Tradition: Love and the Form
of Fiction (ERes).
2 M Labor Day. No class.
*DF [9/5
WwW Discuss Mansfield Park (pp. 5-157).
O/T
F 9/9 | Discuss Mansfield Park (pp. 157-220).
3 M Discuss Mansfield Park (pp. 221-304).
*DF_ |9/12_| Examine Trilling’s “Mansfield Park” ” (Norton Mansfield Park, pp. 423-34).
WwW Discuss Mansfield Park (pp. 304-321), selection from Kirkham’s Jane Austen
9/14 | Feminism and Fiction (ERes), and selection from Said’s “Jane Austen and
Empire” (Norton Mansfield Park, pp. 490-93).
F Discuss Johnson’s “Mansfield Park: Confusions of Guilt and Revolutions of
9/16 | Mind” (Norton Mansfield Park, pp. 458-76).
*Rhetorical analysis of Johnson’s argument due.
4 M Discuss Ferguson’s "Mansfield Park: Slavery, Colonialism and Gender" (ERes).
*DF | 9/19 | Paper | assigned.
*Rhetorical analysis of Ferguson’s argument due.
Screening of Patricia Rozema’s Mansfield Park (1999) at 7:00
p.m. today in LC 14. If you cannot attend this screening, be sure
to view this film (DVD on reserve at the library) before
Wednesday's class.
WwW Discuss Patricia Rozema’s Mansfield Park (1999), Austen’s The History of
9/21 | England (ERes), a selection from Austen’s Love & Freindship (ERes), and a
selection from Sterne’s A Sentimental Journey (ERes).
F Discuss Parrill’s "Not the Bluebird of Happiness: Bird Imagery in the Film
9/23 | Mansfield Park" (ERes).
*Rhetorical analysis of Parrill’s argument due.
Quoting and formatting: Bring your MLA Handbook.
5 M Peer review of paper 1.
*DF | 9/26 * Paper | “good faith” draft due.
WwW Discuss Jane Eyre (pp. 7-67).
9/28 | Paper 2 assigned.
F Discuss Jane Eyre (pp. 68-128).
9/30 _| Paper 1 drafts returned with instructor’s comments.
6 M No class.
*DF {103
WwW No class.
10/5
F Discuss Jane Eyre (pp. 128-296).
10/7 * Paper | due.
T M Discuss Jane Eyre (pp. 298-388).
*DF [10/10
WwW Discuss Jane Eyre (pp. 388-452).
10/12
F Discuss selection from Spivak’s "Three Women's Texts and a Critique of
10/14 | Imperialism" (ERes) and Meyer’s "Colonialism and the Figurative Strategy of
Jane Eyre" (ERes).
*Rhetorical analysis of Meyer’s argument due.
8 M Peer review of paper 2.
*DF | 10/17 *“Good faith” draft of Paper 2 due.
WwW Discuss Heart of Darkness (pp. 17-46).
10/19
F Discuss Heart of Darkness (pp. 46-71).
10/21 | Paper 2 drafts returned with instructor’s comments.
9 M Discuss Heart of Darkness (pp. 71-95).
*DF | 10/24
WwW Discuss Smith’s “Too Beautiful Altogether”: Ideologies of Gender and Empire
10/26 | in Heart of Darkness” (Bedford Heart of Darkness pp. 169-84).
*Rhetorical analysis of Smith’s argument due.
F Making connections across texts.
10 M Identifying an issue to research: A collaborative brainstorming session.
10/31 *Paper 2 due.
*Research project topic proposal due to online discussion forum by 11:00
p.m. today.
WwW Research instruction.
11/2_| **Meet in Library, Cobb Room**
F No class.
11/4
11 M Epitomizing, situating, and using secondary sources in your research project and
11/7 | the MLA style of documentation.
*Bring | secondary, critical source you have read and plan to use in your
research project and your MLA Handbook.
*Reply to two classmates’ research project topic proposals due to online
discussion forum by 11:00 p.m. today.
WwW Deciphering, describing, and using contextual and primary sources in your
11/9 | research project and the MLA style of documentation.
*Bring | contextual, historical source or primary document you have
examined that you plan to use in your research project and your MLA.
Handbook.
F Hands-on “Problems of Research” workshop.
11/11 | **Meet in Library rooms B14/B15**
12 M Organizing your research project draft.
11/14 | Annotated bibliography workshop.
* Annotated bibliography for research project due.
W Research project draft plan workshop.
11/16 *Draft plan for research project due.
F CLASS CANCELLED.
11/18 | Use this time for research, reading, and drafting towards your research project.
13 M Research and writing Q & A.
11/21 | Draft plans returned with instructor comments.
W Thanksgiving break. No class.
11/23
F Thanksgiving break. No class.
11/25
14 M Research project draft workshops.
11/28 *“Good faith” draft of research project due. Bring two copies and post an
electronic version to our online discussion forum on WebCT. This is
done by posting a short message (i.e. the title of your draft) and attaching
your draft file (saved as either .doc or .rtf file) as you would to an email.
WwW Draft workshops.
1130
F Draft workshops.
12/2
15 M Draft workshops.
12/5
WwW Editing workshops.
12/7
F Burke’s parlor revisited.
12/9 *Research project due.
Required readings available on our course electronic reserves (ERes):
1. Wilder, Laura. "The Rhetoric of Literary Criticism' Revisited: Mistaken Critics, Complex
Contexts, and Social Justice." Written Communication 22.1 (2005): 76-119.
2. Boone, Joseph Allen. Tradition Counter Tradition: Love and the Form of Fiction. Chicago:
University of Chicago Press, 1987. 5-20.
3. Kirkham, Margaret. “Mansfield Park.” Jane Austen, Feminism and Fiction. Atlantic Highland,
NJ: Athlone Press, 1997. 116-20.
4. Ferguson, Moira. "Mansfield Park: Slavery, Colonialism and Gender." Oxford Literary Review
13.1-2 (1991): 118-39.
5. Austen, Jane. Love & Freindship. New York: Frederick A. Stokes Company, 1922. 36-40.
6. ---. The History of England: From the Reign of Henry the 4th to the Death of Charles the Ist.
Chapel Hill, N.C.: Algonquin Books of Chapel Hill, 1993.
7. Sterne, Laurence. A Sentimental Journey. Herfordshire: Wordsworth Editions, 1995. 56-59.
8. Parrill, Sue. "Not the Bluebird of Happiness: Bird Imagery in the Film Mansfield Park."
Literature Film Quarterly 31.3 (2003): 186-92.
9. Spivak, Gayatri Chakravorty. "Three Women's Texts and a Critique of Imperialism." Critical
Inquiry 12.1 (1985): 243-61.
10. Meyer, Susan L. "Colonialism and the Figurative Strategy of Jane Eyre." Victorian Studies 33.2
(1990): 247-68.
Recommended readings available on our course electronic reserves (ERes):
David, Diedre. "The Governess of Empire: Jane Eyre Takes Care of India and Jamaica." Rule
Britannia: Women, Empire, and Victorian Writing. Ithaca: Cornell UP, 1995. 77-117.
Gilbert, Sandra M., and Susan Gubar. "A Dialogue of Self and Soul: Plain Jane's Progress." The
Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary
Imagination. 2nd ed. New Haven: Yale UP, 2000. 336-71.
Michie, Elsie. "From Simianized Irish to Oriental Despots: Heathcliff, Rochester, and Racial
Difference." Novel: A Forum on Fiction 25.2 (1992): 125-40.
Perry, Ruth. "Jane Austen and British Imperialism." Monstrous Dreams of Reason: Body, Self, and
Other in the Enlightenment. Eds. Laura J. Rosenthal and Mita Choudhury. Lewisburg:
Bucknell UP, 2002. 231-54.
Sharpe, Jenny. "The Rise of Women in an Age of Progress: Jane Eyre." Allegories of Empire: The
Figure of Woman in the Colonial Text. Minneapolis: U of Minnesota Press, 1993. 27-55.
Zonana, Joyce. "The Sultan and the Slave: Feminist Orientalism and the Structure of Jane Eyre."
Signs: Journal of Women in Culture and Society 18.3 (1993): 592-617.
English 306 (8595)
Literary Publication: History and Practice
Professor Eric Keenaghan
Mondays and Wednesdays, 4:15 — 5:35
Spring 2019
Contact Information
Instructor: Eric Keenaghan, Associate Professor of English
Office: Humanities Building 343 (Third Floor, English Department)
Office Hours: Mondays 1:30-3:00, Tuesdays by appointment; Wednesdays 2:30-3:30
Office Phone: (518) 442-4078 (Note: Email preferred.)
Email: ekeenaghan@albany.edu
Course Information
Course Catalog Number and Call Number of Section: AENG 306 (8595)
Location and Meeting Times: Business Building 221, Mondays and Wednesdays 4:15 — 5:35
Grading Scheme for Course: A-E; 3 credits
General Education Competencies Fulfilled: Critical Thinking
Pre-requisites: None
Other: Counts toward the partial fulfillment of the Creative Writing minor
Course Description
Catalogue description: Introduction to the history and practice of modern and contemporary
literary publication in periodicals, especially in literary magazines, zines, and/or e-zines. Issues
and/or runs of key periodicals will be studied, via digital archives, reprints, subscription, or other
modes, alongside readings about such issues as: the literary history of small press publication;
differences between literary and commercial publication and markets; literary publication and
changing print and digital technologies; literary editing and curation as creative practices; and
publishers’ and editors’ accounts of their publication ventures. Instructors may require brief
critical essays about such material. The examined historical and critical ideas must be put into
practice by informing students’ individual and/or group creative projects in designing, editing,
and producing prototypes, in whole or in part, for original literary periodicals. Intended primarily
for juniors and seniors. Only one version of 306 may be taken for credit.
Section description: Since the early twentieth century, literary magazines have brought
literature to wide audiences and they also have helped develop smaller experimental and
countercultural writing scenes. Very often, in addition to literary writing they also include visual
arts, political commentary, or journalism. Thus, dialogues between the arts arise in these
magazines’ pages or they raise readers’ consciousness about social justice issues. Consequently,
we ought not see literary magazines as just commodities in the publishing marketplace.
Magazine editing and publishing also are creative arts in their own right. Our emphasis will fall
on magazines that publish poetry, but other literary forms (such as fiction, creative nonfiction,
and hybrid forms) often are included in those publications, too. We will read essays about the
history of “little magazines” and the mimeo and digital revolutions, critical essays about a few
specific literary magazines studied via digital archives, and critical essays about the creative arts
of curation and editing. Most of our studies, though, will focus on actual magazines. Complete
runs or a few issues of a few formative modernist, cold war, and more contemporary
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 2
discontinued magazines will be studied, in addition to a few magazines that featured literary
contributions alongside activist journalism. We also will examine contemporary online journals;
as well as print journals with limited online access. Our discussions of all the examined titles will
include discussions about their respective evolution, mission statements, contents, and design.
We also will consider how changing media and markets affect literary magazines’ presentation
of content—from small-run letterpress and typeset publication, to mimeograph and Xerox
newsletters, to cheaper perfect-bound desktop printing, to online publication. Class visits from
editors and/or publishers of literary magazines will provide an inside look at what such a
publishing endeavor entails.
Course Objectives
* To provide students a critical introduction to the various formats (such as small-run print,
mimeograph, and digital) of the “little magazine” and its historical role in literary culture
in the United States, from the early twentieth-century until today.
* To cultivate an appreciation of, and an introduction to the practice of, the creative and
curatorial work involved in different aspects of editing, designing, and publishing a
literary magazine.
* To introduce students to working with digital archives of little magazines.
* To give students the experience of working in a “hybrid” fashion, by completing both creative
and critical assignments related to the shared course material. Such hybrid modes of
study will prepare students for advanced undergraduate creative writing workshops, as
well as future studies in MFA, MA, and/or PhD Creative Writing programs.
* Give students the experience of working cooperatively, in small groups, for the critical and
creative assignments. Such collaborative work is quite common when editing and
publishing a literary magazine, and it entails a different relationship to creative activity
than the largely independent work on one’s own writing in many workshops.
Textbooks
All required and recommended texts, listed below, are available for purchase or rental at the
University Bookstore in the Campus Center. You may order these titles directly by clicking on
the embedded link. In addition, PDFs and weblinks to other readings and digital humanities
archives of historical little magazines will be available through Blackboard. Consult the syllabus
for the titles of additional readings.
Required texts:
(1) Ian Morris and Joanne Diaz, eds., The Little Magazine in Contemporary America (University
of Chicago Press)
(2) Angharad Lewis, So You Want To Publish a Magazine? (Laurence King Publishing)
(3) eds. Barney Rosset and Donald Allen, Evergreen Review vol. | no.2: “The San Francisco
Scene” (facsimile ed.) (OR Books)
(4) Subscription to Poetry magazine (see below)
(5) Subscription to Conjunctions magazine (see below)
Also required: A physical notebook or designated laptop folder to serve as your reading journal.
Recommended texts:
(1) Ellen Lupton and Jennifer Cole Phillips, Graphic Design the New Basics, 2" ed. (Princeton
Architectural Press)
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 3
Required Magazine Subscriptions and NYPL Card
All registered students are required to purchase one-year reduced rate subscriptions to two
literary magazines through the Community of Literary Magazines and Publishers’ (CLMP) Lit
Mag Adoption program. Our class’s participation in this program entitles us to virtual or in-
person class visits from the publisher and/or an editor of each magazine adopted by the class.
Those visits will be valuable opportunities to learn more about literary magazine publication
today. The embedded hyperlink above will bring you to the CLMP website to sign up for the
program. This semester’s adopted magazines will be:
(1) Poetry Magazine, edited by Don Share
(2) Conjunctions, edited by Bradford Morrow
Click on the hyperlink above, and subscribe to those two titles.
Additionally, in order to access certain digital archives, all students will be required to
apply for a free New York Public Library card. All SUNY and CUNY students are eligible for a
free NYPL card. Apply online at www.nypl.org.
Course Requirements and Assignments
Attendance and participation
Your active participation in class conversations is vital for a successful course, so participation
and attendance factor into your final grade. Active participation includes answering questions,
volunteering your insights and readings, and active listening (i.e., listening and note-taking), as
well as cooperating in all workshop and working group activities. There are no extra credit
assignments, neither to raise the participation grade nor to make up for an absence.
Required reading
Please come to class having completed the required reading. Some readings may be stylistically,
conceptually, and even linguistically challenging, so allot sufficient time to finish them. If you
are unprepared because you have not read and/or lack assigned reading materials, I may dismiss
you and it will count as an absence.
Working groups
Early in the course, everyone will be assigned to a working group, each consisting of up to 5
members who will work together on a presentation assignment about little magazines. Later in
the semester, after midterm, new groups, each consisting of 3 or 4 students, will be constituted
for the final project. Very often, magazine production is a team effort, and though we are not
producing magazines, per se, our class environment will reflect those activities’ ethos. Some
aspects of the shared assignments, including the final project, entail truly collaborative work.
Other aspects will be representative, as when certain group members take the lead in the final
oral presentations. When possible, each member will be graded on the merits of her individual
work. No one is expected to pull others’ weight. If a peer is slacking, please notify me. That
individual could be removed from the assigned group and instead required to do an entire
group’s worth of work on her own.
Presentations and written assignments
In order to pass the course, you must complete a// required written assignments. You also must
attend and contribute to your group’s presentations. Missed presentations cannot be made up.
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 4
Only in the case of extreme illness on the date of a presentation will this requirement be waived.
In such cases, one must do the following: (1) if possible, email your presentation notes to me and
a fellow group member before class; (2) when you return, provide me appropriate documentation
(such as a doctor’s note) and your presentation notes (if not emailed the day of); and (3) submit
the required related written assignment by the due date following the presentation.
Descriptions of required assignments, with grade weights
Note: Percentage indicated reflects the portion of the course grade fulfilled by each assignment.
(1) Class attendance and participation (20%) (4 absences before penalty; automatic failure
for course after 7 absences): Whether they are larger lecture formats or smaller
seminar or workshop formats, all of my courses depend on students’ active
participation and contributions to class discussions, as well as in breakout groups. So,
attendance is required. Because this particular course is community and group oriented,
the attendance and participation grade is weighted rather heavily, and no exceptions will
be made to the related policies. There are no “excused” absences, except in cases in
accordance with the University’s medical excuse policy (see below, under Course
Policies) with appropriate, dated documentation (with specific dates). Anyone who
misses more than 7 classes automatically fails this course because they would not have
attended a reasonable number of class sessions (approximately three-quarters of the
semester). Between 5 and 7 absences, one would lose 10 points per excessive day from
the Attendance and Participation Grade (as in “B” to “C,” etc.). Students who present on
their Little Magazine Assignments at the English Department’s Undergraduate Research
and Writing Conference will receive a grade bump (as in “B” to “B+”) for the Class
Participation and Attendance grade. (On eligibility to present at the conference, see the
description of that assignment below. The participation grade rubric is as follows:
A+ = excellent active and text-based participation in discussion, workshop,
and breakout groups; excellent presentations (Note: An “A+” is possible
only if the student’s base participation and attendance grade is an “A” and
she earned extra credit by presenting at the Undergraduate Research and
Writing Conference.)
A- to A = strong active and text-based participation in discussion, workshop, and
breakout groups; excellent presentations
B- to B+ = good and active listener, but tends to speak less in general class
discussion though may be more verbal in workshop and breakout groups
good to very good presentations
C- to C+ = average to minimal participation in discussion and workshop and/or
disciplinary issues in class; perhaps periodically comes to class lacking
assigned materials or sometimes underprepared; average presentations
D- to D+ = often withdrawn and not participatory in both workshop and class;
often lacking assigned materials and/or frequently underprepared;
poor presentations
E = more than 7 absences and/or other disciplinary issues; also means failure for
the course
(2) Reading journal (Ungraded, daily) (0%): After you complete the assigned reading, spend
15-20 minutes taking notes in your reading journal. Base your responses on the prompts
written for each class, found on the syllabus. This informal writing assignment is a means
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 5
for you to explore some insights and to process the material—even if it is only to start to
determine what you do or do not understand about the readings—before you come to
class. Bring your reading journal to class every day. All semester I will regularly call on
people to share their ideas from their journals. If conversation stalls or is slow to start, I
may call on you or assign a free write to help get your ideas flowing.
(3) Little Magazine assignment (Group presentation [5-10 minutes per member], plus
individual critical essay of 3-5 pages) (20%, based on essay): Each group will be
responsible for setting up our conversation about one issue of one of the assigned literary
magazines. At least one week before the presentation, the group’s members should confer
to decide on which issue you will present on and to coordinate who will present on which
item, described below. Each group member will make a 5-10 minute presentation on one
of the following items, so that there is no overlap between anyone’s presentations: (1a) a
critical summary of one context source assigned for that day, if any; (1b) if there is no
context source, supply a critical account of the literary magazine’s history, based on some
internet research (just be careful of open source resources, like Wikipedia and blogs; try
to stick to academic websites or online resources and digital archives like the ones
compiled on Blackboard); (2) a critical account of the literary magazine’s attributes in
terms of design, physical or electronic format, etc.; (3) a critical account of the
magazine’s mission statement and/or special issue’s mission and/or editorial apparatus
(like an op. ed. or a letter from the editor); (4) a critical account of one or two of the
issue’s contributors, based on some online research (again, avoid open source sites); (5) a
critical account of how the magazine’s mission is or is not exemplified by one or two of
the poetic contributions by the author(s) discussed in part 4, in terms of narrative, theme,
and/or style. One week (i.e., 7 days) after the presentation, each group member will
submit a short critical essay (3-5 pages) about the little magazine and the issue presented
on. Using one assigned context essay, and focusing on one of the contributed pieces,
develop a critical reading of an assigned issue of the magazine that assesses this
publication’s literary significance. Students who receive a B or better on this assignment
will have the option of presenting on their essay at the English Department’s
Undergraduate Research and Writing Conference on April 1 7". Conference presenters
will receive a grade bump (as in “B” to “B+”) in their attendance and participation
grade for the course. Additional specs for this assignment will be provided on
Blackboard early in the semester.
(4) Subscription assignment (Response essay, 2-3 pages) (10%): This assignment consists of
two parts: (1) Prior to the classroom visit of an editor or publisher of one of the literary
magazines to which the class is subscribing, write two observations (one paragraph each)
about the issue(s) you’ve received thus far and two questions you would like to ask our
guest; and, (2) After the classroom visit, write a 2- to 3-page response essay that
provides your critical reflections on what you learned from the visit about the creative
and curatorial work of publishing a literary magazine today. You have the option of
completing this assignment for either of the two magazines assigned through the CLMP
Lit Mag Adoption program (i.e., Poetry or Conjunctions). Bring your preparatory
observations and questions to the guest’s visit; you will turn them in, along with your
brief response essay, the class session following the visit. Additional specs for this
assignment will be provided on Blackboard later in the semester.
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 6
(5) Final Project (4 parts, 50% total)-- Additional specs for all parts of this assignment will be
provided on Blackboard later in the semester:
(a) Mission statement (Creative assignment, collaborative) (10%): In your working
groups, discuss the editorial statements from the first issues of three contemporary
magazines (TBD). Produce annotations (one annotation for each magazine, 3-5
sentences per annotation) describing the strengths and weakness of each editorial
statement. Then collaborate to write a brief mission statement (2-3 pages)
describing the purpose/mission of a hypothetical literary magazine. What would
you title the magazine? What specific types of works you would like to publish?
What would your magazine’s place and function be in the larger world of literary
publishing?
(b) Template (Creative assignment, collaborative) (20%): Using your draft mission
statement as a starting point, construct a plan for a ’zine that contains work that
fits with your vision/mission. Think of your ’zine as a mini-anthology or curated
exhibit. Gather already published material—poems, short prose texts, ete —from
what we have read in literary magazines this semester, from what you discover
through books and anthologies at the UAlbany Library, from what you find
through digital archives like the NYPL’s Independent Voices, or from your own
personal library. After gathering material, each person in the group should scan at
least five texts to share with the rest (via Google Docs). During an in-class
meeting, you will, as co-editors, discuss with your group what works to include,
which ones to cut, and the order of the chosen materials. How does the specific
pieces you have curated reflect your ’zine’s vision? Revise or add to your mission
statement to account for the contents of your ’zine. Provide a brief account of how
you would design and produce the ’zine: Would it be a digital format or a paper
one? How might a graphic designer execute your vision for the graphic content,
presentation, and design? Finally, confer about a cover and execute a design for
the first issue. Produce one template of ’zine to submit for a group grade,
including: cover, table of contents, revised mission statement, poetry/contents (in
desired order). Scan the components of your ’zine and upload them to Blackboard
as a single PDF document.
(c) Presentation (Group, 15-20 minutes, ungraded) (0%): During our last two class
meetings, each group will present on the template and revised mission statement
for its ’zine. The template will be projected for the class and discussed.
(d) Self-Reflection (Individual, 4-5 pages, nonfiction essay) (20%): During finals
week, everyone will submit a creative nonfiction essay reflecting on the evolution
of her own curatorial poetics and how she would define those poetics now. Using
one literary magazine that we studied earlier in the semester as one point of her
reference, and her experience of producing a ’zine as another, the essay should be
a stylized yet critical discussion of the author’s sense of what literary magazines
have been in the past, are now, and could be in the future. A treatment of specific
elements of at least two magazines studied during the semester is required.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76)
C- (70-72) D+ (67-69) D (63-66) D- (60-62) E<60
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 7
COURSE POLICIES
UNIVERSITY POLICIES
Policy on academic integrity
All written assignments must be your own original work. If you submit any plagiarized work (no
matter how small the assignment), you will automatically fail this course, and I will report the
case to the Dean of Undergraduate Studies and to your department or program chair. (Note that if
you withdraw from the course after receiving notice of having failed for plagiarism, the Dean’s
Office will file a second Violation of Academic Report against you.) Two or more reports on file
can lead to academic probation, suspension, even expulsion. Plagiarism is more than the
wholesale copying of an entire document. The University’s definition of plagiarism is as follows:
“Presenting as one's own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Some examples of plagiarism include copying, paraphrasing, or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase/use of
prepared research or completed papers or projects, and the unacknowledged use of research
sources gathered by someone else. Failure to indicate accurately the extent and precise nature of
one's reliance on other sources is also a form of plagiarism. Students are responsible for
understanding legitimate use of sources, the appropriate ways of acknowledging academic,
scholarly, or creative indebtedness.” Also note that violations of academic integrity also include
“self-plagiarizing,” or submitting the same (or similar) work for multiple courses. Claims of
supposed ignorance about if a practice constitutes plagiarism, as well as claims that the proven
plagiarism was “unintentional,” are not adequate defenses. If you are uncertain if a practice
constitutes plagiarism, ask me or another faculty member before you turn in work. Visit the
following webpage for the University’s statement about, and policies regarding, violations of
academic integrity: https://www.albany.edu/undergraduate_bulletin/regulations.html
Reasonable accommodation
When appropriate to the assignment and the situation, students registered with the Disability
Resource Center may be eligible for extensions, alternative modes of examination, or adaptive
equipment. Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you
have a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 137, 442-5490). That office will provide me with
verification of your disability, and will recommend appropriate accommodations. Please present
your forms from the Disability Resources Center to me at the start of the semester, and we will
discuss when alternative arrangements will be necessary for our course. For details, refer to the
Disability Resources Center webpage: http://www.albany.edu/disability/
OTHER CLASS POLICIES:
Attendance policy
Please adhere to the allotted number of excused absences indicated above, in the description
regarding the course attendance and participation grade criteria. Keep track of your own
absences, just as you would keep track of the sick days you might use at a job. I will not provide
you with a report, even though I do keep my own records. Additional absences, beyond the
allotted number, will be excused only if they include your own hospitalization, religious
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 8
observance, or civic duty (i.e., jury or military duty). All valid excuses must be documented by
the Undergraduate Dean’s Office or, in the case of hospitalizations, by Student Health Services
(SHS). Except in the case of a hospitalization, a medical note from SHS does not allow you more
absences than the allotment. For the University’s Medical Excuse Policy, consult the following
link: http://www.albany.edu/health_center/medicalexcuse.shtml
Disruptive behavior
College classrooms are learning environments. Any disruptive behavior will receive only one
verbal warning. After that, dismissal from class will follow, and it will count as an absence. No
exceptions. Disruptive behavior includes, but is not limited to: sleeping or dozing off; chatting
with neighbors; passing notes; ringing phones; using laptops, smart phones, tablets, etc.
inappropriately (web surfing, texting, IM-ing, social networks, etc.); refusing to answer direct
questions. Threatening or hostile behavior directed against me or other students will result in: (a)
immediate notification of University Police and Judicial Affairs; (b) automatic failure of the
class; and (c) possible probation, suspension, or expulsion from UAlbany.
Electronic devices in class
* Only laptops and tablets are permitted to take notes or to read the online materials being
discussed.
* Smart phones are not permitted in class, either to read materials or to take notes. Silence them
and put them away upon entering the classroom, as you would when boarding a plane or
a theater. Do not put your phones on your lap or on your desk. Do not check your phone.
* Inappropriate use of electronic devices counts as disruptive behavior, and can lead to dismissal.
Office hours and email
* When possible, if you have questions or concerns come see me during office hours. The advice
and feedback I can give in person is more substantial than over email. If you have another
class during regular office hours, check to see if I can arrange another time to meet you.
* An email is not a text. All emails should be addressed with a salutation and signed. In
academic emails, always put your name and course number in the subject line. During the
week, it may take me up to 24 hours to respond. I do not check or respond to email on the
weekends (Friday 5 pm—Monday 9 am).
* | do not address attendance or disciplinary issues via email exchanges, though I might send you
a warning via email. If you wish to discuss the matter further, come to my office hours.
* I do not review drafts via email, but I happily will discuss them during office hours.
On all written assignments
* All written assignments must feature your own original ideas and critical prose. Summary,
rehashing of class notes, and analyses based on historical generalizations or inaccuracies
will earn a “C,” at best.
* Any amount of plagiarism in an assignment leads to automatic failure for the course.
* All written assignments must be completed in order to pass the course.
* Late assignments will be docked one full grade (“B” to “C,” etc.) per day late. This includes
each day of the weekend. I do not accept any papers one week (7 days) after the due date.
* If you require a short extension on an assignment, request it in person or by email at least 24
hours before the due date. Reasonable requests will be granted.
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 9
* For assignments submitted via Blackboard, the name of your file should be formatted as:
your last name, assignment (class number, semester). Example: Smith, Final Paper
(ENG 306, Spring 2019).
* All assignments should be typed or word-processed in an academic 12-point font (such as
Times New Roman), with numbered pages.
* Include a bibliography for all primary and secondary sources referenced or cited at the end of
your paper, not as a separate file.
* Every writing assignment should demonstrate basic writing skills, including grammar, sentence
mechanics, and the organization and development of a focused critical argument.
* There are no rewrites and no extra credit. Plan, pre-write, and do your strongest work the first
time around. Come speak to me during office hours about problems or issues with the
assignment before the due date.
Inclement weather and class cancelations
In the event that the University cancels one or more class meetings due to inclement weather, I
will email everyone and post an announcement to Blackboard about an alternative schedule for
the day’s assignments. In the rare instance that inclement weather makes my own commute
unsafe but the University has not canceled classes, I will notify you by email and post a
Blackboard announcement, as soon as I am able. If necessary for making up any crucial canceled
lectures, I may adjust the syllabus by replacing workshops or writing days with lectures.
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 10
Calendar of Readings and Assignments
On the course calendar, each day’s assignments are divided into categories:
“Methodology” = Essays or guides that give instruction for taking a critical approach to
particular kinds of texts, such as an issue or run of a literary magazine, digital
archives, or poetry
“Context” = Essays or book chapters that either are literary history (i.e., a
critical essay written about a past or present literary issue), a historical
document (nonfiction written during and about the literary period studied), or
an introduction to the ins and outs of magazine production.
“Literary magazine” = Literary magazine treated as a primary text. Read the issue(s)
designated for a particular class session. How you read a given issue will vary:
Follow the cues given on the syllabus, when any are supplied. Sometimes you
could read a magazine issue cover-to-cover. Sometimes you might only read
selections from it. Sometimes you could consider it more as a physical or virtual
textual object than a collection of texts. We will be looking at electronic
magazines, hardcopy print magazines in original and facsimile editions, and
digital archives that store and reproduce images of defunct magazines.
= Specific tasks and homework assignments to be prepared before
class meetings. After you complete the reading spend 15 or 20 minutes before
class writing on the prompt on the syllabus.
“Writing assignment” = Due dates for graded writing assignments submitted. Note that
the essay attached to the Little Magazine Assignment is indicated for each group
on the date of that group’s presentation.
“Recommended” = Recommended for further study, but not required.
Key for readings:
“BB” = PDF or URL of the assigned reading on Blackboard
“LMCA” = Chapter fromtextbook The Little Magazine in Contemporary America
“SYWPM” = Chapter from textbook So You Want to Publish a Magazine?
“MJP” = Literary magazine accessed through the Modernist Journal Project (digital
archive; link to archive gateway on BB)
“RS” = Literary magazine accessed through Reality Study (website, link on BB)
“TV” = Literary or activist magazine accessed through Independent Voices digital archive
(accessed through the New York Public Library; link to archive gateway on BB)
“Library” = Magazine accessed through a database on UAlbany Library’s webpage
UNIT ONE: WHAT ARE LITERARY MAGAZINES,
AND HOW SHOULD WE READ THEM?
Week One: An Introduction to Literary Magazines
Wednesday January 23
Introduction to the course: Overview of requirements and objectives. How to navigate
Blackboard and the syllabus. Show and tell of some favorite print, electronic, and
digitally archived issues of poetry magazines from modernism, the New American Poetry
and the mimeo revolution, LGBTQ activist magazines of the 1970s and 1980s, and
contemporary literary magazines. Discussion of reading magazines as literary objects.
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 11
Week Two: On Defining Literary Magazines as a Curatorial Art Form...
But Whom Do They Serve?
Subscribe to Poetry and Conjunctions through CLMP’s Adopt a Lit Mag Program by Friday.
Monday January 28
Context (literary history): Hans Ulrich Obrist, “Curating, Exhibitions, and the Gesamtkunstwerk”
(BB); Jeffrey Lependorf, “Introduction” (LMCA); Stephanie Burt, “The Persistence of
Litmags” (BB)
Recommended context (literary history): Travis Kurowski, “Some Notes on the History of the
Literary Magazine” (BB); Columbia Journal editors, “What Is a Literary Magazine: A
Panel Discussion (parts | and 2)” (BB)
Literary magazine (in-class projection and discussion): Yiigen, ed. LeRoi Jones (BB/RS)—no.1,
1958; no.2, 1958; and no.7, 1961—These issues will be available on BB at class time. Do
not worry about reading them before class.
Reading journal: Bring to class print or electronic copy of a periodical that you read regularly. It
can be a newspaper, a literary or arts magazine, a popular magazine, or a blog. In your
reading journal speculate about why it might or might not qualify as a “literary
magazine,” based on how the readings for today define and discuss literary magazines.
Wednesday January 30
Context (literary history): Robert Boyers, “The Little Magazine in Its Place: Literary Culture and
Anarchy” (BB); Jane Friedman, “The Future of the Gatekeepers” (LCMA); and Rebecca
Wolfe, “Publishing is Personal” (LCMA)
Context (magazine production): Angharad Lewis, Chap. 1 “So You Want to Publish a
Magazine?” (pp. 10-15) (SYWPM)
Reading journal: The three readings for today offer different understandings of what the
curatorial and editorial function and purpose is for literary magazines. Briefly summarize
each, and take some notes about how when considered separately or together they help
you understand your possible relationship to literary magazines as an academic
researcher, as a consumer who reads literature for pleasure, and/or as a creative writer
who might be a future submitter and contributor to literary magazines.
Week Three: How To Read an Issue of a Literary Magazine
and the Poetry It Contains
Monday February 4
Little Magazine assignment groups will be made today. The first presentation is next week.
Methodology: Modernist Journals Project (editors), “How To Read a Magazine” (BB)
Context (magazine production): Angharad Lewis, Chap. 4 “The Anatomy of a Magazine”
(pp. 52-69) (SY WPM)
Literary magazine: Examine the latest issue of the online magazine EOAGH, ed. Trace Peterson
(BB). Devote two hours to reading it, paying special attention to the poetry and its
relationship to other material (such as essays, fiction, and book reviews) in the issue.
Reading journal: How would you go about studying this issue as a textual object, in a fashion
akin to studying a single-authored text (like a novel, a play, or a poem), even though it
has several contributors and one or more editors? How do the parts relate to the whole?
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 12
Wednesday February 6
Methodology: Eric Keenaghan, “How To Read a Poem” (handout) (BB)
Literary magazines: Choose two or three poems you particularly liked from the issue of EOAGH
discussed last time, and carefully and closely reread those poems once or twice more.
Reading journal: What makes each of the texts you chose a poem? Why do you like it? How
would you approach the poem when you are just reading it for pleasure? How might you
approach it differently when reading it critically? If you identify as a poet or another kind
of creative writer, how might you read this poem in yet another way? Are there
similarities between those different approaches? How does your appreciation of these
poems as poems help you appreciate the magazine in a new way? Alternately, how did
understanding the magazine as a literary object help you appreciate the poem differently?
UNIT TWO: LITERARY MAGAZINES IN THE PAST
Week Four: Poetry, Then—The Beginnings of the First of the Little Magazines,
and Its Relationship to the First Avant-Garde of American Poetry
Monday February 11
Context (literary history): Helen Carr, “Poetry: A Magazine of Verse (1912-36), “Biggest of
Little Magazines” (BB)
Literary Magazine: Poetry: A Magazine of Verse, ed. Harriet Monroe (MJP)—Skim the entire
issues indicated below, and read the items indicated most closely:
*vol. 1, no. 1, Oct. 1912 (Ezra Pound, “To Whistler”; Harriet Monroe, “The
Motive of the Magazine)
* vol. 1, no. 2, Nov. 1912 (Monroe, “The Open Door”)
Reading journal: Based on these first two issues, how would you characterize the kind of poetry
Harriet Monroe published in her magazine? If gauging by her mission statements, did
Monroe’s vision for Poetry change between its first and second issues? Do the poetic
contributions change in terms of their style, lyric voice, or themes? Does the other
nonliterary content, such as advertisements, change? How about the magazine’s design
and layout?
Wednesday February 13
Little Magazine Presentation by Group #1 (essay due Wed. Feb. 20)
Context (literary history): Bartholomew Brinkman, “Making Modern Poetry: Format, Genre, and
the Invention of Imagism(e)” (BB)
Context (historical document): Ezra Pound, “Small Magazines” (BB)
Literary Magazine: Poetry: A Magazine of Verse, ed. Harriet Monroe (MJP)—Closely read the
items indicated for each issue and then browse other contributions if you have time:
* vol. 1, no. 4, Jan. 1913 (H.D., all poems; Pound, “Status Rerum’)
* vol. 1, no. 6, March 1913 (F:S. Flint, “Imagisme”; Pound, “A Few Don’ts by an
Imagiste’’)
* vol. 2, no. 1, April 1913 (Pound, all poems; Monroe, “The New Beauty”)
Reading journal: How does the conversation about Imagism and appearance of Imagist poems
in the pages of Poetry affect your understanding of Monroe’s magazine and its mission?
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 13
Do you believe Monroe’s mission changed as Pound exerted more influence, or does his
influence and his avant-garde group’s poetry help her refine her mission?
Week Five: Modernist Magazines and Seriality—Others and The Little Review
Monday February 18
Context (literary history): Suzanne W. Churchill and Ethan Jaffe, “The New Poetry: The Glebe;
Others; and Poetry Review of America”
Context (historical document/curatorial poetics): Alfred Kreymborg, “Others” (BB)
Literary magazine: Others, ed. Alfred Kreymborg (MJP)—Skim the entire issues indicated
below, and then closely read the specified contents:
* vol. 1, no. 1, July 1915 (Mina Loy, “Love Songs”; Kreymborg, “Variations” )
* vol. 3, no. 4, Dec. 1916 (Skim issue and reread 2 poems of your choice)
* vol. 5, no. 6, July 1919 (guest ed. William Carlos Williams) (WCW, “Gloria!”;
poems by Marianne Moore, Wallace Stevens, and Lola Ridge)
Reading journal: What strikes you as distinct about the style of Others, in comparison to the
early years of Poetry? How does the content of the assigned issues of Others suggest that
the run of the magazine coheres as a serial?
Wednesday February 20
Little Magazine Presentation by Group #2 (essay due Wed. March 6)
Context (literary history): Matthew Hannah, “Photoplay, Literary Celebrity, and The Little
Review” (BB)
Context (historical document/curatorial poetics): Margaret Anderson, excerpts from My Thirty
Years’ War (BB)
Literary magazine: The Little Review, ed. Margaret Anderson (MJP)—Concentrate on the items
listed below for each specified issue:
* vol. 3, no. 5, Aug. 1916 (Anderson, “A Real Magazine”)
* vol. 3, no. 6, Sept . 1916 (Anderson, untitled note p.1 and following pages; letters in
“The Reader Critic”)
* vol. 7, no. 2, July-Aug. 1920 (Else von Freytag-Loringhoven, poems; the
letters and mini-essays in the “Discussion” section; letters in “The Reader Critic’”’)
* vol. 7, no. 3, Sept.-Oct. 1920 (jh, “Art and the Law”; Anderson, “An Obvious
Statement”; Freytag-Loringhoven, poems; letters in “The Reader Critic’’)
Recommended context (literary history): Abby Ann Arthur Johnson, “The Personal Magazine:
Margaret C. Anderson and The Little Review, 1914-1929” (BB)
Reading journal: How does the presence of the voices of The Little Review’s co-editors,
Margaret Anderson and jane heap (aka jh), give this magazine a distinct identity? How is
that identity reinforced by other content (poems, etc.) or apparatuses (reviews, symposia,
letters to the editor, etc.)? How does that identity differ from Poetry’s or Others”?
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 14
Week Six: Countercultural Literary Magazines and the New American Poetry:
The Beats in Evergreen Review and The Black Mountain Review
Monday February 25
Little Magazine Presentation by Group #3 (essay due Mon. March 11)
Context (literary history): from Steven Clay, “A Little History of the Mimeograph Revolution”
(BB); R.J. Ellis, “‘Little...Only With Some Qualification’: The Beats and Beat ‘Little
Magazines’” (BB)
Literary magazine: Evergreen Review, ed. Barney Rosset and Donald Allen—vol. 1, no. 2, 1957
(facsimile ed.): Kenneth Rexroth, “San Francisco Letter,” and Beat writer Allen
Ginsberg, “Howl”; and read any three poems by other Beat writers (Lawrence
Ferlinghetti, Michael McClure, Gary Snyder, Philip Whalen) and any three poems by
non-Beat writers (Brother Antoninus, Robert Duncan, Josephine Miles, Jack Spicer,
James Broughton)
Recommended context (literary history): Loren Glass, “From Consensus to Conflict: Little
Magazines in the 1950s” (BB); Charles Allen, “The Little Magazine in America: 1945-
1970” (library studies from 1972) (BB); Michael Anania, “Of Living Belfry and
Rampant: On American Literary Magazines Since 1950” (BB)
Recommended context (historical document): Donald Allen, Preface to The New American
Poetry (BB)
Reading journal: On the surface, do the poems by the Beat-affiliated writers differ from those by
the writers not affiliated with that group? How does the special issue’s presentation of
one city’s arts “scene” still give the poems cohesion?
Wednesday February 27
Context: Tim Woods, “Black Mountain and Associates: Origin and The Black Mountain Review”
(BB)
Context (historical document/poetics): Robert Creeley, “The Black Mountain Review” (BB)
Literary magazine: The Black Mountain Review, ed. Robert Creeley (BB)—Note that the
complete issues have not been reproduced. Read only the following items:
* nos. 1 through 4, 1954—Read any five poems by Black Mountain writers (Charles
Olson, Robert Creeley, Denise Levertov, Robert Duncan, Larry Eigner)
* no. 7, Autumn 1957 (the final issue)—Read all poems by Beat writers (Allen Ginsberg,
Philip Whalen, Michael McClure, Gary Snyder); poems by Black Mountain
writers (Joel Oppenheimer, Denise Levertov); and the review “Allen Ginsberg’s
Howl” by Black Mountain writer Michael Rumaker
Reading journal: Today, we will continue our discussion of the special issue of Evergreen
Review, connecting our observations to another avant-garde group and its magazine, the
Black Mountain School. How does Woods describe the project and poetics of the Black
Mountain School? How do the Beats seem to fit into that project, or not, when they are
included in The Black Mountain Review’s final issue? Might that change readers’ sense
of the Beats from how they were presented a few months earlier in Evergreen Review?
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 15
Week Seven: When the Mimeo Revolution Met the Political Revolutions:
The Curious Case of John Wieners, a Beat and Black Mountain and Gay Liberation Poet
Monday March 4
Little Magazine Presentation by Group #4 (essay due after break, Mon. March 25)
Context (literary history): James Dunn, Introduction to “The Mesmerizing Apparition of the
Oracle of Joy Street” (MA thesis on John Wieners) (BB)
Poetry: John Wieners, The Hotel Wentley Poems (chapbook, 1958) (BB)
Literary magazine: Measure, ed. John Wieners ([V)—Skim all three issues, published between
1957 and 1962. Closely reread the contributions by one or two poets of your choice.
Recommended context (historical document/curatorial poetics): John Wieners, Misc. letters and
diary entries about editing Measure (BB)
Recommended literary magazine: The Floating Bear, ed. Diane di Prima (RS)—no. 10, 1961
(Special issue devoted to poems by Wieners.); no. 33, 1967 (guest ed. John Wieners)
Reading journal: Based on the contributions, design, layout, and editorial focus of each issue,
how would you describe Wieners’ project with Measure and how it reflects his own
verse’s poetics and aesthetic?
Wednesday March 6
** Note that much of the visual and verbal material assigned for this week is sexually explicit.**
Context (literary history): Eric Keenaghan, excerpts from “John Wieners, Good Gay Poet” (in-
progress book chapter) (BB)
Activist magazine: from WIN (ed. War Resisters League), vol. 5, no. 20, Nov. 1969 (BB)—
Excerpts from antiwar magazine, published five months after Stonewall. Read Wieners,
“A Poem for Trapped Things”; and David McReynolds, “Notes for a More Coherent
Article”
Activist magazine: Gay Sunshine (ed. Winston Leyland), no. 20, Jan.-Feb. 1974 (BB)—Read
Wieners’ poems and consider how they relate to one of the issue’s political contents and
to a poem by another writer from the same issue
Activist magazine: Fag Rag (ed. Boston Gay Liberation Front) (BB)—Skim the issues indicated
below, and pay special attention to the items specified for each:
* no. 5, Summer 1973—Charlie Shively, “The Wild Tulip Shall Outlast the Prison Wall”;
poems by Wieners
* no. 18, Fall-Winter 1976—Wieners’ poems and the issue’s collages
Recommended context (historical document/poetics essay): John Wieners, “The Lanterns Along
the Wall” (BB)
Recommended _activist_magazine: from Gay Sunshine, no.17, March-April 1973 (BB)—
Interview with and poems by Wieners
Recommended activist magazine: Fag Rag, no. 26, Fall 1979 (BB)—announcement of Wieners
as “Our New President” and collages; no. 44, 1987 (final issue) (BB)—Charlie Shively,
“Sequins and Switchblades” (essay on Wieners)
Reading journal: How does your relationship to Wieners’ poetry change when you read it in
light of the activist context in antiwar magazines and gay liberation magazines to
which he was a contributor or a co-editor? How does his poetry compare to that of some
other verse appearing in those magazines and/or to how editors or contributors wrote
about the “revolutionary” role of gay poetry?
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 16
Week Eight: Callaloo, a Significant Magazine of
Black Art, Culture, and Criticism at the Intersection of Art and Academia
Monday March 11
Little Magazine Presentation by Group #5 (essay due Mon. April 1)
Context (literary history): Ian Morris and Joanne Diaz, “Preface” (LMCA); and Charles Henry
Rowell, “Callaloo: A Journal of Necessity” (LCMA)
Literary magazine: Callaloo, ed. Charles H. Rowell (Library)—The early years: You can access
separate elements of the back issues of this magazine through JSTOR (a database
available through the UAlbany Library). Skim the issues indicated below, and
concentrate on the items specified for each:
* vol. 1, no. 1, Dec. 1976 (Tom Dent, “Preface”; poems by Lorenzo Thomas, Alice
Walker)
* vol. 1, no. 2, Feb. 1978 (Charles H. Rowell, “Editor’s Note”; poems by Harryette
Mullen; photographs by Robert Pass)
* vol. 1, no. 5, Feb. 1979 —“Women Poets: A Special Issue” (poems by Jayne Cortez,
Harryette Mullen, Alice Walker, June Jordan, and Sonia Sanchez)
Reading journal: How do your experience and perception of a literary magazine change when
you can access only its individual units via a database or archive? Does that affect your
sense of the mission and voice of an important, socially engaged project like Callaloo?
Wednesday March 13
Literary magazine: Callaloo, ed. Charles H. Rowell (Library)—The later years: You can access
separate elements of the back issues through Project Muse (a database available through
the UAlbany Library). Skim the issue indicated below, concentrating on the items listed:
* vol. 40, no. 1, Winter 2017 (Howard Dodson, “Callaloo Futures”; Robert Reid-Pharr,
“Double Consciousness in Black and White”; poems by Rigoberto Gonzalez,
Yusef Komunyakaa, Sharon Olds, Carl Phillips, Janice Harrington, Nathaniel
Mackey)
Reading journal: How did Callaloo seem to evolve over its forty-year history? How would you
characterize your experience, as a reader, of the interplay between the magazine’s critical
and creative contributions?
Week Nine: Spring Break
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 17
UNIT THREE: CONTEMPORARY LITERARY MAGAZINES
Week Ten: Surveying Poetry Now and Conjunctions
Monday March 25
Context (literary history): Don Share, “Poetry Magazine: On Making It New” (LMCA)
Literary magazine: Start reviewing the subscription issue(s) of Poetry that you have received to
date. Spend at least one hour surveying at least one issue. Then, spend an hour exploring
the website for the Poetry Foundation (BB), the publisher of Poetry Magazine (BB).
Look at the various apparatuses, such as the banner categories (“Poets,” “Poems,”
“Prose”) and the news updates and commentary (“Harriet the Blog”). Take a glance at the
archive of back issues.
Reading journal: What strikes you about the differences in the style, themes, and other literary
elements of the poetic contributions of Poetry magazine between 1912 and today? How
have the nonliterary content and the design changed? How does the Poetry Foundation
website augment readers’ experience of the magazine and the literary form it features?
Wednesday March 27
Groups for the final ’Zine assignment will be formed today, and we will discuss the assignment
in the last 30-40 minutes of class.
Context (literary history): Michael Bergstein, “A Roving Universe with a Constant Idea” (BB);
Joanna Scott, “The Leaps and Bounds of Conjunctions” (BB)
Literary magazine: Conjunctions, ed. Bradford Morrow—Start reviewing your subscription
issue(s) of Conjunctions, and closely reread three to five contributions. Then, spend an
hour exploring the magazine’s website (BB). Look at the various apparatuses related to
the print magazine, and the ancillary publications of exclusively online poems (click on
“Online” at top of page) and sound files and videos of readings (click on “Multimedia).
Reading journal: Take notes about the relationship between one or two of the poems you closely
reread from the subscription issue and that issue’s theme.
Week Eleven: Virtual Visits from Editors and Publishers
of Two Major Contemporary Magazines
Note that this week’s classes will be in a different classroom, one with virtual conference
capabilities. Stay tuned for details.
Monday April 1
Guest publisher class visit today: Don Share, publisher of Poetry Magazine
Literary magazine: Continue to review the subscription issue(s) of Poetry that you have received.
If you have received more than one issue, concentrate on a different issue from
what you reviewed for our last class. Reread two or three poems you find interesting.
Reading journal: Based on what you have read in your subscription issues, what would you like
to ask the editor about the magazine’s current mission, curatorial and aesthetic and even
political goals, layout and timeliness, over one hundred years after its inception?
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 18
Wednesday April 3
Guest publisher class visit today: Nicole Nyhan, managing editor of Conjunctions
Literary magazine: Continue reviewing Conjunctions. Spend 2-3 hours reading the magazine.
Concentrate on a few poems, and closely reread them.
Reading journal: Based on what you have read in your subscription issue(s), what would you like
to ask the editor about the magazine’s mission, the curatorial nature of its thematic issues,
or the relationship between its online publications and its print publications? What would
you like to ask her about her specific role as managing editor?
Week Twelve: Digital Magazines and the Redefinition of Poetry
Monday April 8
Class visit by guest editors today: Yolande Schutter and Ben Nadler, co-editors of Barzakh
Context (literary history): Rebecca Morgan Frank, “Summoning the Bard: The Twenty-First
Century Literary Magazine on the Web” (LMCA); and Ander Monson, “This Being
2015” (LMCA)
Literary magazine: Barzakh, ed. various (UAlbany graduate student literary magazine) (BB):
Review the first issue and the two most recent issues. Pay special attention to poetry.
Examine the issues for two hours.
Recommended literary magazine: DIAGRAM, ed. Ander Monson—An interesting online
literary magazine that uses found visual images to structure one’s reading experience
Reading journal: Different student editors have assumed control of Barzakh’s design and
contents each year. How do you see that as affecting the identity, voice, and design of the
issues you examined?
Wednesday April 10
Most of class will be devoted to an editorial meeting with your working group to brainstorm
ideas for your own ’zine.
Writing assignment: Subscription Assignment (parts | and 2) due in class.
UNIT FOUR: PLANNING A ’ZINE
Week Thirteen: Envisioning Your ’Zine, Part 1
Monday April 15
Class visit by a guest publisher today: Carissa Halston, publisher and editor-in-chief of apt and
Aforementioned Productions. The last 20-30 minutes of class will be devoted to an
editorial meeting with your working group to continue to brainstorm ideas for your *zine.
Context (magazine production): Angharad Lewis, Chap. 2 “Choose Your Own Adventure” and
Chap. 5 “Ink and Pixels” (pp. 22-37, pp.76-83) (SY WPM); Craig Dworkin, Simon
Morris, and Nick Thurston, Do or DIY (BB)
Little magazine: apt, ed. Carissa Halston (BB)—Spend an hour or two looking at the journal’s
website. Explore the mission (under “About,” on the menu bar), and browse past online
issues (under “Archives”’) #1, #24, and the current issue (homepage). Find the link to
Aforementioned Productions, and take a look at the print volumes.
Reading journal: (1) Take notes on a few elements that you consider interesting about apt and
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 19
Aforementioned’s mission and publication model, including how the publishers designate
the relationship between electronic and print publication. (2) Considering how the
readings by Lewis and Dworkin, et al., discuss the personal investments of starting a
magazine or ’zine, write down | or 2 specific questions you have for our guest about her
relationship to literary publishing, her press and magazine, or her own creative writing.
Wednesday April 17
Undergraduate Research and Writing Conference
In lieu of a class meeting, we will be convening at the conference during our usual class
time. Attendance is required. Everyone who is free for the lunch and plenary session
(exact time TBA) is strongly urged to attend, to get some free food and to hear the talk
and fiction reading by contemporary novelist and UAlbany professor Lynne Tillman.
Week Fourteen: Envisioning Your ’Zine, Part 2
Monday April 22
Today’s class will be devoted to an editorial meeting for you final project.
Reading journal: Bring to class a draft outline of the points that you want your mission statement
to cover, and notes for the items below:
Editorial meeting: Objectives to agree on by end of today’s class:
(1) The first principle of your mission;
(2) Literary forms and genres to include in your inaugural issue;
(3) Whether other art content will be included (visual images, hypertext, multimedia,
found images, etc.);
(4) Form of publication for your ’zine (print, electronic, or mixed platform);
(5) A working title for your ’zine.
Wednesday April 24
Today’s class will be split into 2 parts: an orientating discussion about division of labor and the
work of curation (30 minutes); and an editorial meeting that includes online curation (50
minutes).
Bring to class: A draft paragraph that sums up your mission, plus copies of 2 content items
(poetry, other literary texts, and/or images) that you want to be included in your ’zine.
Editorial meeting: Objectives to meet by the end of today’s class:
(1) Produce notes about what points to include from everyone’s homework in your draft
mission statement;
(2) Outline a set of curation strategies for finding material for your inaugural issue, and a
plan for the division of labor in your group (Note: One person should be the
point-person for drafting the brief mission statement by Friday.)
(3) Elect one person to be the issue designer, who will be responsible for executing
the cover/homepage design and for assembling the template of the ’zine to be
uploaded to Blackboard;
(4) Discuss the cover design in terms of aesthetic, kinds of visuals or images to use (if
any), placement of title, design for the title.
By Friday, circulate a draft version of your mission statement amongst all group members by
email or via Google Docs. (The latter is best for revising a shared document, but it requires
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 20
everyone to have a free Google account.) Over the weekend, each person must suggest one or
two revisions to the template. They can be substantive (adapting the ’zine’s vision) or they can
be minor (wordsmithing the mission statement’s language). The point person who drafted the
mission statement must add those changes to the document before class on Monday.
Week Fifteen: Curating Your ’Zine, Part 2
Monday April 29
Writing assignment: ’Zine Mission Statement. Emailed to me by each group during class.
Bring to class: Each group member must bring in 4-5 items to discuss for inclusion in your
*zine’s inaugural issue. Prepare notes for each item (2-3 sentences per content item) about
why you believe it is ideal for inclusion. The designer needs only contribute one or two
content items, and must bring to class the in-progress cover/homepage design.
Editorial meeting: Objectives for today’s class:
(1) Finish and submit the final revisions of the ’zine mission statement (30 minutes);
(2) Discuss the in-progress cover/homepage design (15 minutes);
(3) Discuss and vote on inclusion or exclusion of half of the group members’ curated
materials, selected based on the mission statement (remainder of class).
Wednesday May 1
Context (magazine production): Angharad Lewis, Chap. 9 “Launch and Beyond” (pp. 140-145)
(SYWPM)
Bring to class: The designer must bring to class the completed cover/homepage design.
Editorial meeting: Objectives for today’s class:
(1) Discuss the completed cover/homepage design and signal if any minor
changes ought to be made (15 minutes);
(2) Discuss and vote on the other half of the group members’ materials, selected on
the basis of the mission statement (30 minutes);
(3) Draft a working table of contents, establishing the preliminary order of the selected
materials (remainder of class)
Each group should leave class today with a complete portfolio of materials, with a preliminary
order, that the entire group will review and decide on by Friday. Then, scan the contents you are
contributing, if necessary, and share all electronic files of them over Google docs. The designer
is responsible for assembling the scans of the cover/homepage design, table of contents, mission
statement, and contents in one PDF file and uploading them to Blackboard. On a Mac, you can
merge different PDF files through the Preview app, by inserting them into an open PDF and
reordering the pages in the lefthand icon bar. Export the finished product as a single PDF file,
with a new title; then, upload the file to Blackboard by 12:00 noon Monday. If you are
developing an electronic ’zine, then you may produce a mock-up of your template on a
nonpublic website or blog through a free service such as Wordpress. If you do so, upload the
URL to your site to Blackboard by class on Monday. Since the designer is doing so much of the
heavy lifting this weekend, other group members should serve as representatives for the
collective who will present on the templates next week. Prepare organized notes for 10 minutes
of discussion about your ’zine’s mission, editorial and curatorial process, and issue content. The
English 306 (Literary Publication), Spring 2019: Course Policies and Syllabus 21
presentation can be divided up between two or three speakers. Prepare notes for talking points;
don’t extemporize.
Week Sixteen: Your ’Zine, the Finished Template
Monday May 6
Writing assignment: ‘Zine Template and ’Zine Presentations. The finished product is due today
for all groups; the template must be uploaded to Blackboard by 12:00 noon today. The
first half of the groups will present on their ’zines. I strongly recommend that everyone
start working on the ’Zine Self-Reflection essay today.
Wednesday May 8
Writing assignment: ’Zine Presentations. The second half of the groups will present on their
*zine templates.
In-class course evaluations today for the English Department. Please also fill out the University’s
MyUA\bany evaluations for our course and all your other courses by the end of Reading
Day (tomorrow).
Finals Week
*Zine Self-Reflection Essay (4-5 pages) due by Friday May 10 at 12:00 noon. You may
submit your essays sooner, if you wish. Submit through Blackboard. Save your essay as a PDF
file, titled with your last name and the course number (AENG 306). During finals week, I will
email brief comments as well as your grades for this individual essay, the ’zine template
produced and presented on by your group, and the course.
English 310 (1681): Introduction to English
Studies 3 credits
Professor Eric Keenaghan
Monday and Wednesday, 6:00 pm —7:20 pm
Fall 2021
Contact Information
Instructor: Eric Keenaghan, Associate Professor of English
Preferred pronouns: he/him/his
Office: Humanities Building 343 (Third Floor, English Department)
Zoom Office Hours (walk-in, links on Blackboard): Monday 1:00pm-2:00pm; Wednesday 11:00am-12:00noon
Zoom Office Hours (by appt. only): Tuesday, 2:00-5:00pm. Request appt. 24+ hours in advance.
Office Phone: (518) 442-4083 (Note: Voicemail only; email preferred.)
Email: ekeenaghan@albany.edu
Teaching Assistant: Timothy Laberge, Doctoral student in the Department of English
Preferred pronouns: he/him/his
Zoom Office Hours (walk-in): Mondays 11:00am-12:00noon
Email: tlaberge@albany.edu
Course Information
Course Catalog Number: AENG 210
Call Number of Section: 1681
Location and Meeting Times: Remote course; Mondays and Wednesdays, 6:00 — 7:20 pm
Grading Scheme for This Course: A-E; 3 credits
General Education Competencies Fulfilled: “Critical Thinking” and “Information Literacy”
Pre-requisites: Restricted to intended and declared English majors and minors
A“C” or better in AENG 210 fulfills a core requirement for the English major.
Table of Contents
Contact information and course information..................5 Page |
Course description
Learning objectives for the cour:
Textbook list
Course requirements and assignments
How to succeed in our class..............ecceee eee eeeeees Page 3
Attendance and participation...............00. cee Page 5
Required reading...
Written assignments
Letter grades and numerical equivalents............... Page 5
Descriptions of assignments.................00.eseeeee Page 6
Course policies
University policies.
Other class policies (incl. Zoom policies) .
Disclaimer about sensitive issues and
explicit material. . Page 13
At-a-glance calendar Page 14
Full calendar of meetings and assignment . Page 16
Course Description
We live in a time of crisis—political crises, cultural crises, economic crises, and, not least
of all, health crises. There has never been a time—at least during my lifetime—when it was more
crucial to think, write, and speak about what we see and our visions for change. Literary texts
present opportunities for making those critical excursions.
Our course will give us a chance to self-reflexively practice critical thinking and critical
writing and critical writing...and to understand how all three work together. We'll examine how
English Studies began almost a century ago in this country as a means of escaping the world's
problems and how that premise has changed and evolved. We'll use critical theory texts, which
often come out of philosophy, as tools to aid us in our thinking about literature and its
relationship to the world, as both a reflection of reality and an imaginative engagement that could
prove transformative of readers' attitudes. Short theory texts will provide us with concepts that
we can use to deepen our readings of literary texts and thus our thinking about the world we live
in. And we'll try to consider how literary texts also speak back to those theorists and
philosophers by either challenging or extending their premises and arguments and thus shedding
light on blind spots we otherwise might have missed. The literature we will be reading ranges
from poetry to fiction, from stories written in the last few months to those published over a
century ago. Thematically speaking, all literary selections are timely timely and will help us
address not only our roles as literal readers but also as metaphorical ones. Most of the texts we
will read touch on matters that afflict us today—tracism, national exceptionalism, xenophobia,
sexism, and homophobia. In order to be critical of our world, we need to be astute and careful
readers of our social environments. So, our literary studies will give us opportunities to imagine
the world differently and to find a critical language to talk about such possibility. That is the first
step toward action and social transformation.
The English Department’s Learning Objectives for English 210
Through a combination of literary and theoretical texts, this course aims to help students:
* become self-reflexive about what we read, how we read, and why we read
* develop a vocabulary for textual study and the skills of close reading practices
* engage directly with and learn to read theoretical texts
* understand the relationship between criticism and theory
* analyze literary texts with the aid of an explicit theoretical lens
* become aware of the discipline of English Studies at large, and the way English Studies
is represented within the department at UAlbany
The Instructor’s Learning Objectives for This Course
(1) All of the above, with a special emphasis on why we read and write about literature now, at
this particularly crisis-ridden point in American and global history.
(2) Thinking and openly engaging with our motives for our work may help generate a stronger
sense of community in the classroom and the foundation for critical citizenry outside it.
NOTE: Students will contribute to a collectively generated list of your own learning objectives
for our course. Those objectives will be posted on the main page of our course’s Blackboard site.
Textbook List
Books are available through the UAlbany Bookstore (in the Campus Center). Inexpensive used
copies can be found at online retailers, too. ISBNs for preferred editions are provided below, but
any published version (including e-books) are acceptable. Hyperlinks to other online readings
and multimedia resources are embedded in the calendar of meetings and assignments below.
PDFs of some required and recommended readings are downloadable from the learning modules
on our class’s Blackboard site. Please obtain the texts on time.
Required texts (Purchase through the UAlbany Campus Bookstore or elsewhere online):
(1) Akwaeke Emezi, Pet (Make Me a World; ISBN: 9780525647072)
(2) James Baldwin, Going to Meet the Man (Vintage; ISBN: 9780679761792)
(3) Valeria Luiselli, The Lost Children Archive (Vintage; ISBN: 9780525436461)
(4) Claudia Rankine, Citizen: An American Lyric (Graywolf; ISBN: 9781555976903)
Required open access textbooks (Access chapters free online or order a hardcopy or e-book)
(1) Jeffrey Nealon and Susan Searls Giroux, The Theory Toolbox (2"¢ edition) (Rowman
& Littlefield; ISBN: 9780742570504). Access for free via UA Library database >
select “eBook Collection (EBSCOhost)” database > search for “Theory Toolbox”
> select assigned chapter
(2) Ian Buchanan, A Dictionary of Critical Theory (2™ edition) (Oxford UP, ISBN:
978019879479). Access for free via Minerva’s entry for the book > select
“Oxford Reference Library” from View Online/Full Text Availability > search for
assigned terms
Also required: A physical notebook or computer folder to serve as your private reading journal.
Course Requirements and Assignments
How to succeed in our class
Our course is offered in a remote format, combining synchronous and asynchronous elements. To
succeed in this course, follow these easy, streamlined steps:
(1) Asynchronous and synchronous formats: Most weeks will be asynchronous on
Monday (with a video lecture by me and Blackboard discussion posts by you) and
synchronous on Wednesday (via Zoom sessions). On Mondays, tutorial groups
will meet with me during regular class time, on a revolving basis. There will be a
few exceptions to this pattern, at the start and end of the semester and at midterm.
So every weekend, consult the at-a-glance calendar (below and on Blackboard) to
see the coming week’s format and to see if your tutorial group is meeting with me.
The following guidelines outline what you should do most weeks.
(2) Reading: Always do the required reading, and don’t save it for the last minute. Pace
the reading as best you can, especially the assigned literary readings which can be
longer than the readings for the theory days. A three-credit course averages 9
hours of work per week, including homework, Zoom class sessions, and
asynchronous work time. If you spend about an hour a day reading for our class
on the days we don’t meet, you’re on target.
(3) Reading journal: Keep a reading journal. Note your observations about the assigned
readings, write questions, respond to the study questions I supply for every class.
You can draw from your journal for the Blackboard discussion posts and during
our Zoom conversations. Reading journals are private and ungraded.
(4) Video lecture or lecture script (most weeks): By Friday afternoon, I will post a video
or written lecture. Each will be about 20 or 30 minutes, and they will set up the
material for the week by providing context for the assigned material. These
lectures do not substitute for your doing the reading: Watch or read the week's
lecture after you've finished the required reading. Start the lecture no later than
3:00 on Monday (i.e., the start of our scheduled class time), so that you have time
to write a Blackboard discussion post that responds to the reading, my lecture, and
your classmates’ posts.
(5) Blackboard discussion posts (most weeks): Once you have finished the reading and
watched or read my lecture, make a post on Blackboard for that day’s
asynchronous discussion. Each post should be approximately 250 to 300 words; it
should be well-written, grounded in the assigned text, and respond to the prompt
or fulfill the post requirements outlined below (under “Descriptions of
assignments”), while accounting for your classmates’ observations from earlier
posts in that day’s discussion thread. Most weeks, you must post by 7:20 pm on
Monday (unless you are meeting with me in your tutorial group). Feel free to
post earlier and then return to the thread during our usual class time to see how
the conversation has developed. If you feel inspired to respond to a classmate’s
later post, you can make a second (or third) contribution to the asynchronous
discussion.
(6) Tutorial sessions (two, scheduled during the semester): During most of our
asynchronous sessions, I will be meeting over Zoom with students in small
workgroups. Each group will have between three and seven students (depending
on the class’s size), to conduct a personalized tutorial on the assigned material.
Watch or read my lecture (start it by 6:00), and then join the session from
6:30-7:15. Tutorial groups will meet with me on a revolving schedule, and each
group will have two sessions with me. On the days your group meets with me,
you do not need to make a discussion post. If you show up to the meeting and
participate actively, you'll get the full post points for the day. If you cannot make
the meeting, email me in advance to arrange to join an upcoming tutorial to make
it up. If you do not make up your meeting, you will get zero points for the one(s)
you missed. I will assign everyone to a tutorial workgroup during Week Two.
(7) Zoom sessions (most weeks): On most Wednesdays, we will further develop the
asynchronous di on from Monday. In these sessions, you can build on your
own and your classmates’ earlier observations, this time by drawing on and
referencing Wednesday’s related assigned reading. Zoom classes run the regular
scheduled class time most Wednesdays, from 6:00-7:20 pm. Login on time.
Latecomers will not be admitted and will be counted as absent.
(8) Office hours: If you have questions about the material or any assignments throughout
the semester, or if you just need a friendly and sympathetic person to talk to, feel
free to take advantage of my Zoom office hours or the teaching assistant’s.
(9) Formal written assignments: Complete the formal written assignments on time. All
must be submitted as a PDF, Word, or Pages file via Blackboard. Do not submit
links to docs on Google Drive, OneDrive, or a similar file-sharing system. Do not
submit work via email. Late work policies are detailed below, under “Other class
policies.”
Attendance and participation
Your active participation in both asynchronous and synchronous class conversations is vital for a
successful course, so participation and attendance factor significantly into your course grade.
During our synchronous Zoom sessions, active participation includes answering questions,
volunteering insights and readings, and active listening (i.e., listening and note-taking). You also
are expected to contribute to all asynchronous workshops and group activities.
Required reading
Please come to class having completed the required reading. Some readings may be stylistically,
conceptually, and even linguistically challenging, so allot sufficient time to finish them. If you
are unprepared because you have not read and/or have not brought the assigned reading
materials, I may dismiss you and it will count as an absence.
Written assignments
To pass this course you must complete a// required formal writing assignments, as well as the
majority of the assessed weekly discussion board posts due for our asynchronous sessions. The
graded formal assignments are: a Midterm Essay on theory and reading (4-5 pages); a Proposal
for the final essay (2-3 paragraphs); and a Final Essay that puts a theory essay into a critical
dialogue with an assigned literary text (6-8 pages).
Letter grades and numerical equivalents
You will have access to your grades through the “My Grades” function on Blackboard. The
grades recorded there reflect both the grades for formal writing assignments and a running
tabulation of the points earned for attendance/participation and Blackboard discussion posts. On
all formal assignments, letter grades correspond with the percentages in the numerical ranges
below. The bold numerical value is used for calculating the numerical weight of each assignment
grade. Course letter grade assignmets at the end of the semester correspond to the numerical
value range in which each student’s sum total of weighted assignment grades falls.
A+ 96-100 C+ 77-79
A 93-95 Cc 73-76 (75)
A- 91-92 C- 70-72
Bt/A- 90 D+ 67-69
Bt 87-89 D 63-66 (65)
B 83-86 (85) D- 60-62
B- 81-82 E 59 or less (points specified on assignments)
C+/B- 80
Descriptions of assignments, with grade weights
Note: Percentage indicated reflects the portion of the course grade fulfilled by each assignment.
(1) Reading journal—Ungraded, daily (0%): After you complete the assigned reading, spend
15 to 20 minutes taking notes in your reading journal. You can your responses on the
reading journal prompts provided in the appropriate Blackboard module by the end of the
previous week. This informal writing provides a chance to process the material before
making a Blackboard post or joining our Zoom discussion. If our Zoom conversation ever
stalls or is slow to start, I may call on students to share from their journals.
(2) Attendance and participation—Zoom sessions (20%): The synchronous dimensions of our
course will occur primarily through weekly Zoom sessions, which will approximate the
in-person class experience. There are 13 scheduled Zoom sessions after Week One, most
happening on Wednesdays. Starting in Week Two, you will automatically earn 10
points per Zoom session you attend. This grade will be based on a baseline of 100
points, so you have 3 allotted absences or 3 opportunities for extra credit, depending on
how you look at it. Points will be determined as follows (see Zoom policies below for
fuller explanations):
* 10 points (full points awarded): Login on time, keep video on (unless prior
permission from me), active contributions to discussion or active listening
* 0 points (no points awarded, fail for the day): Absent, tried to login >5 minutes
late, left class before I dismissed everyone, or dismissed from class. (See
“Zoom policies” for more information on these penalties, below.)
So, it’s easy to earn an “A” for participation: Just do the reading, login on time, keep your
video on, pay close attention to our conversation, and active listen or make contributions
by sharing your observations or asking questions. Your participation points will be
recorded weekly on “My Grades” in Blackboard, in the cumulative “Zoom Sessions”
column. NOTE: Extra credit is possible. If you attend more than ten Zoom sessions from
Week Two on, you will boost your participation grade and thus your course grade, too.
ALSO NOTE: Any student who experiences COVID-related circumstances adversely
affecting their ability to attend (such as illness or mandated quarantine) should contact
me to strategize about adjusting this portion of their course grade. LAST NOTE: If you
miss any Zoom session, a video of the class will appear on Blackboard within 24 hours.
(3) Discussion posts—Blackboard, once weekly (250-300 words) (20%): The asynchronous
dimension of our course will occur through virtual conversations on Blackboard. There
are 11 scheduled asynchronous reading and discussion days. Starting in Week Two, you
can earn up to 10 points per post on the discussion board. These posts are brief
response to the day’s assigned reading, to my video lecture or lecture script (available at
the end of the previous week), and to one another. This portion of your course grade will
be based on a baseline of 100 points, and you must make at least eight posts, which
can earn up to ten points each. (The other twenty points will be earned through your
scheduled tutorial sessions, ten points for each session.) So, you automatically will have 1
skip day from making a post or | extra credit post, depending on how you look at it.
Guidelines for your posts:
(a) Your post must be well-written, thoughtful, and grounded in the assigned
theory essay. These posts are not as informal as texts or a private reading
journal, but they are not as formal as a major paper.
(b) Your post should be approximately 250 to 300 words, or the equivalent of
three strong, fully developed paragraphs. Write it after you have done the
assigned reading and viewed/read my lecture for the day. (My brief lecture
will give everyone some context for the theory and theorist, but it will not
give you a summary of the essay’s argument! That is what you will be
working out, individually and as a class.)
(c) The first and second paragraphs of your post should be what I call a “critical
summary” of the assigned theory essay. (If there are two theory texts
assigned for that day, choose one.) Your summary should be focused
through a primary concept used by the theorist. Establish the problem or
issue addressed by the theorist. Then, write a summary of how the
theorist thinks through and addresses that problem or issue, using
the concept you’ve drawn from the essay as the focus of your account. Be
sure to draw from the theory essay to define the concept.
(d) The third paragraph is where you have greater freedom to process the theory
essay. You can ask questions, call the theorist’s premise into question, or
think through how this essay puts our experience as readers and
interpreters of texts, as well as writers, into a new perspective. If you are
not the first person posting, this paragraph is where you should put your
understanding of or questions about the theory essay into conversation
with your classmates’ previous posts. You might consider how your
understanding of the essay differs from a classmate’s. Does any difference
of interpretation have to do with the concept you used to focus your
summary? Does it have to do with your individual experience and
background as a reader? If you want, you can raise questions or put the
theory essay into conversation with Nealon and Giroux’s address of the
concept you selected or a similar concept in The Theory Toolbox. You
can’t do all these things in this one paragraph—but you might make a
couple of related moves that are critical, self-reflective, and in dialogue
with your classmates.
(e) Do not plagiarize previous posts’ critical summaries, either in whole or in
part. | recommend drafting your own original summary in your reading
journal before you even look at the discussion board.
(f) Strong asynchronous discussions entail responding to others, not just starting a
new thread on the discussion board (the equivalent of making a random,
unrelated comment during class). If you are not making the first post, read
the earlier ones and view or read my lecture before making your post.
(g) Directly name your classmate/s and refer to their ideas in your post, and/or
directly reference my lecture.
(h) Always refer to the theory essay’s details, preferably by quoting it and
discussing the specifics of its language. Do not generalize.
(i) Make your discussion board post anytime between Friday evening (after
my lecture for the next week is available) and by 7:20pm of the
asynchronous Monday session (i.e., by the end of our regularly
scheduled class time).
(j) Feel free to make more than one post for a given week. Only your first will
earn points, though.
NOTE: If you have a scheduled tutorial with me and attend it, you are exempt
from making a discussion board post for that day. Tutorials are detailed
in the next assignment description, below.
On Monday, before class, I will pop into the discussion to steer the conversation as it
unfolds. I will point out strong summaries or points of summary, and I will correct any
misreadings. (Summaries of any argument do fall on a spectrum between “correct” and
“incorrect”...so it is possible to fully or partially misunderstand an essay. No worries and
no embarrassments, though: that’s why we study and discuss them together!) Within 24
hours of the end of Monday’s class, I will post and email an account of takeaways from
the asynchronous discussion that will help steer our upcoming synchronous conversation.
I won’t give my own critical summary of the theory essay: We can use the start of the
following synchronous session to reprise the stronger interpretations from the thread as a
working basis for the critical dialogue we will develop between the theory and literature.
If you miss the post deadline because you fall ill or have run into technical issues
while trying to post, and you have already used your “skip day” for a post, contact me
about making an arrangement for making up the post. (VOTE: Jobs or other coursework
are not valid excuses for missing a post, and so will not warrant a makeup opportunity.)
Points for each post will be determined as follows:
* 10 points (excellent quality): Thoughtful, well-written response with a strong,
largely or fully correct critical summary, and a good self-reflection on the
theory that also dialogues with a classmate’s post and/or my lecture. Also
quotes from and unpacks the assigned theory text. 250-300 words.
* 8 points (very good quality): Good, substantive post. Generally well-written and
thoughtful. 250-300 words. Perhaps needs more textual support and/or
needs to be connected explicitly to a previous post in order to continue and
evolve the class’s asynchronous conversation. Perhaps needs significant
strengthening or greater focus in its summary of the theory essay’s main
argument.
* 6 points (average quality): Opinion-based, ungrounded in the reading,
significant misunderstanding of the theory essay, and/or less than 200
words. Perhaps needs to be a more substantive contribution to the
conversation and/or demonstrate completion of the reading assignment.
* 0 points (“E”): No post made for the week and/or skipped tutorial session.
By the week’s end, your discussion or critical self-reflection post’s points will be added
to the “Discussion Post” column in “My Grades” on Blackboard.
(4) Tutorial sessions—Zoom, twice scheduled in assigned workgroups (0%, counted as part
of discussion posts): Everyone must attend two tutorial sessions. These small groups—
between three and seven students, depending on the size of our class—will be assigned
during Week Two. Each group will meet with me twice over the semester, on a rotating
basis on Mondays during our regularly scheduled class time. Do the reading, journal
about it and draft a critical summary of the theory essay, watch or read my lecture by 6:00
pm, and then login to Zoom via the link in the day’s Blackboard learning module by 6:30
to discuss your ideas about the reading and my lecture. On the weeks you are scheduled
to meet with me, you are exempt from writing a discussion post, but writing a reading
journal entry is essential to ensure you are fully prepared. For each meeting you attend
and participate in, you will earn the full ten points for that weeks discussion board post.
If you become ill or experience a conflict with a religious observation and so cannot
attend a scheduled tutorial, email me in advance to make arrangements for a makeup
session with another group. Missed tutorials cannot be made up during office hours. If
you do not make up a missed session, you will earn zero points for it. NOTE: A tutorial
cannot be counted as “a skip day” for a discussion post. Only a written post can be
skipped. ALSO NOTE: If you miss a scheduled tutorial because you took a shift at a job
or did not do the reading, you cannot make up the session. (But you can attend more of
the regular Zoom classes for extra credit.)
(5) Midterm essay (4-5 pages) (20%): For this essay, you will be asked to write a critical self-
reflection on how one issue or problem raised by an assigned theory text has caused you
to think differently about your work as a critic and writer and your relationship to the
field of English Studies. For this essay, you will be required to develop a strong, accurate,
and focused critical summary of the essay you have chosen to write about. To do so, you
may expand on and strengthen the critical summary of one of your Blackboard discussion
posts or your journal preparations for a tutorial. A prompt, specs, and a grading rubric for
this assignment will be available two weeks before the due date. The session before the
assignment is due will be a synchronous workshop about a partial draft, conducted via
Zoom and email or chat.
(6) Proposal for final essay (2-3 paragraphs) (10%): Your proposal for the final essay will
outline your working thesis for a critical dialogue between an assigned theory text and an
assigned literary text. What two texts will you put into conversation with one another?
(NOTE: You cannot write about the same theory essay you chose for the Midterm.) Why
do you think that these two texts beg to be put into conversation with one another? How
do you see the theory shedding new light on the literature, or vice-versa? What theme
or motif or trope would you use to focus your close reading of the literary text? What
concept would you use to focus your critical summary of the theory essay? How do that
literary focus and that theoretic focus work together to help direct our attention to a single
issue or problem that will be the through-line for your essay’s overall critical story?
Specs and a grading rubric will be supplied two weeks before the proposal’s due date.
(6) Final essay (30%): The fully realized, polished critical dialogue between the theory essay
and literary text you have selected. A synchronous workshop about your problem
statement, thesis statement, and draft pages will be held on our last day of class. Specs
and a grading rubric will be supplied two weeks before the proposal is due.
COURSE POLICIES
UNIVERSITY POLICIES
Policy on academic integrity
All written assignments must be your own original work. If you submit any plagiarized work (no
matter how small the assignment, including discussion posts on Blackboard), you will
automatically fail this course and I will report the case to the Dean of Undergraduate Studies and
to the English Department’s Director of Undergraduate Studies and its Chair. (If you withdraw
from the course after receiving notice of having failed for plagiarism, the Undergraduate Dean’s
Office will file a second Violation of Academic Report.) Two or more reports on file can lead to
academic probation, suspension, even expulsion. Plagiarism is more than the wholesale copying
of an entire document. The University’s definition of plagiarism is as follows: “Presenting as
one's own work the work of another person (for example, the words, ideas, information, data,
evidence, organizing principles, or style of presentation of someone else). Some examples of
plagiarism include copying, paraphrasing, or summarizing without acknowledgment, submission
of another student's work as one's own, the purchase/use of prepared research or completed
papers or projects, and the unacknowledged use of research sources gathered by someone else.
Failure to indicate accurately the extent and precise nature of one's reliance on other sources is
also a form of plagiarism. Students are responsible for understanding the legitimate use of
sources, the appropriate ways of acknowledging academic, scholarly, or creative indebtedness.”
Note that violations of academic integrity also include “self-plagiarizing,” i.e. submitting the
same (or similar) work for multiple courses. Claims of supposed ignorance about whether a
practice constitutes plagiarism, or that the proven plagiarism was “unintentional,” are not
adequate defenses. If you are uncertain if a practice constitutes plagiarism, ask me or another
faculty member before you turn in work. Click on the embedded link for the University’s
statement about, and policies regarding, standards of academic integrity.
Reasonable accommodation
When appropriate to the assignment and the situation, students registered with the Disability
Resource Center may be eligible for extensions, alternative modes of examination, or adaptive
equipment. Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you
have a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 137, 442-5490). That office will provide me with
verification of your disability and will recommend appropriate accommodations. Please share
your documentation from the Disability Resources Center with me at the start of the semester,
and we will discuss if and when alternative arrangements will be necessary for our course. For
details, refer to the Disability Resource Center webpage.
OTHER CLASS POLICIES
Attendance policy
Keep track of your own absences, as you would the sick days used at a job. Absences will be
excusedif they include your own hospitalization, religious observance, or civic duty (i.e., jury or
military duty). If COVID-19 related circumstances arise that adversely affect your ability to
attend class or submit work on time (including a positive diagnosis with mandated quarantine,
etc.), please contact me to set up a Zoom conference to discuss strategies for ensuring your
successful completion of the course. In cases of emergency, contact me when you are able. Also
consult the following embedded links for the University’s Medical Excuse Policyand for New
York State’s policy on absences due to religious observation.
Disruptive behavior
College classrooms, even remote ones, are learning environments. Any disruptive behavior will
receive only one verbal warning. After that, dismissal from class will follow, and it will count as
an absence. In Zoom environments, disruptive behavior can include but is not limited to:
sleeping or dozing off; using laptops, smart phones, tablets, etc. inappropriately (web surfing,
texting, IM-ing, social networks, etc.) instead of attending to the group conversation; and
refusing to answer direct questions. Threatening or hostile behavior directed against me or other
students will result in: (a) immediate notification of University Police and Judicial Affairs; (b)
automatic failure of the course; and (c) possible further disciplinary action by the University.
Office hours and email
* When possible, if you have questions or concerns drop in during my regular Zoom office
hours. The link for each set of regular office hours is on Blackboard. The advice and
feedback that I can give directly are more substantial than over email.
* If you have another class or go to your job during my regular office hours, email me to see if I
can arrange another time to meet you during my “appointment only” office hours.
Indicate your availabilities during that window of time in your email request. Make your
request at least 24 hours in advance. Understand that I may not always be available.
* An email is not a text. All emails should be addressed with a salutation and signed. In
academic emails, always put your name and course number in the subject line. During the
week, it may take me up to 24 hours to respond. I do not check or respond to email on the
weekends (Friday 5 pn—Monday 9 am).
* I do not address attendance or disciplinary issues via email exchanges, though I might send you
a warning via email. If you wish to discuss the matter further, come to my office hours.
* | do not review drafts via email, but I happily will discuss them during office hours.
On all formal written assignments
* All written assignments must feature your own original ideas and prose. Summary, rehashed
class notes, and historical generalizations or inaccuracies will earn a “C,” at best.
* Any amount of plagiarism in any assignment—whether a formal paper or a Blackboard
discussion post—will result in automatic failure for the course.
* All formal written assignments must be completed in order to pass the course.
* Late formal assignments will be docked one full grade (“B” to “C,” etc.) per 24-hour period
late. This includes each day of the weekend. I do not accept any papers one week after
the due date.
* If you require a short extension on a formal assignment, request it by email at least 24 hours
before the due date. Reasonable requests can be accommodated.
13
* All formal assignments should be typed or word-processed in an academic 12-point font (such
as Times New Roman), with numbered pages.
* Save your work as a PDF, Word, or Pages file, and submit it through Blackboard.
* Links to docs on file-sharing systems such as Google Drive or OneDrive will not be accepted.
* Work submitted as email attachments will not be accepted, unless I specify otherwise.
* For formal assignments, title your file in the following way: your last name, assignment
(course number, semester). Example: Smith, Final Paper (AENG 358, Fall 2020).
* Include at the end of your paper, not as a separate file, a bibliography for all primary and
secondary sources referenced or cited.
* Every writing assignment should demonstrate basic writing skills, including grammar, sentence
mechanics, and the organization and development of a focused critical argument.
* There are no rewrites and no extra credit once you submit a formal assignment. Plan, pre-write,
and do your strongest work the first time around. Before the due date, speak to me during
office hours about any issues or questions that may arise.
On Blackboard discussion posts
* Blackboard discussion posts must reflect your own original ideas and language. Any
plagiarism will result in automatic failure for the course.
* Although they do not receive letter grades, these posts are academic writing and they are
evaluated. So, they should be coherent, well-written (in complete sentences), and
grounded in the reading assignment. You should quote and discuss details and language
from the primary text. If a post is poorly written and unthoughtful, or if it is just an
unsubstantial comment (“I agree with what’s been said...,” etc., without adding anything)
or ungrounded opinion (like an online product review), the post will be penalized. For the
criteria for points earned, see “Description of assignments” (above).
Other contingencies: COVID-19, illness, and campus-related crises
During the ongoing pandemic, no one can predict the course of future events in our own lives or
the world at large. Our key words will be flexibility, open communication, caring, and
understanding. If you become ill or need to become a caregiver for someone who falls ill, please
reach out to me as soon as possible. First, though, follow all University and New York State
protocols for contacting your primary health care provider, getting tested, self-quarantining, and
alerting the appropriate campus and state authorities so they may conduct contact tracing. We
will work together to engineer a future course of action, individually tailored to your case.
Should I or a member of my household fall ill, you will be notified by the English Department
and another instructor will substitute for me. Should the University declare an emergency that
affects you directly, due to housing or resources, please notify me as soon as possible.
Disclaimer about sensitive issues and explicit material
Some of the assigned material addresses issues that some people may find culturally or
experientially sensitive. Some assigned materials may contain sexually explicit representations
and/or use explicit language. Enrollment in this course signals your acceptance, ipso facto, of
these conditions and your willingness to engage such difficult issues and materials in an open
and respectful manner.
At-a-Glance Calendar
This is a quick reference guide only. For full reading and writing assignments, as well as hyperlinks to
some online readings, consult the full course calendar. NOTE: “BB” indicates Blackboard.
iw a | [ori [Date Moac [pate/Modef Important Notes
Introduction: Why read? | Mon. Aug. 24 Wed. Aug. 26 * By Spm Fri. Aug. 28, the
Why write? Why major in | Zoom Session Zoom Session first lecture, for next Monday,
English Studies? (6:00-7:20pm) (6:00-7:20pm) | will be uploaded to next
Before class: week’s BB learning module.
Review syllabus and Most weeks, my subsequent
complete “Your lectures also will be available
Next Steps” on BB by 5pm on Fridays.
2 The New Criticism, close | Mon. Aug. 31 Wed. Sept. 2 * BB discussion posts start
reading, and Literary Asynchronous Zoom Session this week (8 weeks’ posts
Studies’ beginnings 20pm: (6:00-7:20pm) | required
ssion post * Zoom attendance starts this
THE USUAL PATTERN week (10 sessions required)
OF CLASS MODES * By Spm Fri. Sept. 4, tutorial
BEGINS THIS WEEK group assignments will
appear on BB
3 Poststructuralism and the | Mon. Sept. 7 Wed. Sept. 9 *Tutorial sessions start this
death of the author Asynchronous Zoom Session week. Attend both of your
(again) Due by 7:20pm: (6:00-7:20pm) scheduled sessions—each
BB discussion post adds 10 points to your
TUTORIAL #1 discussion post grade
4 Putting close reading to Mon. Sept. 14 Wed. Sept. 16
the test: Trial #1, a Asynchronous Zoom Session
Classic American Fiction | Due by 7:20pm: (6:00-7:20pm)
BB discussion post
5 The author’s alive! On Mon. Sept. 21 Wed. Sept. 23
agency and the politics of | Asynchronous Zoom Session
writing 20pm: (6:00-7:20pm)
ssion post
TUTORIAL #2
6 ... And the reader’s alive, | Mon. Sept. 28 Wed. Sept. 30 * Midterm essay specs
too! The phenomenology | Asynchronous Zoom Session available by Monday Sept.
and the politics of (6:00-7:20pm) | 28.
reading, as embodied
experience
TUTORIAL #3
7 Putting close reading to Mon. Oct. 5 Wed. Oct. 7 * No lecture will post this
the test: Trial #2, a Asynchronous Zoom Session Friday and no reading for
Recent Young Adult Due by 7:20pm: (6:00-7:20pm) | next week. Instead, workshop
Speculative Fiction BB discussion post instructions will post to BB
by Friday at Spm. Start
drafting your midterm essay.
15
[important Note
Midterm Week
NOTE THAT WE
DIVERGE FROM THE
USUAL SCHEDULE OF
CLASS MODES THIS
WEEK
Mon, Oct. 12
Zoom Session
(6:00-7:20pm)
Midterm essay
workshop
Due by 6:00pm:
Email draft pages to
assigned peers and
submit via BB
Wed. Oct. 14
No Class:
Midterm Essay
due by 7:20pm
* The lecture for next week
will post by Spm on Friday, as
usual.
Ideology and literature: Mon. Oct. 19 Wed. Oct. 21
Institutions and Asynchronous Zoom Session
subjectivation Due by 7:20pm: (6:00-7:20pm)
BB discussion post
TUTORIAL #1
Desire and literature: Mon. Oct. 26 Wed. Oct. 28
Language, collectivities, | Asynchronous Zoom Session
and resistance
Due by 7:20pm:
BB discussion post
(6:00-7:20pm)
TUTORIAL #2
Biopower and literature: Mon. Noy. 2 Wed. Nov. 4 * Election Week: Vote!
Or, when living for the Asynchronous Zoom Session * Specs for the final essay
state is power’s bottom
line
Due by 7:20pm:
BB discussion post
(6:00-7:20pm)
available by Mon. I will
answer questions at the start
TUTORIAL #3 of Wed.’s Zoom session.
Necropolitics and Mon. Nov. 9 Wed. Nov. 11
literature: Or, when the Asynchronous Zoom Session
death and debility of the | Due by 7:20pm: (6:00-7:20pm)
disenfranchised is BB discussion post
power’s bottom line
Ethics 2.0: Reading, Mon. Nov. 16 Wed. Nov. 18 * This is our last week of
responsibility, Asynchronous Zoom Session material. Over the weekend,
vulnerability, and care Due by 7:20pm: (6:00-7:20pm) _| start drafting the final essay.
BB discussion post
* Due by Fri. Nov. 20 at
5:00pm: Proposal for final
essay
Writing a critical Mon. Nov. 23 XXX * Please fill out your online
dialogue: Starting the Zoom Session course evaluations before the
final essay (6:00-7:20pm) holiday weekend begins.
Workshop of draft
pages
Finals Week XXX XXX Final essay due by 12:00
noon on Thurs. Dec. 3
Full Calendar of Meetings and Assignments
Key of abbreviations and notations for reading assignments
The format for each remote session—either “Asynchronous” (Blackboard discussion post) or
synchronous “Zoom Session”—is specified after the date for each class.
“Tutorial” = The day’s scheduled tutorial group. A link to access the session is in the day’s
Blackboard folder.
“Handout” = Handout about developing a skill set for our discipline
“Context” = Chapter about concepts (usually from Nealon and Giroux’s Theory Toolbox)
“Poetics” = Essay by the literary author about the value of literature to them (secondary text)
“Literature” = Literary text: Short story, poetry, novella, or novel (primary text)
“Theory” = Essay or chapter in critical theory or philosophy (secondary text)
“Concept” = Concept or theory definition (look up in Buchanan’s Dictionary of Critical Theory)
BB = PDF on Blackboard in the week’s learning module
TTB = Chapter from The Theory Toolbox, by Jeffrey Nealon and Susan Searls Giroux. Follow
the instructions in the Textbook list (page 3) to get this free, open access textbook.
DCT = Concept or theory definition from The Dictionary of Critical Theory, by Jan Buchanan.
Follow the instructions in the Textbook list (page 3) to get this free, open access text.
How to navigate the assignment calendar and tackle the reading
(1) When preparing for each class session, read, watch, and/or listen to the required materials
listed below the session’s date.
(2) Online materials are directly accessible via the hyperlinks (in blue) on the calendar. All other
assigned materials are either available as PDFs on Blackboard or in the indicated textbook.
(3) Read all of the theory essays and literature slowly. For literary texts read over multiple
weeks, pace yourselves. Do not save those readings for the night or morning before class! Take
notes. Annotate your books or take notes in a separate notebook.
(4) For asynchronous days, I suggest reading the “Context” essay first, which will give you some
solid footing for approaching and digesting the theory. Then, move on to the “Theory” essay.
Afterward, look up keywords and concepts in Buchanan’s Dictionary of Critical Theory.
(5) For each theory essay, identify a concept you would use as a focus to describe this essay’s
point. Write in your reading journal about three questions: What is the main problem the theorist
is addressing? How does she define a key concept to think through that problem? And why does
she argue that concept is important for a new understanding of the problem?
(6) For each piece of literature, journal about two fundamental questions: What? and How? What
is the story of this literary text, or what is it about and who is the narrator telling that story and to
whom are they telling it? (Even a poem tells a story!) And how has the author written this text?
How would you describe the language, image, or themes she uses? How would you describe her
formal techniques—such as perspective (or, focalization), long lines or short lines (for poetry),
etc. If you can, you might start addressing the critical third question: Why? Why is it important
17
or interesting that the author uses those modalities or devices (How?) to address that issue or tell
that story What?) The Why? is the thesis question, and what we will aspire to address in our
conversations. For our class, when we try to answer the Why? question, we’ll also be thinking
about how the literature is important because it gives us a different way to think about the issue
and/or concept addressed by the theory essay assigned for the week.
(7) The Monday lecture will post by 5pm the previous Friday. Watch the lecture after you have
completed the assigned reading and before you make your Blackboard discussion post.
(8) The tutorial group assigned on any given asynchronous Monday will meet with me via Zoom,
starting at 6:30pm EST. The session will run about 45 minutes. You do not need to post on
Blackboard if your tutorial group is meeting with me that evening (and if you attend, of course).
(9) All synchronous Zoom sessions will run during our usual class time, from 6:00-7:20pm EST.
UNIT I: REFLECTING CRITICALLY ON OUR DISCIPLINE
Week One — Introduction: Why Read? Why Write? Why Major in English Studies?
Monday August 24—ZOOM SESSION
Today ’ class will entail self-introductions, your questions about the course design and how to
navigate and access the open access textbooks, and a discussion of your learning objectives.
Due before class: Review syllabus and complete “Your Next Steps” (BB, “Course Information”)
Wednesday August 26—ZOOM SESSION
Today 8 class will begin with a discussion about strategies for reading theory.
Handout: Professor Keenaghan, “How to Read Theory like a Theorist” (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Why Theory?” (Chapter 1, 77B)
Theory: Henry Giroux, “Critical Pedagogy in Dark Times” (BB)
Literature: Tommy Orange, “The Team”
Concept: critical theory (DCT)
Week Two — The New Criticism, Close Reading, and Literary Studies’ Beginnings
Monday August 31—ASYNCHRONOUS
Lecture: Available by Friday Aug. 28 at Spm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Author/ity” (Chapter 2, 77B)
Theory: T.S. Eliot, “Tradition and the Individual Talent”; John Crowe Ransom, “Criticism, Inc.”
Concepts: New Criticism; intentional fallacy (DCT)
Due by 7:20pm: Blackboard discussion post.
Wednesday September 2—ZOOM SESSION
Today 8 class will begin with a discussion about strategies for doing close readings of literature.
Handout: Professor Keenaghan, “On Close Reading” (BB)
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Poetics: John Keats, Letter to George and Tom Keats on Negative Capability (just the letter, not
the notes); John Wieners, “The Lanterns Along the Wall” (pp.106-108)
Literature: John Keats, “Ode to a Nightingale”; John Wieners, “A Poem for Trapped Things”
Week Three — How Poststructuralism Killed Off the Author (Again)
Monday September 7—ASYNCHRONOUS / Tutorial group #1
Lecture: Available by Friday Sept. 4 at Spm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Reading” (Chapter 3, 77B)
Theory: Roland Barthes, “The Death of the Author” (BB)
Concepts: poststructuralism; death of the author; Roland Barthes (DCT)
Tutorial: Group #1. Starts at 6:30 pm, via Zoom.
Due by 7:20pm: Blackboard discussion post. (Tutorial group #1 exempt.)
Wednesday September 9—ZOOM SESSION
Handout: Professor Keenaghan, “An Approach to Generating a Critical Dialogue between
Literature and Theory”
Literature: Jorge Luis Borges, “Tlén, Ugbar, Orbis Tertius” and “Pierre Menard, Author of the
Quixote”
Week Four — Putting Close Reading to the Text: Trial #1, a Classic American Fiction
Monday September 14—ASYNCHRONOUS
Lecture: Available by Friday Sept. 11 at Spm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “History” (Chapter 7, 77B)
Literature: Herman Melville, “Benito Cereno”: pp. 109-189 (top). (Download a free PDF of the
full volume of Melville’s The Piazza Tales, which includes the novella.)
Due by 7:20pm: Blackboard discussion post.
Wednesday September 16—ZOOM SESSION
Literature: Herman Melville, “Benito Cereno”: Finish the novella.
Source: Amasa Delano, excerpts from Narrative of Voyages and Travels (BB). Skim a few pages
of Melville’s historical source material for “Benito Cereno.”
Week Five — The Author’s Alive! On Agency and the Politics of Writing
Monday September 21I—ASYNCHRONOUS / Tutorial group #2
Lecture: Available by Friday Sept. 18 at 5pm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Agency” (Chapter 13, TTB)
Theory: Jean-Paul Sartre, “Why Write?”
Concepts: agency; Jean-Paul Sartre; existentialism (DCT)
Tutorial: Group #2. Starts at 6:30pm, via Zoom.
Due by 7:20pm: Blackboard discussion post. (Tutorial group #2 exempt.)
Wednesday September 23—ZOOM SESSION
Poetics: James Baldwin, “The Uses of the Blues” (BB)
Literature: James Baldwin, Going to Meet the Man: “The Rockpile,” “Previous Condition,”
“Sonny’s Blues,” and “Going to Meet the Man” [NOTE: Read “Sonny’s Blues”
and at least one other story of your choosing from those listed above. ]
Week Six — And the Reader’s Alive, Too!
The Phenomenology and the Politics of Reading, as Embodied Experience
Monday September 23—ASYNCHRONOUS / Tutorial group #3
Midterm essay specs and workgroup assignments will be on BB by the start of today 8 class.
Lecture: Available by Friday Sept. 25 at Spm (BB)
Theory: Peter Mendelsund, excerpts from What We See When We Read (BB)
Concepts: affect; body; metafiction (DCT)
Literature: Italo Calvino, Chapter | and “If on a winter’s night a traveler” (pp. 3-24) from /fon a
Winter s Night a Traveler (NOTE: Read only the pages indicated.)
Tutorial: Group #3. Starts at 6:30pm, via Zoom.
Due by 7:20pm: Blackboard discussion post. (Tutorial group #3 exempt.)
Wednesday September 30—ZOOM SESSION
Theory: Eve Kosofsky Sedgwick, “Paranoid Reading and Reparative Reading, or, You’re So
Paranoid, You Probably Think This Essay Is about You” (BB); Natasha Lennard,
“Ghost Stories” (BB)
Concepts: phenomenology; Eve Kosofsky Sedgwick; ontology; anarchism (DCT)
Literature: Madeline Gins, “The Introduction of the Waft or the Paraphrased Sensibility” from
Word Rain
At the start of todays class, we'll discuss the specs for the midterm essay. Review before class.
Week Seven — Putting Close Reading to the Test:
Trial #2, a Recent Young Adult Speculative Fiction
Monday October 5S—ASYNCHRONOUS
Lecture: Available by Friday Oct. 2 at Spm (BB)
Poetics: Akwaeke Emezi, “This Letter Isn’t for You”
Literature: Akwaeke Emezi, Pet: Chapters | through 7
Due by 7:20pm: Blackboard discussion post.
Wednesday October 7—ZOOM SESSION
Literature: Akwaeke Emezi, Pet: Finish the novel.
Class will conclude with a discussion of next Mondays synchronous workshop.
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Week Eight — Midterm Week
Monday October 12—ZOOM SESSION
Workshop: Full instructions for workshop available by Friday Oct. 9 at Spm (BB)
Due: Email your draft pages to the rest of your workgroup and upload them to BB by 6:00pm.
Then, login to Zoom for the synchronous workshop during our usual class time.
Wednesday October 14—-NO CLASS: MIDTERM DUE
Due by 7:20 pm: Midterm essay. Submit via BB. Note: Late work will be penalized.
UNIT II: Reading with and for Power
Week Nine — Ideology and Literature: Institutions and Subjectivation
Monday October 19—ASYNCHRONOUS / Tutorial group #1
As we begin reading Luiselli’s long novel the next several weeks, it is really important to pace
yourselves. Dont save it all for the night before!
Lecture: Available by Friday Oct. 16 at Spm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Subjectivity” and “Ideology” (Chapters 4 and
6, TTB)
Theory: Louis Althusser, excerpts from “Ideology and Ideological State Apparatuses” (BB)
Concepts: Marxism; Louis Althusser; subject; ideology; Ideological State Apparatus; Repressive
State Apparatus; interpellation (DCT)
Tutorial: Group #1. Starts at 6:30pm, via Zoom.
Due by 7:20pm: Blackboard discussion post. (Tutorial group #1 exempt.)
Wednesday October 2I—ZOOM SESSION
Poetics: Valeria Luiselli, “Booked: The Language of Deportation” (interview)
Literature: Valeria Luiselli, Lost Children Archive: “Part I: Family Soundscape” [“Relocations”
through “Box III”] (pp. 1-110)
Week Ten — Desire and Literature: Language, Collectivities, and Resistance
Monday October 26—ASYNCHRONOUS / Tutorial group #2
Lecture: Available by Friday Oct. 23 at Spm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Postmodernism” from “Posts” (pp. 139-145)
(from Chapter 9, 77B)
Theory: Gilles Deleuze, “On the Superiority of Anglo-American Literature” (BB)
Concepts: desire; Gilles Deleuze; assemblage; deterritorialization; war machine (DCT)
Tutorial: Group #2. Starts at 6:30pm, via Zoom.
Due by 7:20pm: Blackboard discussion post. (Tutorial group #2 exempt.)
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Wednesday October 283—ZOOM SESSION
Literature: Valeria Luiselli, Lost Children Archive: “Part I: Family Soundscape” (finish) (pp.
111-185)
Week Eleven — Biopower and Literature:
Or, When Living for the State Is Power’s Bottom Line
Monday November 2—ASYNCHRONOUS / Tutorial group #3
Before class today, specs for the final project, including the proposal, will be available on
Blackboard (in Week 15 learning module).
Lecture: Available by Friday Oct. 30 at 5pm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Life” (Chapter 11, 77B)
Theory: Michel Foucault, “Right of Death and Power over Life” (BB)
Concepts: power; biopower; Michel Foucault (DCT)
Tutorial: Group #3. Starts at 6:30pm, via Zoom.
Due by 7:20pm: Blackboard discussion post. (Group #3 exempt.)
Wednesday November 4—ZOOM SESSION
At the start of class, I will answer your questions about the final essay. Today we will discuss the
election and how the social and scholarly issues we ve addressed all semester relate to American
life now. We may not get to the Luiselli novel but try to do the reading assignment below so we
can finish the book next week.
Literature: Valeria Luiselli, Lost Children Archive: “Part Il: Reenactment” (pp. 186-293)
Week Twelve — Necropolitics and Literature:
Or, When the Death and Debility of the Disenfranchised Is Power’s Bottom Line
Monday November 9—ASYNCHRONOUS
Lecture: Available by Friday Nov. 6 at Spm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Postcolonialism” (from “Posts,” pp.154-164)
(from Chapter 9, 77B)
Theory: Achille Mbembe, “Necropolitics” (BB)
Concepts: race; postcolonial studies; globalization (DCT)
Due by 7:20pm: Blackboard discussion post.
Wednesday November 1I—ZOOM SESSION
Today we'll be talking about last week's and this weeks assignments from Luiselli’s novel, in
relationship to the related essays by Foucault and Mbembe.
Literature: Valeria Luiselli, Lost Children Archive: “Part III: Apacheria” and “Part IV: Lost
Children Archive” (pp. 295-end)
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Week Thirteen — Ethics 2.0: Reading, Responsibility, Vulnerability, and Care
Monday November 16—ASYNCHRONOUS
Lecture: Available by Friday Nov. 13 at Spm (BB)
Context: Jeffrey Nealon and Susan Searls Giroux, “Differences” (Chapter 10, 77B)
Theory: Judith Butler, “Beside Oneself: On the Limits of Sexual Autonomy” (BB)
Concepts: mourning and melancholia; Judith Butler; identity politics; queer theory; feminist
theory (DCT)
Due by 7:20pm: Blackboard discussion post.
Wednesday November 18S—ZOOM SESSION
Literature: Claudia Rankine, Citizen: An American Lyric—Parts I, Ill, VI, VII, and coda
Poetics: Claudia Rankine, Interview for BOMB with Lauren Berlant (Read after the assigned
chapters from Citizen, but only if you have time.)
Due Friday Nov. 20 by 5:00pm: Proposal for final essay. Submit via BB, via Week 13 module.
Week Fourteen — Writing a Critical Dialogue: Starting the Final Essay
Monday November 23—ZOOM SESSION
Last day of class. Before the start of class, I will send everyone brief comments and a grade for
their proposal. Over the weekend, read the handout indicated below and then start developing
the prewriting materials for your final essay. Bring those materials to our session, and come
prepared to talk about how the ideas for your paper have evolved since you started working on
the prewriting and received my comments on your proposal.
Handout: Professor Keenaghan, “A Guide for Developing Prewriting for Your Final Essay” (BB)
Due before the end of classes on Tuesday Nov. 24: Complete the course evaluations.
Week Fifteen — Finals Week
*** Final essays are due by 12:00 noon on Thursday December 3.***
Submit via Blackboard, via the learning module for Week 15. Earlier submissions are welcome.
Late submissions will be penalized. Unless prior arrangements are made with me, failure to
submit the final project could result in failure for the course.
English 315: Intro to Literary Theory Mon/Wed 2:45-4:05
No Pre-requisites HU 132
Introduction to Literary Theory
(8882)
A ENG 315 Introduction to Literary Theory (3 credit hours)
Survey of the major theorists that have been influential in the field of English Studies.
Professor Mary Valentis, HU 337
Office Hours: MW 1:30-2:30 and by appointment
mbvbooks@aol.com
Voicemail: 442-4082
This course surveys central theories and debates in 20" Century and contemporary
literary theory against the backdrops of cultural, societal, and historical contexts.
Beginning with psychoanalysis and ranging up to eco-criticism, visual culture, and media
theory, readings and analyses will focus on particular literary/film, visual, and theoretical
works, following the shifts among post-structuralism, cultural theory, feminism, and
gender studies. Texts include Literary Theory, An Introduction, and Literary Theory: An
Anthology, Blackwell Publishing, and Freud’s monograph Civilization and Its
Discontents.
FILMS: A Dangerous Method, Melancholia, The Reader, and Irrational Man
Most people do not really want
freedom, because freedom
involves responsibility, and
most people are frightened of
responsibility. &
Course Description/Learning Outcomes: This course will introduce some of the
significant 20th century theorists and theoretical concepts influential in the field of
literary study. You will also learn how to approach a theoretical text so that you may
delve into other periods and
theoretical areas on your own as you progress through the rest of your English major.
Upon completion of this course, you will be steeped in how to read and tackle a complex
literary theory text; how to write about or theorize a cinematic or literary text without
relying on jargon; and how to identity various schools of criticism and theoretical
approaches. Freud’s Civilization and Its Discontents will serve as the starting point for
our discussions about issues in contemporary culture and his theories about aggression
and sexuality.
Grades: Grades (A-E) will be based on three 3-5 page papers and several shorter writing
assignments. The first paper will count 20%, the next two 30% and the remaining 20% will be for
participation (see below). Grade Scale: A(93-100) A- (90-92) B+ (87-89) B (83-86) B-(80-82)
C+(77-79) C(73-76) C-(70-72) D+(67-69) D(63-66) D-(60-62) E<60
Participation: Class participation does not simply mean coming to class, nor does it
mean logging in one superficial comment per day. It means, instead, that you are fully
engaged in the course and are making your best attempt to come to terms with the
material. This can be demonstrated in class or in office hours. You are allowed 3
excused absences for whatever reason. After that your participation grade will suffer. I
will take an automatic 1/3 grade off for each day you miss after the first four (meaning the
highest possible grade you can get for participation if you miss five classes is an A-, six
aB+, etc.) If you miss ten or more classes you automatically fail the course. Please do
not answer your phone in class or leave class because someone calls or texts. I will also
mark you late if you come to class after I take attendance (and absent if you come to class
partway through). Two lates equals an absence.
Academic Integrity
Plagiarism and other forms of academic dishonesty will not be tolerated. Unless otherwise
stated, all work is to be conducted and produced individually and all work submitted must
be the student’s own, unless the assignment specifically calls for collaboration and/or
external sources; external sources must be properly credited. Students should familiarize
themselves with the University's policies on academic dishonesty (see the Undergraduate
Bulletin:
https:/Wwww.albany.edu/undergraduate_bulletin/regulations.html). Such acts will result in
a failing grade for the assignment and, quite possibly, the course. ALL incidents of
academic dishonesty will be referred to the Office of Undergraduate Education. To learn
more about plagiarism and how to avoid it, view the “Plagiarism 101” informational
website and tutorial at http://library.albany.edu/usered/plagiarism/index.html.
Tentative Schedule:
8/26 Introduction, hand out syllabi, assignment
8/31 Civilization and Its Discontents
9/2 Civilization and Its Discontents
9/9 Psychoanalysis Read Terry Eagleton chapter Psychoanalysis
9/16 Psychoanalysis Read Eagleton chapter Psychoanalysis
9/21 Read Intro. To Psychoanalysis in Anthology, On Narcissism, The
Uncanny
9/28 A Dangerous Method in class viewing, take notes
9/30 A Dangerous Method finish viewing and discussion FIRST 3-5 PAGE PAPER
DUE
10/5 Post Structuralism Read Eagleton Chapter on Post-structuralism, Chapter 4
10/7 Post Structuralism Read Post-Structuralism, Deconstruction, Postmodernism
in Anthology
10/12 Deconstruction Read in Anthology: Nietzsche on Truth and Lying and The
Will to Power Derrida Difference
10/14 Helene Cixous The Newly Born Woman in Anthology
10/19 Viewing of The Reader
10/21 Viewing of the Reader and Discussion
10/26 SECOND 3-5 PAGE PAPER due Jacques Lacan discussion
10/28 Read the Introduction to Cultural Studies in Anthology
11/2 Read Baudrillard in Anthology Simulacra and Simulation,
Read Benjamin, Art in An Age of Mechanical Reproduction
11/4 Read Television Culture in Anthology
11/9 Read Krims: Rap Music and the Poetics of Identity
11/11 In Class Viewing Irrational Man
11/16 In Class Viewing Irrational Man and Discussion
11/18 Read Introduction on Gender Studies
11/23-30 Thanksgiving Break
12/30 Read The History of Sexuality, Performative Acts and Gender Construction
12/2 Read A Small Boy and Others: Sexual Disorientation in James, Anger, and
Lynch
12/7 Read Female Masculinity
12/9 THIRD 3-5 PAGE PAPER DUE
English 334 Spring 2016 (3 Credits)
19** Century British Literature
Topic: Romanticism, Imagination and Revolution
M/W 2:45-4:05 HU 129
Professor Kir Kuiken
Office: HU 320 Office Hours: M/W 4:15-5:15 and by appointment
Email: kkuiken@ albany.edu Phone: 2-2648
Course Website on Blackboard
Catalogue Description:
Examination of the texts in the British literary tradition, read in their relations to literary
movements and broader cultural issues and movements, possibly in conjunction with
non-canonical texts of the time period. Topics to be discussed may include: the literature
of the earlier 19th and late 18th centuries in relation to a continuing culture of
Romanticism; the literature of the mid and later 19th century in relation to cultures of
Modernism; and the literature of Empire. No Prerequisite.
Class Description:
In this seminar we will examine the rise of the cultural movement known as Romanticism
by focusing on responses (primarily British) to the French Revolution. Following its
initial outbreak, impelled by the cultural transformations promised by the revolution,
British Romantic writers articulated and engaged with ideas conceming the rights of both
men and women, the roles of govemment and religion, the role and nature of the
imagination, and the social circumstances of poverty, war and slavery. After the period
known as "the Terror’, many British writers tumed to the imagination as a way to
continue the revolution's project of emancipation by other means. We will examine the
historical and political significance of this turn, focusing not just on the prose and poetry
of canonical writers such as Wordsworth and Shelley, but also on non-canonical writers
such as Barbauld and More. We will begin our discussion by looking at the “revolution
debates” (about the meaning and significance of the revolution) that began in England as
it entered a counter-revolutionary war with France. Moving from these prose texts, we
will then explore major artistic and poetic responses to the revolution, and will consider
how Romantic writers conceived the ‘task of the poet’ _ in relation to historical and
political events. Assignments will include a mid-term paper, a term paper and several
short analysis papers.
Texts/ Course Materials: Romanticism: An Anthology. (ed. Duncan Wu). Blackwell
Publishing.
Godwin, William. Caleb Williams. Oxford Press.
Doyle, William. The French Revolution: A Very Short Introduction. Oxford Pub.
Selected Readings on Blackboard website.
Evaluation:
+ One - 5-7 pp. Paper (25% )
+ One - 9-10 pp. Paper (35% )
- Glass Participation (see below) (15% )
- Analysis Papers (25% )
Grading Scale/ Criteria: All assignments, including participation, will be graded on an
A-E scale:
A: 4.0 A-:3.7 B+: 3.3 B:3.0. B- :2.7. C+:2.3 C: 2.0 C-: 1.7. D+:1.3 D: 1.0. F:0.0
Student Learning Objectives:
-Ability to demonstrate familiarity with major themes and characteristics of the
Romantic period. Demonstrate familiarity with the major writers of the Romantic
period.
-Ability to read, understand and explicate major works of poetry and prose from
the Romantic period. Write analytic essays showing insight into the major works
of the Romantic period.
-Recognize the historical and intellectual background informing the works
studied.
Mid- Term and Term papers: The instructor will provide topics for the essay, or, in
consultation with him, you may write on a topic that he explicitly approves. Y ou must
seek approval for an alternative topic by e-mailing a paper proposal (of approximately
200 words)
Class Participation: Since this class is a collaborative effort, and not just a lecture
course, in-class participation is essential and constitutes 15% of your grade. This means
that you must have read the material, and be prepared to discuss it in class. Y ou will be
graded partly on the consistency and insightfulness of your oral responses, and partly on
your participation in in-class exercises and assignments. Y ou will also be asked to
complete drafts for papers, and other tasks that will be part of your participation grade.
Course Format: The class will combine lecture, discussion and workshop sessions. Y ou
are expected to come to each class having closely read the assigned texts, and should be
prepared to discuss them in detail. It is recommended that you take detailed notes BOTH
in class and while you are reading the assignments.
Analysis Papers: This class deals with some difficult poetic and theoretical texts and
questions. In order to stay on top of things, and to be prepared to discuss the texts, you
will be asked to generate several 1 1/2 pages (double-spaced) typed analysis papers
throughout the semester. These papers should deal with a key feature of a text (ONE text)
that we have discussed in the previous week (i.e. since the last response paper), and
attempt to analyze what is significant about that feature— either in terms of how it relates
to our discussions in class, or how you might anticipate it relating to other issues we have
discussed. Y ou should demonstrate both that you understand something about the text,
and that you have your own original comment or question ABOUT the text.
Attendance: Attendance at all classes is mandatory. In case of emergencies, | allow
student three unexcused absences per semester. If you have to miss a class, I simply
apply one of these absences. After you use up your three excused absences, you will lose
1/3 of a letter grade form your final course grade for each subsequent absence. Cell
Phones are to be tumed off during class. Students who violate normal standards of
classroom behavior by socializing or by reading or working on other materials will be
asked to leave. Students browsing the web, or texting will be asked to leave, and will lose
1/3 of a letter grade from their participation grade for each incident. Students are
expected to write their own essays, and should not rely extensively on friends, tutors or
other sources of assistance. Students requiring extra help are advised to contact the
instructor (particularly during office hours).
Withdrawing from the Course: Students who stop attending class must officially
withdraw from the course. This must be done by the official withdrawal deadline, which
is available at the Registrar’ s Office. Failure to withdraw properly will result in a grade
being assigned.
Reasonable accommodations will be provided for students with documented physical,
sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you have
a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 130, 518-442-5490, DRC@albany.edu).
That office will provide the course instructor with verification of your disability, and will
recommend appropriate accommodations.
Statement on Academic Honesty: Students are expected to understand and follow the
university’ s guidelines on academic honesty, as defined in the Undergraduate Bulletin:
Plagiarism and cheating will result in automatic failure. Students should understand
plagiarism to include: “presenting as one’ s own work the work of another person (for
example, the words, ideas, information, data, evidence, organizing principles, or style of
presentation of someone else). Plagiarism includes paraphrasing or summarizing without
acknowledgment, submission of another student’ s work as one’ s own, the purchase of
prepared research or completed papers or projects, and the unacknowledged use of
research sources gathered by someone else. Failure to indicate accurately the extent and
precise nature of one’ s reliance on other sources is also a form of plagiarism. The student
is responsible for understanding the legitimate use of sources, the appropriate ways of
acknowledging academic, scholarly, or creative indebtedness, and the consequences of
violating University regulations.”
Schedule of Required Readings: Page Numbers refer to Romanticism: An Anthology
unless otherwise indicated. This schedule is subject to change- all changes will be
announced and discussed in class.
Jan 20- Introduction to the Class/ French Revolution From The French Revolution: a
Very Short Introduction “How it Happened” (37-64).
Jan 25- Godwin, From Political Justice. (155-160) Price, “A Discourse on the Love of
Our Country” (2-6), Burke, From Reflections on the Revolution in France (11-17)
“Declaration of the Rights of Man,” (p.12-15 of a Very Short Introduction), Paine, From
The Rights of Man (24-29), Wollenstonecraft, From The Rights of Man and The Rights
of Woman (281-290).
Jan 27- Barbauld, “Epistle to Wilberforce---” (41-44), “The Rightsof Woman” (44-
45),
More, “Slavery: a Poem,” (69-76), More, From Cheap Repository “The Story of Sinful
Sally, Told by Herself,” (76-81) and “Village Politics” (Blackboard)
Feb 1- Schiller, From Letters on the Aesthetic Education of Man (Letters 1-8, pp.86-107,
Blackboard).
Feb 3- Wordsworth, “Preface to Lyrical Ballads, 1802” (533-538). Tintern Abbey (415-
420)
Feb 8- Wordsworth, “The TablesTurned” (410-411), “The Idiot Boy” (396-397).
ANALYSIS PAPER #1 Due
Feb 10- Wordsworth, From The Thirteen Book Prelude (561-578)
Feb 15- Coleridge, From Biographia Literaria (711-714). “Frost at Midnight,” “France-
AnOde,” and “Fears in Solitude,” (645-659).
Feb 17- Coleridge, “KublaKahn,” (639-644), “The Rime of the Ancient Mariner,” (714-
731).
Feb 22- Blake, “All Religions are One” (174-180), “There is No Natural Religion” (181),
Songs of Innocence and Songs of Experience (186-212) ANALYSIS PAPER #2 Due
Feb 24- Blake, Songs of Innocence and Songs of Experience continued (186-212) Blake,
“The Marriage of Heaven and Hell,” (212-224), “Visions of the Daughter of Albion,”
(224-230).
Feb 29- Byron, “Prometheus,” (912-914), “Ode to Napoleon Buonaparte,” (Blackboard)
Mar 2- Keats, “Hyperion, A Fragment,” (Blackboard).
Mar 7- Keats, “The Fall of Hyperion, A Dream,” (1490-1502) FINAL VERSION OF 5-
7 PP. PAPER DUE
Mar 9- Keats, “Odeto Psyche,” “OdeonaGrecianUm,” “Ode toaNightingale,” “
Ode
on Melancholy,” “Odeon Indolence” (1462-1472)
Mar 14-16- NO CLASSES SPRING BREAK
Mar 21- P. Shelley, Defense of Poetry (1233-1248), “Ozymandias,” (1108). ANALYSIS
PAPER #3 Due
Mar 23- P. Shelley, “Prometheus Unbound” (1138-1198)
Mar 28- P. Shelley, “Prometheus Unbound” cont’ d (1138-1198)
Mar 30- P. Shelley, “Ode to Liberty” (Blackboard), “Preface to the Cenci” (Blackboard),
“The Mask of Anarchy,” (1120-1131)
Apr 4- P. Shelley, “Ode to the West wind,” (1131-1134), “Mont Blanc,” (1104-1108).
Apr 6- Robinson, “The Progress of Liberty,” “To the Poet Coleridge,” (Blackboard).
Hemans, Arabella Stuart (1299-1307), “The Indian City” (1329-1334) ANALYSIS
PAPER # Due
Apr 11- W. Godwin, Caleb Williams
Apr 13- W. Godwin, Caleb Williams
Apr 18- W. Godwin, Caleb Williams
Apr 20- W. Godwin, Caleb Williams
Apr 25- W. Godwin, Caleb Williams
Apr 27- Abrams, “Apocalypse by Imagination” (Blackboard). Foucault, “What is
Enlightenment?” (Blackboard).
May 2- Hallward, “Haitian Inspiration: On the Bicentenary of Haiti’ s Independence,”
(Blackboard). Buck-Morss, “Avenging Angels” (Blackboard). Wordsworth, “To
Toussaint L’ Ouverture,” (547).
May 4- REVIEW.
May 11- Final Essay DUE BY 4:00 PM.
Spring 2017 Paul Stasi
English 335 (9471)
Literature in English after 1900
Class Meetings: TTh 2:45-4:15 OfficeHours: TTh 11:45-1:15,andby
3 Credits appointment
HU 353
Telephone: 442-4048(Office) E-Mail: pstasi@albany.edu
Brief Description (from the course bulletin): Examination of British Literature in the 20th century.
Topics to be discussed may include, amongothers: the development of literary genres and themes;
modernism and post-modemism; colonial and post-colonial literature. No pre-requisites. Cannot be taken
by students who have received credit for A ENG 371 or 428.
This section: In this course we will read majornovels by Henry James, Joseph Conrad, James Joyce,
Ford Maddox Ford, Virginia Woolf and short stories by Katharine Mansfield. Our focus will be on the
development of whatis typically called modemism—a literature of formal innovation and stylistic
complexity—out of the structures of realist fiction. We will also pay some attention to the historical and
cultural context out of which this new literary movement arose.
Learning Objectives
Students can expect to finish the course with:
* a greater knowledge of an important period of literary history
* a familiarity with some of the key texts of literary modemism,
* a grasp of modemism’s aesthetic forms, as well as its social, political, and cultural contexts.
Although this is nota writing class, attention will be given to the strategies and techniques of critical
expression, both written and spoken. The goal is to become more confident in engaging difficult materials
and challenging intellectual discussions.
Requirements (Consult Course Policies for further information); All of the following requirements must
be met to receive credit forthe course.
Written Assignments. A formalreading journal will be kept and submitted throughout the semester. It
will be submitted on a regular schedule every two weeks. There will be regular reading quizzes.
Final Exam: There will be a final exam during regular exam period covering material from the entire course.
Oral Assignments. Students will regularly present material from their journals and will be asked to present
responses to classmates’ work.
Class Participation. You are expected to take an active role in group and class discussions. In order to
meet this requirement you must, first, complete all reading assignments before the class meeting at which
they will be discussed, and, second, attend allclasses. You may miss no more than two classes without
pena lty--whatever the reason for the absence. Grades will be lowered after the second absence, and those
missing five classes or more may be failed for the semester.
Grading. 50% of the course grade will be based upon the reading journal; 30% for the final exam; 10% for
oral assignments and 10% for class participation (including reading quizzes)
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72) D+
(67-69) D (63-66) D- (60-62) E<60.
Required Texts
(These editions are strongly recommended. They are critical editions that include supplementary material
that will be incorporated into class meetings. If you do have these texts, you will have to make
arrangements with classmates for access to this supplementary material. Texts are available at Mary Jane
Bookstore, or through various on-line services. They may also be ordered through B&N in the Campus
Center. Electronic texts are available forsome of these titles. Since you are required to bring books to class,
you should buy e-texts only if you havea portable e-reader. Note: please buy all booksas soon as possible.
Unpurchased texts are retumed the publishers fairly early in the semester, at which point youmay have
trouble getting them in a timely fashion.)
Henry James, The Ambassadors
Norton Critical Edition
Joseph Conrad, Lord Jim
Norton Critical Edition
Ford Madox Ford, The Good Soldier
Norton Critical Edition
E. M Forster, Howards End
Norton Critical Edition
Katherine Mansfield, Selected Stories
Norton Critical Edition
James Joyce, Portrait of the Artist
Norton Critical Edition
Virginia Woolf, Mrs. Dalloway
Harcourt
Tentative Calendar (These dates may change: Always check BLS for updated assignments.)
Jan 19 Introduction
24 James
26 James
31 James
Feb 2 James
7 James
9 Conrad
14 Conrad
16 Conrad
21 Conrad
23 Forster
28 Forster
Mar 1 Forster
6 Ford
8 Ford
13 No Class
15 No Class
20 Ford
23 Ford
27 Mansfield
29 Mansfield
Apr 3 Mansfield
5 Mansfield
10 Joyce
12 Joyce
17 Joyce
19 Joyce
24 Woolf
26 Woolf
May 1 Woolf
3 Woolf
8
16 Final Exam (8:00 a.m.-10:a.m.) Final Journal Project Due
Course Policies
Please read the following course policy statement carefully. You will be held to these standards throughout
the term. If there is something not covered here that you havea question about, plea se bring it tomy
attention.
Attendance
Attendance atall class meetings is required, thatis, there are no excused absences. Grade penalties will be
imposed after the second missed class. I will, however, take extenuating circumstances into account. If you
cannot avoid missing a class, please provide written documentation of the reasons for your absence, for
example,a note from a physician or a copy of asummonsto appearin court. If you do miss a class, it is
your responsibility to leam the assignment(s) and changes made for future classes. Current assignments are
available on BLS: do not rely on the syllabus calendar because the schedule will change throughout the
semester.
Please note: if you find yourself in a situation that will result in a significant number of absences (or in
missing several assignments), please discuss the situation with meas soon as possible. Numerous absences
and missed assignments (even for unavoidable reasons) will adversely affect your grade. If you contact me
early enough, a strategy anda schedule forsuccessfully completing the course can usually be worked out.
Failure to make such arrangements in advance jeopardizes successfulcompletion of the course.
Textbooks
Itis recommended that you purchase the editions ordered for the course. The different pagination in
alternative editions will make it difficult for you to find the relevant passages in the book.
Ifyou optto purchase or rely upon electronic editions, please note that you may be disadvantaged during
exams that allow use of class texts. You will not be able to consult electronic texts during exams. The use
of any electronic devices during exams is not allowed.
This is a text-centered course: always bring copies of the texts to class.
Written Assignments
All written work must be submitted by the specified time. Late work will be penalized; the later the
submission, the greater the penalty. Plan ahead forthe contingencies (such as malfunctioningcomputer
equipment) that might result in a late paper. It is your responsibility to see that work is handed in
punctually.
All written work with the exception of in-class exams will be submitted electronically on BLS. Jt must be
submitted as a Word document. Use the on-line Help Desk or the ITS staff forany problems that you
encounter. Using the resources of the University libraries and computer labs is the bestmeans of insuring
that you will not encounter difficulties in sending readable files in a timely fashion.
Under certain circumstances, an extension (without penalty) may be granted. In order to receive an
extension of a due date, you must contact the instructor at least twenty-four hours before the work is to be
submitted (preferably earlier), and you must receive approval directly from me (leaving a phone or e-mail
message is not sufficient). Do not wait until the last minute to request an extension, since I cannot always
be reached on short notice.
All assignments, whether written or oral, are mandatory; none is optional. In order to receive credit for the
course, you must complete a// class assignments.
Reading Assignments
All reading assignments must be done before the class during which the work will be discussed. It is certain
that the course calendarwill change from the schedule provided on the syllabus, which is intended only to
give you an idea of the sequence of readings and the approximate time spent on each author. Reading
schedules will be announced the class before we begin an assignment; changes in schedule, however, may
occur atany time. Itis the student’s responsibility to be aware of these changes and to arrive atclass having
read the material for that day. If you miss a class or plan to miss a class, be sure to check the calendaron
BLS.
Academic Dishonesty
Academic dishonesty refers to any form of plagiarism, cheating, multiple submission, forgery, and so on. If
you submit or enable others to submit work that is not yourown or theirs—either in part or in its entirety—
youare guilty of cheating. I encourage you to use the resources available to you to inform your reading and
thinking but not to use it as a substitute for reading and thinking. Consulting other readers and critics can
show initiative and reflect in more sophisticated writing. You must be sure, however, thatall materialthat
informs your writing is acknowledged and cited. Each time you refer to an idea or argument that originated
with someone else and every time you paraphrase, summarize, or cite a passage that appears somewhere
else, you must accurately document the source and the extent of your use of it. If youare unsure as to how
university policies apply to a particular assignment, ask me before you tum it in.
Familiarize yourself with University policies and guidelines pertaining to cheating:
http://www.albany.edu/undergraduate_bulletin/regulations.htm]
The library also provides a guide:
http://library.albany.edu/usered/plagiarism/index.htm]
Any incident of plagiarism will result in failure for the course, and may result in dismissal from the
University. University policy requires that all incidents of academic dishonesty be reported to the Dean of
Undergraduate Studies.
Please Note: Policies on academic dishonesty apply to attendance. Students must sign their own nameson
attendance sheets; no one may sign for another student. Do not sign the attendance sheet if you have missed
or will miss a significant portion of the class. Itis yourresponsibility to sign the sheet on the day of class.
Late signatures will not be allowed.
Incompletes
Incompletes are strongly discouraged, and an “I” grade will be assigned only in extreme circumstances. No
incompletes will be given unless arrangements have been made prior to the end of classes. In order to
receive an “I,” students must submit in writing a plan for completing the work anda schedule indicating the
date by which the work will be finished. If work is missing atthe end of the semester, unless you have
made arrangements foran “I” in advance, you will receive an “E” for the course.
Classroom Conduct
The times for class meetings are clearly indicated in the class schedules and on the syllabus. I will do my
best to begin and end classes punctually. I expect you to arrive in class on time. Leaving class during
discussions and lectures is extremely distracting, and you should do so only when absolutely necessary. I
expect you to remain in class forthe duration of the class period. If you have any condition that makes it
difficult for you to remain seated for eighty minutes, please notify me of that fact.
Please turn off cell phones before entering the classroom. Use of phones is not allowed; those who do so
will be asked to leave the class and assigned an absence forthat day. If youare using an electronic device
for taking notes, please notify me of that fact and refrain from using such devices for any otherpurpose.
Computers may be used only for the purpose of takingnotes on class materials. In addition to the
discourtesy of such behavior, it diverts my attention and that of fellow students from the tasks at hand.
Resist the temptation to web-surf or to text-message during class. Students visiting non-course related web
sites during class time will be asked to leave the class and will be assigned an absence for that day.
Computers are to be used only during specified times and only forclass activities.
In general, please refrain from all disruptive beha viors—from private conversations, to exchanging notes,
to reading materials unrelated to our class. If you are engaged in activities not directly related to class,
regardless of how quiet or unobtrusive they might seem to you, I will be distracted by them.
Office Hours
Office hours are listed on the syllabus. I will notify you if for some reason I am unable to keep them andI
will announce alternative hours forthat day or week. If you cannot see me during those times or if those
hours are taken up by other students, I am glad to make otherarrangements to see you. I encourage you to
discuss ideas and concerns with me. Think of office hours asa chance both to continue class discussion and
to raise issues related to the class itself.
Letters of Recommendation
Itis a pleasure to write letters of recommendation for deserving students. If you are considering asking me
for one, you must be able to provide: copies of written work submitted during the semester (electronic files
are fine), your resume, a copy of your application essay(s), if applying to graduate school, ora brief
statement describing your career objectives, if applying for jobs.
I donot need this information if you are applying for UAlbany programs suchas internships or study
abroad.
Course Policies: Short Form
1. Don’t miss class; complete all assignments (submitted as Word documents).
2. Always bring texts to class.
3. Use electronic devices for class purposes only.
4, Don’t cheat.
The Formal Reading Journal
A reading journalis intended to be a record of your engagement with the materials of the course. It
reflects your understanding of the material, as well as your explorations of it. Inthe first regard
(understanding), it might help you to think of shaping your journalin the direction of a critical notebook --
one in which the random notes that you might jot down while reading or discussing a work are put into a
more complete and detailed form. But please note: it is not acceptable simply to summarize material
discussed in class. That is repetition not engagement: the latterrequires you to extend or to question; that is,
you must demonstrate both intellectual curiosity and analyticalthinking. Toward the second objective
(exploration), it might help you to rememberthat younced not think of all of the entries as containing "the
last word" on a particularsubject. In fact, journals are often most successful when they pose questions for
speculation, without your feeling the pressure to come up with the "the right answer."
A formal reading journalis more thana diary or a series of personal notes and casualobservations,
though it may include both. Random observations should be examined and analyzed. Choose topics to
discuss both for personaland intellectual interest. | will occasionally assign a topic for you to write about in
your joumnal-. These are not optionalentries, and you should take particularcare with them. Inall entries,
write in a style that is your own but thatis also calculated to succeed with other readers. I imagine the
writing to be exploratory--investigating a subject in relation to yourself--but also crafted--reflecting the care
with language that novelists themselves often take. At semester's end your journal should bea personal
intellectual record and an extended essay (in the form of a series of critical commentaries) on the writers
and works that we have read.
Here are some general guidelines and suggestions that might help you to get started:
. There are times when you might want to write a single entry per submission, but in general I think
it would be helpful to make three or more entries per week. Try to make these entries at different points
during your reading process. A regular schedule might be helpful, for example, the evening before and/or
aftera class; every Sunday evening; etc. Don't delay writing until you've finished a book. Although formal,
your journalis the record of a process, and it should reflect your experience of reading and the development
of your thinking. Do not hesitate to retum to a previous entry and to elaborate upon it—or to reject it
entirely. If the latter, ask yourself what accounts forthe change of opinion: did the authormanipu late you
in some way? Why?
. Joumal entries will probably vary greatly in length, from a few sentences to perhaps even a few
pages.
. The writing may at timesbe informal, but it hasto be communicative. Unlike a class notebook,
which only you read and need to understand, the journal will be read at least by me and perhaps will be
read to others.
. Use the journa entries to establish two kinds of dialogue: internal (don't just write something and
forget about it. When appropriate, return to previous entries to clarify, correct, develop, etc.) and external
(if possible, respond to my comment upon yourjournals or to the views of other students or critics). I
encourage you to revisit previous entries for a second take ona particularsubject, to continue class
discussions in written form, and to comment upon my remarks made eitherin class or on yourjoumals.
. The joumnalis meant tobe a record of your intellectual engagement with the course materials—-and
it will be evaluated according to that criterion. The more effort spent in reading, thinking, and questioning,
the betterthe journal will be.
. Vary the kinds of entries that you write. Sometimes be impressionistic, noting points of interest
and perhaps speculating about them. Sometimes be analytical, delving into a question and exploring it in a
more comprehensive and systematic way. Look at different aspects of texts, from aesthetic to social to
personal. In all cases, link your observations to specific aspects of the text, and quote when appropriate.
Don't rely too much on general impressions; rather, find out where they come from and what they speak to.
. "T like" and "I don'tlike" will always bea basic part of our reactions to novels; while they are
often our first reactions, they should not be our last. While it is not possible to escape judgments of
personal taste, try to move beyond them to understandings derived from the critical perspectives that are of
greatest interest to you.
Guidelines and Requirements
Journals are due every other week. Each bi-weekly submission is due on Friday at midnight. Late
journals will be penalized. You will receive written commentary on every submission, and the journal will
be graded three times during the semester (after every two submissions).
I expect a minimum of 2500 words per submission.
University at Albany, SUNY
College of Arts and Science
AENG 337-0001: Nineteenth Century American Literature
Humanities 124, Tuesday & Thursday 11.45am —1.05pm
Spring 2018 (Call #8774)
Instructor: Erica Fretwell, Assistant Professor of English
Email: efretwell@albany.edu
Office: Humanities 340
Phone Number: 518-442-4054
Office Hours: Tuesdays, 2 — 3.30pm and by appointment
Course Credit Hours: 3 credits
Course Prerequisites /Corequisites: None
Course Description
Examination of American literature of the 19" century. Topics to be discussed may include, among
others: the development of literary genres and themes; romanticism, realism, regionalism, and
naturalism; literature in relation to historical and political contexts. Cannot be taken by students who
have received credit for AENG 433 or 434.
Student Learning Objectives
Upon completion of this course, students will be able to:
1. Understand and describe characteristic features of the literary modes of 19" century America
2. Perform close analysis of literary texts
3. Name the key social issues of 19"-century America
4, Gain proficiency in written an oral expression
Course Materials are available at the SUNY textbook store. They can also be purchased from any in-
person or online bookseller.
Brown, William Wells. C/oze/ (1853)
Faulkner, William. Absalom, Absalom! (1936)
Foster, Hannah. The Coquette (1797)
Jacobs, Harriet. Incidents in the Life of a Slave Girl (1859)
Jewett, Sarah Orne. Country of the Pointed Firs (1896)
Prime-Stevenson, Edward. Imre (1906)
Child, Lydia Maria. “The Quadtoons” (1842)
Foucault, Michel. History of Sexuality Vol. 1 (1978)
James, Henry. The Beast in the Jungle (1903)
Course Requirements and Grading
All coursework must be submitted on time. Late assignments automatically receive a “0.” The
gtading scheme is A, B, C, D, E. Below are factors that will contribute to the grade for the class, and
a description of how each component of the final grade will be evaluated.
Reading Journal + Quiz 15% (total)
There will be a quiz on this syllabus to ensure your knowledge of course goals and policies. The
grade you earn will be tabulated into your overall grade for the reading journal. Details forthcoming.
In-class Midterm Exam 15%
‘Take-home Final Exam 15%
Participation & Preparedness 20%
Your active participation in class discussion is crucial to our success as a learning community. As
you read, take notes and mark key passages. Review these notes before class so that you are ready to
ask questions, to advance discussion, and to build on others’ comments. Everyone must be ready
and willing to take intellectual risks and experiment with new ideas. I will use your reading journals
as springboards for discussion, so be prepated to elaborate on ideas and questions you record there.
Papers 35% (total)
You will use your close readings skills to write two analytical essays, each devoted to a single text.
Paper 1 is 10%; Papers 2 is 25%. Instructions forthcoming.
Course Average Final Grade
93-100 A
90-92 A-
88-89 Bt
83 — 87 B
80-82 B-
78-79 C+
73-77 Cc
70-72 C-
68-69 Dt
63-67 D
60-62 D -
< 60 E:
UNIVERSITY POLICIES
Academic Integrity
“Fvery student has the responsibility to become familiar with the standards of academic integrity at
the University. Faculty members must specify in their syllabi information about academic integrity,
and may refer students to this policy for more information. Nonetheless, student claims of
ignorance, unintentional error, or personal or academic pressutes cannot be excuses for violation of
academic integrity. Students are responsible for familiarizing themselves with the standards and
behaving accordingly, and UAlbany faculty are responsible for teaching, modeling and upholding
them. Anything less undermines the worth and value of our intellectual work, and the reputation and
credibility of the University at Albany degree.” (University’s Standards of Academic Integrity Policy,
Fall 2013)
J expect that all of the work you do will be your own. Plagiarism will result in a 0 for that
particular assignment. Please see me if you have any questions about plagiarism. The following are
a few examples of plagiarism:
* Copying, quoting, or paraphrasing from any source without documentation
e Purchasing a pre-written paper or letting someone else write a paper for you
* Submitting someone else’s work as your own, with or without permission
For information on the penalties of failing to meet the University’s basic standards of integrity, visit
http: //www.albany.edu/studentconduct/appendix-c.php.
Reasonable Accommodations
Reasonable accommodations will be provided for students with documented physical, sensory,
systemic, cognitive, learning and psychiatric disabilities. If you believe you have a disability requiring
accommodation in this class, please notify the Director of the Disability Resource Center (Campus
Center 130, 518-442-5490, DRC@albany.edu). That office will provide the course instructor with
verification of your disability, and will recommend appropriate accommodations.
Attendance Policy.
You are allowed 2 unexcused absences. After that, you must have an official letter to document
illness or emergency. (For cases of documented emergency, see the University’s Medical Excuse
Policy: http://www.albany.edu/health_center/medicalexcuse.shtml.) For every unexcused absence,
your final grade will drop by 1 letter grade.
COURSE SCHEDULE
SESSION# /DATE TOPIC READINGS/ ASSIGNMENT
1.R, 1/22 INTRODUCTION N/A — Handout syllabus
QT Af2T QUEER DESIRES Foucault, History of Sexuality, Part 1
3. R, 1/29 QUEER DESIRES Henty James, Beast in the Jungle/
Syllabus Quiz
4. T, 2/03 QUEER DESIRES Sarah Orne Jewett, The Country of the
Pointed Firs, Ch. 1 — 10
5.R, 2/05 QUEER DESIRES Country, Ch. 11 — 20
6.T, 2/10 QUEER DESIRES Edward Prime-Stevenson, Imre, Ch. 1
7.R, 2/12 QUEER DESIRES Imre, Ch. 2 & 3
8.1, 2/17 Writing Workshop How To Develop a Claim
9.R, 2/19 FEMALE DESIRES Hannah Foster, The Coquette, Letters 1
—29
10. T, 2/24 FEMALE DESIRES Coquette, Letters 30 —53
11. R, 2/26 FEMALE DESIRES Coquette, Letters 54—74 / Paper1
12. T, 3/03 FEMALE DESIRES Harriet Jacobs, Incidents, Preface — Ch.
13. R, 3/05 FEMALE DESIRES inane Ch. 9 —17
14. T, 3/10 FEMALE DESIRES Incidents, Ch. 18 — 29
15. R, 3/12 FEMALE DESIRES Incidents, Ch. 30 — Appendix
16. T, 3/24 EXAMINATION Midterm
17.R, 3/26 INTERRACIAL DESIRES William Faulkner, Absalom! Absalom!,
Ch. 1&2
18. T, 3/31 INTERRACIAL DESIRES Lydia Maria Child, “The Quadroons”
19.R, 4/02 INTERRACIAL DESIRES Absalom!, Ch. 3
20.T, 4/07 INTERRACIAL DESIRES William Wells Brown, Clote/, Ch. 1 —
21. R, 4/09 INTERRACIAL DESIRES Cal Ch. 11-21
22.7, 4/14 INTERRACIAL DESIRES Clotel, Ch. 22 — 29
23.R, 4/16 Writing Workshop Argument and Evidence
24.7, 4/21 INTERRACIAL DESIRES Absalom!, Ch.4—6 / Paper 2 Due
25.R, 4/23 INTERRACIAL DESIRES Absalom!, Ch. 7
26.T, 4/28 INTERRACIAL DESIRES Absalom!, Ch. 8 & 9
27. T,4/30 WORKSHOP Semester Review
FRIDAY, 5/08 @12.30PM: TAKE-HOME EXAM DUE
american Literature after 1900: mapping discourses from the age of innocence to
trauma culture
T-TH 11:45-1:05 HU 129
Professor Mary B. Valentis
Humanities 337
Office Hours: TTH 2:00-3:30 and by app’t
Voicemail: 518-442-4082
Email: mbvbooks@aol.com
AENG338 American Literature after 1900
Call# 10099 Three credits, no pre-requisites.
American Literature from 1920 to the Present is, in one sense, a line of flight through
Modernism and its “Shock of the New” to Postmodernism and its self-conscious,
performative expressions to The Present, a condition some have called After Culture or
the era of the Post Human. This course studies these and other lines of flight, their
cultural and theoretical contexts mainly through fiction but also in theory, poetry, art,
film, music, architecture, media, and technology studies. Looking back, this period could
be called The American Century and its aftermath, a time that spans the robber barons
through the Silicon Valley scions, a sweep of history from World War One through
World War Two, Korea, Vietnam, the Kennedy assassination up through The Iraq War,
911, Bushes 41 and 43, Barack Obama, bernie sanders, and donald trump.
This course looks at selected 20th and 21st Century americanauthors to trace major
discursive shifts and cultural moments of that period including modernism,
psychoanalysis, postmodernism, and trauma and media culture. The 20* century in
America is a diverse and rich mixture of transformations in Race And class formations,
sexual and gender relations, biopolitics, as well as revolutions in style, climate,
technology, war, language, and culture.
Our reading will be framed by Edith Wharton’s Age of Innocence, a novel that
encapsulates the class structures and codes of early century New York City inan
intriguing love triangle, and concludes with octavia Butler’s science fiction novel set in
2020, a narrative about 21* century dystopic life and how to escape it. In between, we
will read such classic American texts as Faulkner’s The Sound and the Fury, Fitzgerald’s
Tender Is the Night, Nabokov’s Lolita, Williams streetcar names desire, Films, videos,
and critical essays will supplement our readings.
Classes will consist of lecture and discussion interspersed with student presentations on
figures in American literary and popular culture, videos, and films. Students are
responsible to prepare readings in advance of class in order to participate in class
discussion. Please turn off cell phones, iphones and pads, and other Technological
distractions and to try and limit bathroom breaks to before and after class.
Learning Outcomes: Upon completion of this course, students will have closely read
Psychologically and rhetorically complex classic novels, developed proficiency in
analyzing both visual and material american literature and culture, and will be able to
contextualize texts in their cultural and histiorical contexts.
Grading will be based on a take-home midterm, consisting of three essay questions each
at leastthree typed pages 35%, an analytical paper8-10 pages culled from texts studied
after the midterm 50%, and in class discussion, the grade to be based on participation
and engagement with the professor and other students 15%. In class presentations can
be arranged and will only enhance your grade. Paper topics should be cleared with the
instructor in advance. Of course plagiarism in any form will not be tolerated and will
result in either failure or reduced grades. However, if you have any questions about
how to cite sources, how to paraphrase, how to cite internet sites and film sources,
please do not hesitate to ask.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C-
(70-72) D+ (67-69) D (63-66) D- (60-62) E<60.
Students are allowed 3 unexcused absences. After three, your grade will be
compromised. In cases of Medical or personal emergencies, please do not hesitate to
contact me via email. Using devices except for requested research in class is prohibited.
Academic Integrity: Plagiarism and other forms of academic dishonesty will not be
tolerated. Unless otherwise stated, all work is to be conducted and produced individually
and all work submitted must be the student's own, unless the assignment specifically
calls for collaboration and/or external sources; external sources must be properly
credited. Students should familiarize themselves with the University's policies on
academic dishonesty (see the Undergraduate Bulletin: https://www.albany.edu/
undergraduate bulletin/regulations.html). Such acts will result in a failing grade for the
assignment and, quite possibly, the course. ALL incidents of academic dishonesty will be
referred to the Office of Undergraduate Education. To learn more about plagiarism and
how to avoid it, view the "Plagiarism 101" informational website and tutorial at http://
library.albany.edu/usered/plagiarism/index.html.
Required Texts: Edith Wharton: The Age of Innocence
William Faulkner: The Sound and the fury (Norton Critical Edition)
F. Scott Fitzgerald: Tender Is the Night
Tennessee Williams: A Streetcar named desire
Vladimir Nabokov: Lolita
Octavia Butler: The parable of the Sower
Tentative Schedule:
8/28, Introduction
8/30 age of innocence
9/4 age of innocence
9/6 age of innocence
9/11 Portrait of A lady
9/13 Portrait of A Lady
9/18 Portrait of A lady
9/20 Sound and the fury
9/25 Sound and the Fury
9/27 Sound and the Fury
10/2 Sound and the Fury
10/4 Tender is the Night
10/9 Tender is the Night
10/11 Tender is the Night
10/16 Tender is the Night (midterm handed out)
10/18 Midnight in Paris
10/23 Midnight in Paris (midterm due back)
10/25 Lolita
10/30 Lolita
11/01 Lolita
11/06 Lolita
11/08 Streetcar named desire
11/13 Streetcar named desire
11/15 Show and talkback
11/ 27 Blue Jasmine
11/29 Blue Jasmine
12/4 Parable of the Sower
12/6 Parable of the sower
12/13 Final paper due
A Streetcar Named Desire
Fall 2018
November 14-18, 2018
Lab Theatre Book by John By Tennessee Williams
Directed by Kim Stauffer
In the sweltering heat of New Orleans, Blanche, a fading Southern belle, arrives
mysteriously at her sister and brutish brother-in-law’s doorstep. Colliding with their
volatile marriage, Blanche grasps after her own crumbling reality. This Pulitzer Prize-
winning American classic is a riveting story of fate, desire, and desperation in the
pursuit of happiness.
Production Dates & Times
November 14 @ 7pm
November 15 @ 7pm
November 16 @ 3pm
November 17 @ 2pm & 7pm
AENG 342: Study of
an Author before
Mid-18th Century:
Topic, Chaucer
3 credits; A-E Graded Fall 2017
TTH 10:15-11:35
ES 140
This course is a section of AENG 342 Study of an Author or Authors Before Mid-
18th Century (3): The Examination of a single major author in depth (e.g., Chaucer or
Milton), or of two or more authors whose works illuminate each other in terms of style,
theme, and/or relationship to a particular historical era. May be repeated once for credit
when content varies. No pre-requisites.
Who was Chaucer, and why should we care?
Since you've registered for this course, you no doubt have an answer to these questions. Chaucer
has riveted audiences for centuries, and with good reason: some call him the Father of English
Poetry and consider his work essential reading; others seek in his writing a return to an idyllic
past, as the socialists of the 19" and early 20" centuries did; some enjoy his ribald humor, while
others respect his moral certitude; others admire his tendency to push aesthetic, linguistic, social,
and political boundaries. The vibrancy of his texts and characters continue to enthrall readers,
even in the early 21* century.
This course will exploresome of those fascinating texts and characters and the tumultuous
fourteenth century that produced both the poet and his imagination. Grappling with Chaucer's
language and poetics on theirown terms, you will acquire proficiency in Chaucer's Middle
English, become able to identify and appreciate various social, political, religious, and historical
references embedded in his texts, and come to yourown critical understanding of those texts,
Chaucer as an author, and the idea of an author in the Middle Ages. And you will get the jokes. By
the end of the semester, you will see even more clearly what Chaucer has to offera postmodern,
postindustrial, digital world.
Professor Helene Scheck
HU 322; 442-4070
hscheck@albany.edu
Office Hours: TTH 1-2 pm and by appointment
Required Texts (available at the Campus
Bookstore as well as at MaryJane Books):
Geoffrey Chaucer. Canterbury Tales: Fifteen
Tales and the General Prologue, ed. V.A. Kolve
and Glending Olson, Second Edition, (Norton,
2005); Dream Visions and Other Poems, ed.
Kathryn L. Lynch (Norton, 2007); Troilus &
Criseyde, ed. Stephen A. Barney (Norton, 2006).
Note: These are all Norton critical editions,
packaged together for a special price; ISBN:
9780393171334.
Recommended Texts:
Norman Davis, et. al., A Chaucer Glossary.
Clarendon Press, 1991 (or later).
Diana Hacker, A Pocket Style Manual. Fifth
Edition. Beford/St. Martin's, 20n.
ISBN-13: 978-0-312-66480-0
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How to Succeed in this Course
I assume that you registered for this course because you are interested in learning more
about Chaucer and his time and are therefore committed to this course. Assignments are
structured carefully to instruct and to challenge in different registers: linguistic,
analytical, interpretive/critical. Ihope you will find them interesting and enjoyable. If
you have any difficulty understanding or following the parameters or logic of an
assignment, please don't hesitate to ask in class or in private. Course policies are meant
to ensure steady progress in completing assignments and fairness to all. Above all,
courtesy and freedom of expression are the key principles of the course and are meant to
foster an open exchange of ideas. Come prepared to engage the material and each other,
to challenge yourself and the ideas promoted by Chaucer, his critics, your peers, and, yes,
even (especially?) me. If you have any problems meeting these policies and expectations,
please speak with me so that we can devise a plan to ensure your success.
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Assignments
Quizzes: Expect regular unannounced quizzes throughout the semester. They will probably take
the form of passage translations, but may also address facts and/orideas discussed in class or
presented in the readings. (20%)
Critical inquiries: Each week (except those weeks you submit your textualities project and your
critical paper) you will submit a 300-500 word rumination on a particularstatement by Chaucer or
one of the critics or historians assigned that week that you find to be intellectually productive,
provocative, or problematic. The best inquiries will contextualize the statement thoughtfully,
explain why you selected it, and examine its implications within that text and/or in relation to
other texts read as wellas points made in class discussion. Keep all returned assignments ina
separate folderto resubmitat the final class for reassessment. At that time will take into account
improvement in the level of thought, reasoning, and expression overthe course of the semester.
(20%)
Critical Paper: For this assignment you will read 5 critical texts relating to a particulartext or
character from our readings (the Wife of Bath, for example, or Parliament of Fowles). You will
then write a one-page (250- to 300-word) analysis of each critical text and discussin 1000 to 1500
words the ways in which these texts contribute to the understanding of Chaucer's text or
character, where they differ, where they agree, and where youposition yourself. Critical papers
are due at the beginning of class, exactly one week after we complete discussion of that
text in class. Troilus papers are due Monday, 12/12 no later than 12:00 (NOON). Sign-up.
sheet will be distributed during third week of classes. (20%)
Textualities project: This assignment will help youto deepen yourunderstanding of Chaucerian
textuality by a) creating your own, modern version of one of the Canterbury tales ordream visions
accompanied by a critical introduction to the piece explaining the creative principle, intent, and
rationale; b) offering a translation of a significant passage from one of the texts after examining
and analyzing several other modern translations; OR c) writing a critique of Chaucer's use of
sources aftera careful examination and consideration of the source and Chaucer's adaptation of it
in one tale or significant passage from one of the dream visions or Troilus and Criseyde. Sign-up.
sheet will be circulated during the third week of classes, (20%)
Final Exam: Our final exam will take place during finals week-Friday, December 16, 8:00-10:00
a.m., inthis room. We will discuss format and content at the last class. (20%)
All assignments, quizzes, and final exam must be completed in order to pass this course.
Details forall will be posted on Blackboard.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B.(83-86) B- (80-82) C+ (77-79) C (73-76) C-
(70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Policies
Respect. Let us make this the underlying principle forthe course. The classroom is a space forthe
productive interchange of ideas. Students are expected to come to class on time, equipped with
texts and fully prepared to discuss the material at hand. Please respect the opinions and ideas of
one another, even (or especially) when voicing disagreement. Food, especially crunchy food with
noisy wrappers, is not allowed; beverages are fine provided they are in spill-proof containers. Rude,
disruptive, and/or offensive language or behavior will not be tolerated. Please also respect our
cleaning staff and discard of recycling/garbage appropriately.
Participation. You've probably noticed that discussion enhances the course experience for
students and teacheralike. Moreover, because the class will generally be conducted in discussion
and workshop formats, student participation is crucial to the success of the course. Active course
participation is also excellent preparation for professional and academic success. Please be in class
on time, prepared, and ready to share. Active, insightful participation in class discussion
will be rewarded. Conversely, disruptive or distracting behavior will be penalized.
Attendance. The success of the course depends on all the students who make up the class. Perfect
attendance, therefore, is expected and will be rewarded. Conversely, excessive absence (beyond
four class meetings) will detrimentally affect the grade. In the event of illness, students must
contact instructor, who will assign make-up work. Attendance is counted from the first class, even
for those who add the course after the first day.
Lateness/Leaving Early. Coming and going during class, habitual lateness, and leaving early are
disruptive behaviors that will not be tolerated and will negatively affect the grade. Two
latenesses/early departures beyond the first will count as one absence. Students may be
dismissed from the class if lateness/early departures become excessive or disruptive. Students
who need to leave class early must inform the instructor in advance.
Late Papers. Late papers/assignments will be heavily penalized: 1/3 of a letter grade for each
day late. Be sure to budget yourtime realistically in order to get all papers in on time.
A Note on Technology: Computers and word processors are wonderful innovations, but they are
not flawless. Hard drives crash, internet stalls, disks and memory sticks can become unreadable,
printers can run out of ink or toner, etc. These things happen routinely; they seem to happen
especially when there is a lot at stake (i.e.,a paperdue). [regret that I cannot waive penalties
in these instances. Some tips forcomputer use: Be sure to back up yourwork frequently and
regularly, always save to more than one device (two disks or thumb drives if you cannot save toa
hard disk, forexample), carry disks in appropriate containers (dont just throw them in your bag),
do not wait until the last day to complete your paper, especially if you are relying on shared
computer equipment, always bring your own paper and disks foruse on campus, keep an extra
toner or ink cartridge available. The Computing Help Desk is a wonderful resource, but they
cannot work miracles.
Conferences. While I won't require it, | urge you all to meet with me at least once during the
semester to discuss papers, readings, and overall progress. Please make an appointment if office
hours are not convenient.
Plagiarism and other forms of academic dishonesty will not be tolerated. Unless otherwise
stated, all workis to be conducted and produced individually and all work submitted must be the
student’s own, unless the assignment specifically calls for collaboration and/or external sources;
external sources must be properly credited. Be sure to familiarize yourself with the University's
policies on academic dishonesty (see the relevant section of the Undergraduate Bulletin at
https://www.albany.edu/undergraduate_bulletin/regulations.html). Such acts will result ina
failing grade forthe assignment and, quite possibly, the course. All cases of academic
dishonesty will be referred to the Office of Undergraduate Education.
Questions? Comments? Come see me or write to me at hscheck@albany.edu.
Tentative Reading/Assignment Schedule
Week 1: 8/30 Course Introduction: What are the Middle Ages? Why Chaucer?
of DuBoulay, “The Historical Chaucer” (The Canterbury Tales (CT), 473-92);
review the Chronology on pp. 587-88 and choose one event/figure/fact to
explore online; choose one short poem to read/grapple with (Dream
Visions (DV 211-26)and note your _ general impressions, level of difficulty,
odd or striking words, etc.
Week 2: 9/6 — Strohm, “A Mixed Copmmonwealth of Style” (CT 556-65);
Hoffman, “Chaucer's Prologue to Pilgrimage” (CT 492-502); Sources: from
Boccaccio's Decameron, St. Augustine, William Thorpe, Thomas
Wimbledon (CT 311-334) (the last two are in Middle English). If you're
feeling adventurous, try your hand at Wycliffite Estates Citicism (CT 339-
40). In class—General Prologue lines 1-42.
9/8 — General Prologue to the CT, lines 43-444 (up to Wife of Bath); Donaldson,
Nolan, Kittredge essays (CT 503-38)
Week 39/13 Finish General Prologue.
9/15 Summary of the Knight's Tale (BB); Knight's Tale, Part 1 (CT 23-34);
Boethius, from Consolation of Philosophy, (DV 268-72)
Week 49/20 Knight’s Tale, Parts 2 and 3 (CT 34-58)
9/22 Finish Knight's Tale
Week 59/27 Miller's Prologue and Tale; Reeve's Prologue and Tale (CT 71-99)
9/29 No Class.
Week 6 10/4 The Wife of Bath's Prologue and Tale (CT 102-30)
10/6 Friar’s Prologue and Tale; Summoner's Prologue and Tale (CT 131-54)
Week 710/u._—Clerk’s Prologue and Tale; Kittredge, “The Marriage Group” (CT 329-45)
10/13. Merchant's Prologue, Tale, and Epilogue (CT 185-212)
Week 810/18 Franklin’s Prologue and Tale
10/20 Pardoner’s Introduction, Prologue, and Tale; Prioress’ Prologue and Tale (CT 233-
55)
Week 9 10/25 Nun's Priest’s Prologue, Tale, and Epilogue; sources (CT 455-465); excerpts
from the Parson's Prologue and Tale and Retractions (CT 293-310)
10/27 Muscatine (DV 307-25); Lenaghan (DV 335-38); sources (DV 231-99)
Week 10 u/1 Book of the Duchess (DV 3-38)
u/3 Parliament of Fowles (DV 93-116); criticism (DV 325-35)
Week 11 u/8 — Legend of Good Women (LGW) (DV 117-55)
ufio LGWctd. (DV 156-89); Green (DV 338-52) or Hansen (DV 352-65)
Week 12 n/1i5__ Troilus and Criseyde, summary (BB), Introduction and Book 1 (T&C)
u/i7 Troilus and Criseyde, Book 2
Week 13 u/22 Troilus and Criseyde, Book 3
11/24 No Class. Thanksgiving Holiday
Week 14 n/29_ Troilus and Criseyde, Book 4; Patterson (T&C 553-588)
32/1 Troilus and Criseyde, Book 5; Mann (T&C 606-622)
Week 15 12/6 last class; review for final
12/12 Troilus Papers due (by 12 noon)
12/16 Final Exam 8:00-10:00a.m.
English 343, Spring 2017 (3 Credits)
Authors after Mid- 18" Century: Keats and Shelley
M/W 4:15-5:35 BA 213
Professor Kir Kuiken
Office: HU 364 Office Hours: M/ W 3:00-4:00 and by appointment
Email: kkuiken@albany.edu Office Phone: 2-2648
Course Website on Blackboard; No Pre-requisites
Catalogue Description:
Examination of a single major author in depth, or of two or more authors whose works
illuminate each other in terms of style, theme, and/or relationship to a particular historical
era. May be repeated once for credit when content varies.
Class Description:
In this course we will explore the writings of two key “second generation” English
Romantic poets— John Keats and Percy Bysshe Shelley. We will look particularly at the
ways in which they sought to redefine the role and vocation of the artist in the context of
the emergence of a repressive European political order that followed in the wake of
Napoleon’s defeat at Waterloo in 1815. In many ways, the two poets seem to offer a stark
contrast: Shelley, a feminist, republican, anarchist, atheist, skeptic, idealist, has often
been understood as the most publicly engaged of the “second -generation” Romantic
poets. Keats, on the other hand, while voicing strong political positions in his letters, has
tended to be viewed as less overt in his protest against the repression of political dissent
and reform both before and after 1815. Although we will explore a variety of approaches
to their work, our focus will be on the ways in which each poet attempted to create a new
poetic practice, one that was politically engaged, but that sought to identify new forms
and sources and of political protest and dissent. Some of the questions we will try to
answer include: how did each of these poets, in their own way, re-imagine the
relationship between poetry and politics? What are the dangers and pitfalls of attempting
to do so? Does poetry have to be directly “political” to have an effect upon the world?
Does poetic experimentalism necessarily lead to aestheticism or abstraction, or is the
attempt to redefine what it means to be “political,” poetry’s only chance at making a
difference? While we will read some of the work of Shelley’s and Keats’ contemporaries
and predecessors (including Coleridge and Wordsworth) in order to gain an
understanding of the intellectual and political context out of which the two poets
emerged, our focus will be on Shelley’s and Keats’ major works. We will read a number
of their poems, plays, prose essays and letters, including Shelley’s Queen Mab,
Prometheus Unbound, The Defence of Poetry, A Philosophical View of Reform, and
Keats’ Endymion, Hyperion poems and Odes. Assignments will include a mid-term
paper, response papers and a final essay.
Texts/ Course Materials: Keats, John. The Major Works. Oxford Press
Shelley, Percy. Shelley’s Poetry and Prose. W.W. Norton.
Selected Reserve Readings on website.
Evaluation: * Mid Term 6-7 pp. Paper (30%)
= Final 9-10 pp. Paper 35%)
= Class Participation (see below) (15%)
= Bi-Weekly Response Papers (5) (20%)
Mid- Term and Term papers: The instructor will provide topics for the essay, or, in
consultation with him, you may write on a topic that he explicitly approves. You must
seek approval for an alternative topic by e-mailing a paper proposal (of approximately
200 words)
Grading Scale/ Criteria: All assignments, including participation, will be graded on an
ACE scale:
A:4.0 A-:3.7 B+: 3.3 B:3.0. B- :2.7. C+:2.3 C:2.0 C-: 1.7. D+:1.3 D: 1.0. F:0.0
Student Learning Objectives:
-Ability to demonstrate familiarity with major themes and characteristics of the
the works of second generation Romantics (Keats and Shelley). Demonstrate in-
depth understanding of the range and breadth of each authors respective oeuvres.
-Ability to read, understand and explicate major works of poetry and prose. Write
analytic essays showing insight into the major works of the Romantic period.
-Recognize the historical and intellectual background informing the works of the
authors studied.
Class Participation: Since this class is a collaborative effort, and not just a lecture
course, in-class participation is essential and constitutes 15% of your grade. This means
that you must have read the material, and be prepared to discuss it in class. You will be
graded partly on the consistency and insightfulness of your oral responses, and partly on
the clarity and insightfulness of your discussion papers and discussion paper responses
(see “discussion papers” below). You will also be asked to complete drafts for papers,
and other tasks that will be part of your participation grade.
Course Format: The class will combine lecture, discussion and workshop sessions. You
are expected to come to each class having closely read the assigned texts, and should be
prepared to discuss them in detail. It is recommended that you take detailed notes BOTH
in class and while you are reading the assignments.
Response Papers: This class deals with some difficult poetic and philosophical texts. In
order to stay on top of things, and to be prepared to discuss these texts in detail, you will
be asked to generate several 1 page typed response papers throughout the semester.
EACH RESPONSE PAPER MUSTBE SUBMITTED IN HARD COPY TO ME AND
POSTED ON THE DISCUSSION LIST-SERV ON BLACKBOARD. These papers
should deal with a key feature of a text (ONE text) that we have discussed in the previous
2 weeks, and attempt to analyze what is significant about that feature, how it relates to
our discussions in class, or how you might anticipate it relating to other issues we have
discussed. Focus your papers on a close reading of a passage from the text that you
choose.
Attendance: Attendance at all classes is mandatory. In case of emergencies, I allow
students three unexcused absences per semester. If you have to miss a class, I simply
apply one of these absences. After you use up your three excused absences, you will lose
1/3 of a letter grade from your final course grade for each subsequent absence. Cell
Phones are to be turned off during class. Students who violate normal standards of
classroom behavior by socializing or by reading or working on other materials will be
asked to leave. Students browsing the web, or texting will be asked to leave, and will lose
1/3 of a letter grade from their participation grade for each incident. Students are
expected to write their own essays, and should not rely extensively on friends, tutors or
other sources of assistance. Students requiring extra help are advised to contact the
instructor (particularly during office hours)
Withdrawing from the Course: Students who stop attending class must officially
withdraw from the course. This must be done by the official withdrawal deadline, which
is available at the Registrar’s Office. Failure to withdraw properly will result in a grade
being assigned.
Reasonable accommodations will be provided for students with documented physical,
sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you have
a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 130, 518-442-5490, DRC@albany.edu).
That office will provide the course instructor with verification of your disability, and will
recommend appropriate accommodations.
Statement on Academic Honesty: Students are expected to understand and follow the
university’s guidelines on academic honesty, as defined in the Undergraduate Bulletin:
Plagiarism and cheating will result in automatic failure. Students should understand
plagiarism to include: “presenting as one’s own work the work of another person (for
example, the words, ideas, information, data, evidence, organizing principles, or style of
presentation of someone else). Plagiarism includes paraphrasing or summarizing without
acknowledgment, submission of another student’s work as one’s own, the purchase of
prepared research or completed papers or projects, and the unacknowled ged use of
research sources gathered by someone else. Failure to indicate accurately the extent and
precise nature of one’s reliance on other sources is also a form of plagiarism. The student
is responsible for understanding the legitimate use of sources, the appropriate ways of
acknowledging academic, scholarly, or creative indebtedness, and the consequences of
violating University regulations.”
Schedule of Required Readings: This schedule is subject to change- all changes will be
announced and discussed in class.
Jan 19- Introduction to the Course.
Jan 24- 19'"-Century England, A Very Short Introduction Ch. 1-6. (Blackboard).
Jan 26- Wordsworth, “Preface to Lyrical Ballads, 1802,” “Tintern Abbey.” Coleridge,
“Statesman’s Manual.” (All Blackboard).
Feb 2- Shelley, “The Sensitive-Plant,” “Mont Blanc.”
Feb 7- Keats, “Ode to a Nightingale,” “Ode to Autumn,” “Endymion, Book 1” Response
Paper #1 Due.
Feb 9- Keats, “Endymion, Book 2,” “Letters p.352-357.”
Feb 14- Keats, “Endymion Books 3-4.”
Feb 16- Keats, “Ode ona Grecian Urn,” “Ode to Psyche,” “Ode on Indolence,” “Letters
p.369-383.” Response Paper #2 Due.
Feb 21- Winter Break- NO CLASS.
Feb 23- Winter Break- NO CLASS.
Feb 28- Keats, “Hyperion.” “Letters p.394-398, 492-494.”
Mar 2- Keats, “Fall of Hyperion.” “Letters p.449-475. P.501-519.”
Mar 7- Keats, “The Eve of St. Agnes,” “Lamia- Part 1.” Response Paper #3 Due.
Mar 9- Keats, “Lamia, Part 2,” “Bright Star,” “What Can I do to Drive Away?” “This
Living Hand, Now Warm and Capable....” ‘Letters p.530-32, 535-36, 539-43.
Mar 14- Shelley, “Adonais.” Mid-Term Paper Due.
Mar 16- Shelley, “The Necessity of Atheism,” “A Declaration of Rights,” “There is No
God,” (All Blackboard). “To the Emperors of Russian and Austria...”. Byron,
“Prometheus,” “Ode to Napoleon Buonaparte” (Blackboard)
Mar 21- Shelley, “Queen Mab Cantos 1-4.”
Mar 23- Shelley, “Queen Mab, Cantos 5-9,” ““Mutability.”
Mar 28- Shelley, “To Wordsworth,” “Ozymandias,” “Lines Written among the Euganean
Hills.” “The Cenci, Act 1.”
Response Paper #4 Due
Mar 30- Shelley, “The Cenci, Acts 2-5.”
Apr 4- Shelley, “Prometheus Unbound, Acts 1-2.”
Apr 6- Shelley, Prometheus Unbound, Act 3.”
Apr 11- Shelley, “Ode to Liberty,” “The Mask of Anarchy,” “England in 1819,” “To the
Republic of Benevento.” Response Paper #5 Due
Apr 13- Shelley, “Epipsychidion.”
Apr 18- Spring Break- NO CLASS.
Apr 20- Spring Break- NO CLASS.
Apr 25- Spring Break- NO CLASS.
Apr 27- Shelley, “A Defence of Poetry.”
May 2- Review
May 9- Final Paper Due by 4:00 PM in my box in the Department (HU 382) or in
person. Electronic Copies are not acceptable.
AENG 346: Studies in Shakespeare — Topic: Cross Dressing in the Comedies
Class # 9658
3 Credits, no pre-requirements necessary
Spring 2019 / Class Location: HU-039
MWF from 11:30am — 12:25pm
Instructor: Dr. Ineke Murakami
Semester: Fall 2020
imurakami@albany.edu
Hours: By appointment
Office: HU 328
Phone: 442-4072
Course Description:
This course is designed to introduce you to the motif of cross dressing in Shakespeare’s
comedies. You will examine Shakespeare’s use of character, language, theme, form, and
structure through reading The Two Gentlemen of Verona, Twelfth Night, The Merchant of
Venice, As You Like It, and Cymbeline. The course is designed for English and theatre
majors.
Course Objectives:
Cross dressing was a common motif in the Elizabethan English theatre. Played by pre-
adolescent boys, Shakespeare’s comedies routinely portrayed young women cross-
dressing as men. Shakespeare’s heroines challenged societal assumptions about sex and
gender by portraying them as roles assumed and abandoned as a player puts on a costume
and takes on a character. These women engaged in commerce, served lords as pages, and
even practiced law. During the course of the semester, we will read and analyze The Two
Gentlemen of Verona, Twelfth Night, The Merchant of Venice, As You Like It, and
Cymbeline. We will discuss English Elizabethan societal gender relations and read
passages from period pamphlets. We will also read contemporary scholarship by Jean E.
Howard and David Cressy. We will watch clips from stage productions like Tim Carroll’s
2013 Globe on Screen version of Twelfth Night and screen adaptations. Coursework will
consist of interactive lectures, in-class exercises, tests, staged readings, and a final paper.
By the end of the semester, you will understand why the subject continues to resonate
with us today.
Required Texts:
The Two Gentlemen from Verona (ISBN-13: 978-0671722951)
Twelfth Night (ISBN-13: 978-0743482776)
The Merchant of Venice (ISBN-13: 978-0743477567)
As You Like It (ISBN-13: 978-0743484862)
Cymbeline (978-06711722593)
Tam requiring that you obtain physical copies of the Folgers Shakespeare Library
editions of The Two Gentlemen of Verona, Twelfth Night, The Merchant of Venice, As
You Like It, and Cymbeline. No E-Books, please. I am doing this to ensure that we are all
reading the same high-quality edition of each play. All of the plays are available to
purchase at the university bookstore and online retailers like Amazon and Barnes &
Noble.
Grading:
4 Tests: 25%
1 Staged Reading 25%
4 In class exercise: 25%
1 Final Paper: 25%
Your final grade will be based on the combined average of your tests, in class exercise, in
class performance and final exam. You grade will be graded on an A —E scale:
A =95-100, A - = 91-94, B+ = 88-90, B = 84-87, B- = 80-83, C+ = 77-79, C = 73-16,
C-= 70-72, D+ = 63-66, E = 65 and below.
Attendance:
In order for you to successful in this course, you will need to attend all of the scheduled
classes with the assigned text for that day. In order to ensure your compliance, I will be
taking attendance at the beginning of each class. To be counted as present, you will need
to sign into the attendance book at the beginning of each class. Students with a total of
seven unexcused absences will automatically fail the course. Any type of family and
medical emergency will need to be excused by the dean’s office.
Tests:
At the end each play, you will take an in-class test on the text. The test will be a combination
of multiple-choice questions, true or false questions, language analysis, and short essay
questions. The tests will be graded out of 100 points. The four tests will count towards 25%
of your final course grade.
In Class Exercises:
During the course of the semester, you will complete in class group exercises on each of
the four texts. The exercises will include close reading exercises, writing assignments, and
group discussion questions. The in class group exercises will be graded out of 100 points
and count for 25% of your final grade.
Staged Reading:
During the course of the semester, you will perform a staged reading of the speeches from one of
the six plays. A strong staged reading will develop its own interpretation of the speech. You are
free to reimagine the character in anyway you choose. You can change their gender, age,
nationality, etc. You are also free to modify the speech itself. You can cut and reword passages of
the speech in any manner that you wish. You will perform the speech in front of the class. A strong
staged reading will include a dynamic physical performance. You are free to move about the stage
and use hand gestures. You will also need to hand in a printed version of your edited script. The
staged readings will be graded out of 100 points. It will count towards 25% of your final grades.
Students who wear costumes and use props will receive extra credit.
Final Paper
At the end of the semester, you will write a final research paper on two of the plays that we
have read this semester. A good final research will pose a clear and interesting thesis on
the cross-dressers and what they reveal about the text. You will need to support your thesis
with direct evidence from the texts and secondary scholarly sources. The final research
paper is worth twenty-five percent of your final course grade.
Classroom Etiquette:
I see the classroom as safe place where students feel free to engage with each other and the
instructor in scholarly discussions. As a result, I require that you treat each other and your
ideas with respect. If you disagree with someone then you may certainly express your
opinion, but you must always do so in a respectful manner that doesn’t degrade your peer.
Iam of course to be held to the same standard. Please never hesitate to ask me a question
or express an opinion that you think that I won’t like. I may disagree with you, but I am
always open to hearing your ideas on the subject. While I encourage class discussion,
please do not engage in private conversation while I am lecturing or someone is speaking
in order not to distract the speaker. If you continue this disrespectful behavior, I will
penalize your grade.
Revisions/Late Assignments:
I will not accept late or revised assignments.
Academic Dishonesty:
“Every student has the responsibility to become familiar with the standards of academic
integrity at the University.” (University at Albany, Undergraduate Academic Regulation)
The University at Albany strictly forbids any form of academic dishonesty such as
plagiarism, cheating on examinations, multiple submissions, sabotage, and unauthorized
collaboration. In other words, any form of misrepresenting one’s work. Any student who
is caught performing an act of academic dishonesty will be reported to the dean’s office
and will receive a zero on that assignment.
Warning about controversial and explicit material:
In this course we will be covering controversial ideas concerning sexuality, gender,
religion, politics, and race. If you are unwilling to do this for any reason than you may need
to consider dropping the course.
Schedule
Wed, Jan 23": Introduction to course
Fri, Jan 25": Elizabethan Cross Dressing. Howard and Cressy Articles
Mon, Jan 28": Shakespeare’s genres
Wed, Jan 30": Act 1 Scenes 1 — 3 of The Two Gentlemen of Verona
Fri, Feb 1": Act 2 Scenes 1 — 7 of The Two Gentlemen of Verona
Mon, Feb 4": Act 3 Scene 1 — 2 of The Two Gentlemen of Verona
Wed, Feb 6": Act 4 Scene 1 — 4 of The Two Gentlemen of Verona
Fri, Feb 8": Act 5 Scenes 1 — 4 of The Two Gentlemen of Verona
Mon, Feb 11": Screen Adaptations on The Two Gentlemen of Verona
Wed, Feb 13": Test on The Two Gentlemen of Verona
Fri, Feb 15": Act 1 Scenes 1 — 3 of The Merchant of Venice
Mon, Feb 18": Act 2 Scenes | — 9 of The Merchant of Venice
Wed, Feb 20": Act 3 Scenes 1 — 5 of The Merchant of Venice
Fri, Feb 22": Act 4 Scenes 1 — 2 of The Merchant of Venice
Mon, Feb 25": Act 5 Scenes | of The Merchant of Venice
Wed, Feb 27": Screen Adaptation of The Merchant of Venice
Fri, March 1*: Test on The Merchant of Venice
Mon, March 4": Act 1 Scenes 1 — 3 of As You Like It
Wed, March 6": Act 2 Scenes 1 —7 of As You Like It
Fri, Fri, March 8": Act 3 Scenes 1 — 5 of As You Like It
Mon, March 11": Act 4 Scenes 1 — 3 of As You Like It
Wed, March 13": Act 5 Scenes 1 — Epilogue of As You Like It
Fri, March 15": Screen on Adaptation of As You Like It
Mon, March 18": Spring Break (Online Test on As You Like It)
Wed, March 20": Spring Break
Fri, March 22": Spring Break
Mon, March 25": Act 1 Scenes 1 —5 of Twelfth Night
Wed, March 27": Act 2 Scenes 1 — 5 of Twelfth Night
Fri, March 29": Act 3 Scenes 1 — 4 of Twelfth Night
Mon, April 1“: Act 4 Scenes 1 — 3 of Twelfth Night
Wed, April 3: Act 5 Scene | of Twelfth Night
Fri, April 5": Screen Adaptation of Twelfth Night
Mon, April 8": Test on Twelfth Night
Wed, April 10": Act 1 Scenes 1 — 6 of Cymbeline
Fri, April 12": Act 2 Scenes 1 — 5 of Cymbeline
Mon, April 15": Act 3 Scenes 1 — 7 of Cymbeline
Wed, April 17": Class Canceled for Conference
Fri, April 19": Class Canceled for Conference
Mon, April 22": Act 4 Scenes 1 — 4 of Cymbeline
Wed, April 24'": Act 5 Scenes 1 — 5 of Cymbeline
Fri, April 26": Screen Adaptation of Cymbeline
Mon, April 29": Staged Readings
Wed, May 1*: Staged Readings
Fri, May 3":Staged Readings
Mon, May 6": Final Paper Guidelines
Wed, May 8": Last Day of Class
Wed, May 13": Final Paper due!
Contemporary Writers at Work
Professor Mary Valentis
English 350 (1872) ; no pre-requisites. mbvbooks @aol.com
TTh 4:15-5:35 p.m. 518-442-4082
HU 039 Office: HU 337
Fall 2018 Office Hours: TTH 2:00-3:30
and by appointment
A ENG 350 Contemporary Writers at Work (3 CREDIT HOURS)
Rhetoric and poetics as practiced by contemporary writers across a
range of genres and media. Particular attention to social, intellectual, and
aesthetic contexts out of which such work emerges.
This course dovetails with the New York State Visiting Writers Series.
Students read the published work of a variety of genres and media by
authors and artists appearing on campus throughout the semester.
Students also meet these artists in seminars devoted to the author’s work
and participate fully in the question and answer sessions. This semester
the Institute will host several celebrities like Sean Penn, Aly Raisman, the
gymnast, and the actor Justine Bateman all of whom are part of fame or
celebrity culture. Besides these topics, we will consider broader issues
facing writers in today’s culture and the literary marketplace. We will also
study the historical and intellectual issues as well as the aesthetic and
literary approaches at work in each artist’s vision.
Objectives:
To explore and think critically about the human quests for meaning and
beauty through acts of reading and writing in a world beset by
environmental, social, and political challenges. Upon completion ofthe
course, students willhave met and engaged with some of the leading
fiction, memoir, and non fiction writers of our times. They will devise
questions for each assigned craft talk and write follow up essays
assessing the presentations. They will produce original videos, memoirs,
poetry chapbooks, poetry rants and slaminspired by the parade of
contemporary artists and writers in a variety of genres.
Suggested Texts: Strunk and White Elements of Style
Author Seminars:
You will be required to attend all designated author seminars held during
class time. Several authors will not be presenting seminars during class
time but will be reading and presenting in the evening. Actor Sean Penn
for instance. will be featured in an evening presentation at Page Hall.
Tickets and books for his appearance are free. Your assignments will
consist of prepared questions in advance of the writer’s appearance; 2
page follow-up papers after the appearance; and a final project based on
your attendance at the seminars and assessments of the authors’ works.
Because of the unconventional scheduling involved in this class, you are
encouraged to attend as many evening readings and film screenings as
you possibly can manage. You will also be assigned short creative
exercises based on the various genres and authors’ works.
Grades: will be based on eight short written assignments 50%;
discussion and seminar participation 20%; and your final project 30%.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79)
C (73-76) C- (70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Journal: Please keep a running journal of your impressions, thoughts
about each writer or about writing. Jot down those writers that intrigue
you, call your ideas into question, provoke your imagination etc.
Attendance: You are allowed two unexcused absences for the class.
More than two will result in lowered grades.
Participation: Please come to class ready to discuss all sorts of issues
and topics, tell stories, debate and generally engage with the writers and
their texts. Keep up with the reading, screen the films and live the writer’s
life both vicariously and in person.
Academic Integrity:
Plagiarism of any kind, “that is presenting as one’s own work the work of
another person, copying, paraphrasing or summarizing without
acknowledgement, submission of another student’s work as one’s own,”
Wikipedia ing or lifting materials from websites without attribution, will
result in failure and disciplinary action.
Comportment: As guests of The Writers Institute and in respect for the
writers, your behavior in the seminars and in class is expected to be
considerate and unobtrusive. Please do not get up and leave the
presentations to check your email, take a call, a text etc. instagram,
snapchat etc. Go to the bathroom before class. Turn off electronic
devices except to research something in class.
Required Reading: books are available at the bookstore, on amazon
and kindle and at the Book House, Stuyvesant Plaza.
ANTS AMONG ELEPHANTS
REQUIRED |By GIDLA
EDITION: 17
PUBLISHER: MAC HIGHEF
ISBN: 9780865478114
EDUCATED:A MEMOIR
REQUIRED |By WESTOVER
EDITION: 18
PUBLISHER: PENG RAND
Is! 9780399590504
POET X
REQUIRED |By ACEVEDO
EDITION: 18
PUBLISHER: HARP PUB
IsBN: 9780062 )4
BOB HONEY JUST DO STUFF
REQUIRED |By PENN
EDITION:
PUBLISHER S
isBN: 9781501189043
FAME
REQUIRED By BATEMAN
2018
ER: INGRAM PUB
9781617
EDITION:
56603
WHEN WE WERE GHOULS
REQUIRED |By WALLEN
EDITION: 2018
PUBLISHER: LONGLEAF
ISBN: 30803296954
FRIDAY BLACK
REQUIRED |By ADJEI-BRENYAH
EDITION: 2018
PUBLISHER: HM
IsBN: 97813289
WILD BEAUTY
REQUIRED [By SHANGE
EDITION: 2017
PUBLISHER: S+S
IsBN: 9781501169939
FIERCE
REQUIRED |By RAISMAN
EDITION: 2017
PUBLISHER: HACHETTE B
ISBN: 316472708
Fall 2018 Schedule of Events / Weekly topics
September 6 (Thursday): Elizabeth Acevedo, rising star of American poetry
and bestselling YA novelist
Craft Talk — 4:15 p.m., Multi-Purpose Room, Campus Center West Addition
Presentation/Q&A — 7:30 p.m., Recital Hall, Performing Arts Center
Elizabeth Acevedo, the daughter of Dominican immigrants, is a National Poetry
Slam Champion (2014) and author of the New York Times bestselling young adult
novel, The Poet X (2018), the story of an Afro-Latina teenager growing up in New
York City. She confronts prejudice and sexual harassment while discovering her
voice and her literary ambitions. School Library Journal called it, “magnificently
crafted,” and bestselling YA author Jason Reynolds called it, “an incredibly potent
debut.” Acevedo’s viral poetry videos about oppressive beauty standards and rape
culture have been showcased by Cosmopolitan, Huffington Post, Latina Magazine and
PBS.
Cosponsored by the UAlbany Student Association and Department of Latin American
and Caribbean Studies
September 7 (Friday): — MILK
Film screening— 7:30 p.m., Page Hall, 135 Western Avenue, Downtown
Campus
(United States, 2008, 128 minutes, color) Directed by Gus Van Sant. Starring Sean
Penn, Josh Brolin, Emile Hirsch.
Harvey Milk, University at Albany alumnus (Class of 1951) and founding figure of
the Gay Rights Movement, is portrayed by major American actor Sean Penn in this
Oscar-winning biographical film.
Shown in association with Sean Penn’s visit on Friday, September 21 (see
separate listing).
September 13 (Thursday): John Leland, New York Times reporter and
bestselling author
Craft Talk — 4:15 p.m., Alumni House Conference Room [NOTE MORNING AND
AFTERNOON EVENT ONLY]
John Leland, Metro Reporter for the New York Times, is the author of the national
bestseller, Happiness Is a Choice You Make: Lessons from a Year Among the Oldest Old
(2018), a book that challenges accepted notions about aging, contentment and
quality of life. Eminent health columnist Jane Brody called it, “inspired and
inspiring,” and AARP The Magazine called it, “uplifting and wise.” A former senior
editor at Newsweek, Leland is also the author of Hip: The History (2004), “an
insightful chronicle of cool” (Esquire), and Why Kerouac Matters: The Lessons of On
the Road (They're Not What You Think) (2007).
September 21 (Friday): UNIVERSITY AT ALBANY SPEAKERS SERIES
Sean Penn, actor, director, author and activist
Conversation/Q&A - 7:30 p.m., Page Hall, 135 Western Avenue, Downtown
Campus
Sean Penn, one of the preeminent actors of American cinema, is the winner of two
Academy Awards for Best Actor— the first for MYSTIC RIVER (2003) and the second
for his portrayal of UAlbany alum Harvey Milk in MILK (2008). A prize-winning
director, his adaptation of Jon Krakauer’s INTO THE WILD appeared on numerous
top ten lists in 2007. Published in 2018, Penn’s acclaimed first novel is Bob Honey
Who Just Do Stuff, the tale of an “odd job man” who kills off the weak and the sick as
part of a secret contract with the U. S. government. Salman Rushdie said, “great fun
to read.... Thomas Pynchon and Hunter S, Thompson would love this book.”
Cosponsored by the Justice and Multiculturalism Project in the School of Criminal
Justice, University at Albany Student Association, Division of Student Affairs, Alumni
Association, and University Auxiliary Services in partnership with the New York State
Writers Institute.
September 28 (Friday): New York State Author and Poet Awards, and Book
Launch of William Kennedy’s Bootlegger of the Soul
September 29 (Saturday): Albany Book Festival
October 4 (Thursday): Tara Westover, bestselling memoirist and historian
Craft Talk — 4:15 p.m., Standish Room, Science Library
Presentation/Q&A — 7:30 p.m., Page Hall, 135 Western Avenue, Downtown
Campus
Tara Westover is the author of the #1 New York Times bestselling memoir,
Educated (2018), about her experiences as the daughter of an “anti-education”
survivalist family that devoted its time and energy to preparing for the End of Days
in the mountains of Idaho. Westover first set foot in a classroom at the age of 17,
graduated magna cum laude from Brigham Young University in 2008, and went on
to earn a PhD in history from Cambridge University in England in 2014. Writing in
the New York Times, Amy Chua called the book, “a beautiful testament to the power
of education to open eyes and change lives.”
Cosponsored by the State Education Department's Office of Cultural Education and
Friends of the New York State Library
October 9 (Tuesday): Justine Bateman, TV actress, writer, director and net
neutrality activist
Craft Talk — 4:15 p.m., Multi-Purpose Room, Campus Center West Addition
Presentation/Q&A — 7:30 p.m., Campus Center Ballroom
Justine Bateman achieved TV stardom as the superficial and materialistic “Mallory
Keaton” on the primetime comedy, Family Ties (1982-1989). Her first book, Fame:
The Hijacking of Reality (2018) is an “insider’s” analysis of America’s culture of
celebrity and its profound impact on personal and national life. Ready Player One
author Ernest Cline said, “Justine Bateman has crafted the most compelling and
comprehensive treatise on the nature of fame that you're ever likely to read.” An
activist for net neutrality, Bateman has addressed the topic before the U.S. Senate
Committee on Commerce. She earned a degree in Computer Science and Digital
Media from UCLA in 2016, and is completing her first feature film as director.
October 16 (Tuesday): College of Arts and Sciences 25" Anniversary
David Gersten, architect and writer
Conversation — 4:15 p.m., Standish Room, Science Library
Conversation /Q&A — 7:00 p.m., Recital Hall, Performing Arts Center
David Gersten is an influential artist, architect, writer, educator, TED speaker,
motivational thinker, former Dean of Architecture at Cooper Union, and originator
of the concept of “spatial literacy’ — an understanding of the profound impact of our
surroundings on personal and collective experiences. In 2013, Gersten founded Arts
Letters & Numbers, a nonprofit arts, education, and publishing organization
dedicated to creating creative exchanges across a wide range of disciplines including
Architecture, Visual Arts, Theatre Arts, Film, Music, Humanities, Sciences, and Social
Sciences. The organization is based at The Mill, a repurposed factory in Averill Park
that hosts a variety of art installations, immersion workshops and creative
happenings.
October 18 (Thursday): Amy Wallen, memoirist and novelist
Craft talk—4:15 p.m., Standish Room, Science Library
Amy Wallen grew up in Nigeria, Bolivia, Peru and elsewhere, the daughter of a blue
collar Southern father employed as an exploratory driller by the oil industry. Her
memoir, When We Were Ghouls (2018), is an attempt to recover the elusive
memories of her unusual childhood. Novelist Claire Messud said, “Amy Wallen’s
beautiful memoir, replete with fantastic stories, will carry you across continents and
introduce you to amazing characters.” Wallen serves as Associate Director of the
New York State Summer Writers Institute in Saratoga Springs. Her first novel,
MoonPies and Movie Stars, was a Los Angeles Times bestseller.
October 23 (Tuesday): Sujatha Gidla, acclaimed memoirist and NYC subway
conductor
Craft Talk — 4:15 p.m., Standish Room, Science Library
Conversation/Q&A — 7:30 p.m., Huxley Theatre, NYS Museum, Cultural
Education Center, Albany
Sujatha Gidla is the author of Ants Among Elephants: An Untouchable Family and the
Making of Modern India, the story of a family’s attempts to achieve a better life
against all odds, and one of the most talked -about books of 2017. The Economist
reviewer said, “It is quite possibly the most striking work of nonfiction set in India
since Behind the Beautiful Forevers by Katherine Boo, and heralds the arrival ofa
formidable new writer.” Gidla was the featured author on the front cover of
Publishers Weekly’s “Best Books of 2017” issue, and the book was named among the
year’s “Top Ten.” Born into generations of crushing poverty in the lowest caste in
her home state of Andhra Pradesh, Gidla studied Physics at a regional college,
emigrated to the U.S., and now works as a conductor on the New York City subway.
Cosponsored by the State Education Department's Office of Cultural Education and
Friends of the New York State Library.
October 30 (Tuesday): Nana Kwame Adjei-Brenyah, UAlbany alum and break-
out literary star
Craft Talk — 4:15 p.m., Recital Hall, Performing Arts Center
Conversation/Q&A — 7:30 p.m., Recital Hall, Performing Arts Center
Nana Kwame Adjei-Brenyah, 2013 University at Albany graduate with a degree in
English, is the author ofa first short story collection, Friday Black (2018), a satirical
look at what it’s like to be young and black in America. The book received
superlative praise froma number of major American authors, including George
Saunders who called it, “an excitement and a wonder: strange, crazed, urgent and
funny...” and said “The wildly talented Adjei-Brenyah has made these edgy tales
immensely charming....” Roxane Gay said, “This bookis dark and captivating and
essential... A call to arms and a condemnation. Adjei-Brenyah offers powerful prose
as parable. The writing in this outstanding collection will make you hurtand
demand your hope. Read this book.”
Cosponsored by the UAlbany English Department and Program in Writing and Critical
Inquiry
November 6: Ntozake Shange, major American playwright and poet
Craft Talk — 4:15 p.m., Standish Room, Science Library
Conversation/Q&A — 7:30 p.m., Main Theatre, Performing Arts Center
Ntozake Shange is a cultural icon, leading feminist and central figure of the Black
Arts Movement. Her 1976 play, “for colored girls who have considered suicide /
when the rainbowis enuf,” is widely regarded as a landmark of African American
theatre. It received the Obie Award for Best Play, as well as a Tony for Best Featured
Actress and a Tony nomination for Best Play. Dr. Shange is also the author of
numerous books of poetry, including the new collection Wild Beauty: New and
Selected Poems (2017), which features more than 60 poems in both English and
Spanish. The Washington Post reviewer called it, “powerful,” and said, “No poet since
Langston Hughes has insisted so forcefully on black people’s right to simply be...”
The Creative Life Series
November 8 (Thursday): Esmeralda Santiago, renowned writer of the Puerto
Rican experience
Craft Talk — 4:15 p.m., Multi-Purpose Room, Campus Center West Addition
Conversation/Q&A — 7:30 p.m., Campus Center Ballroom
Esmeralda Santiago is widely celebrated as a founding mother of Nuyorican
literature. An American classic, her 1993 memoir, When I Was Puerto Rican, was
named one of the “Best Memoirs of a Generation” by Oprah’s Book Club. In 2018, it
was one of five finalists for the “One Book, One New York” community-wide reading
project. The eldest in a family of 11 children, Santiago came to the States from
Puerto Rico at the age of 13. After 8 years of part-time study in community colleges,
she transferred to Harvard where she graduated magna cum laude. Her 2011 novel,
Conquistadora, set in 19th century Puerto Rico, was hailed as a “triumph” in The
Washington Post.
Created and produced by the University Art Museum, Performing Arts Center and NYS
Writers Institute in collaboration with WAMC Northeast Public Radio. Major support
for The Creative Life is provided by The University at Albany Foundation with
additional support from the Alumni Association, College of Arts and Sciences, Office of
the Provost and University Auxiliary Services.
November 13 (Tuesday): Alexander Heffner, author and host of The Open
Mind on PBS
Craft Talk — 4:15 p.m., Multi-Purpose Room, Campus Center West Addition
Community readings of America’s founding documents— 7:00 p.m., Huxley
Theatre, NYS Museum, Cultural Education Center, Albany
Conversation/Q&A— 7:30 p.m., Huxley Theatre, NYS Museum, Cultural
Education Center, Albany
Note: Prior to the evening conversation, a diverse range of community members,
from political leaders to elementary school children, will take the stage to read
memorable lines from America’s founding documents.
Alexander Heffner is the co-author with his late grandfather, the historian Richard
D. Heffner, of a revised and expanded 2018 edition of the million-selling book, A
Documentary History of the United States, first published in 1952. Bill Moyers said,
“Here is fertile soil for exploring our past and imagining our future. Present crises
notwithstanding, you cannot spend time within these pages and be skeptical of our
capacity to overcome, survive, and thrive....” Alexander is also the twenty-something
host of the PBS talk show, The Open Mind, “a thoughtful excursion into the world of
ideas across politics, media, technology, the arts, and all realms of civic life.”
Founded by his grandfather in 1956, The Open Mind is the longest-running public
broadcast in the history of American television.
Cosponsored by the State Education Department's Office of Cultural Education and
Friends of the New York State Library.
November 29 (Thursday): Valeria Luiselli and Alvaro Enrigue,
Craft Talk — 4:15 p.m., Standish Room, Science Library
Conversation /Q&A — 7:30 p.m., EVENT VENUE STILL TO COME
Though they reside in New York City, Valeria Luiselli and Alvaro Enrigue have
been called “the first couple of Mexican fiction” (Vogue). “One of the most
outstanding writers of her generation” (New York Times en Espafiol), Luiselli is the
author most recently of Tell Me How It Ends: An Essay in 40 Questions (2017), which
is based on her experience working as an interpreter for child migrants in the
United States. Her novel The Story of My Teeth (2015), was a finalist for the National
Book Critics Circle Award in Fiction. Alvaro Enrigue’s newest novel is Sudden Death
(2017), abouta 16' century tennis match and battle of ideas between the Italian
artist Caravaggio and Spanish poet Francisco de Quevedo. Salman Rushdie called it,
“Brilliantly original. The best new novel I've read this year."
December 3 (Monday): UNIVERSITY AT ALBANY SPEAKERS SERIES
Aly Raisman, Olympic Gymnast, Six-Time Medalist and Author
Conversation — 7:30 p.m., SEFCU Arena, University at Albany Uptown Campus
Aly Raisman, Olympic gymnast who captained the US team to victory in 2012 and
2016, is one of the most decorated American gymnasts of all time. She’s also an
influential advocate of positive body image, a hero of the #metoo movement, and an
outspoken critic of the prevailing culture in American gymnastics organizations. Her
new bookis Fierce: How Competing for Myself Changed Everything (2017), an
inspiring story of dedication, perseverance, and having a positive outlook even in
the toughest times. A New York Times Bestseller, Fierce was also named an
Entertainment Weekly Best Young Adult Book of 2017. Billie Jean King, founder of
the Women’s Sports Foundation, said, “Aly Raisman is fierce in every sense of the
10
word. Her story is one of persistence, hardship, triumph and leadership and Fierce is
both inspiring and illuminating.”
Sponsored by the University at Albany Student Association, Division of Student Affairs,
Alumni Association, and University Auxiliary Services in partnership with the New
York State Writers Institute.
December 7 (Friday)
Senator Kirsten Gillibrand, children’s book author
Conversation/Q&A - 7:30 p.m., Page Hall, 135 Western Avenue, Downtown
Campus
Senator Kirsten Gillibrand returns to the New York State Writers Institute with her
very first children’s book, Bold & Brave: Ten Heroes Who Won Women the Right to
Vote (Nov. 2018). With illustrations by award-winning artist Maira Kalman, the
book features profiles of inspiring figures in the 70-year fight for women’s suffrage,
including Elizabeth Cady Stanton, Susan B. Anthony, Sojourner Truth, Harriet
Tubman, Jovita Idar, Alice Paul, Inez Milholland, Ida B. Wells, Lucy Burns, and Mary
Church Terrell. The junior United States Senator from New York since January 2009,
Senator Gillibrand is widely regarded as one of the preeminent American political
leaders of her generation.
AENG 351 Studies inTechnology, Media, or Performance
Professor Mary Valentis
Office: HU 337
Voicemail: 442-4082
Email: mbvbooks@aol.com
ES 139
Call #8466
Office hours mon. and wed. 3:00-4:00 and by app’t.
Course Meeting Times MWF 1:40-2:35 PM
Course credit hours: 3 credits, no pre-requisites.
On September 11, 2001, two planes gashed into the twin towers of New York’s
World Trade Center leaving us with a gallery of shared televisual images, a
network of complex meanings and memories, and altered social, political and
psychological terrains. Three years ago we watched as the first African American
president took the oath of office and moved into the white house. This past year
we witnessed mass shootings ata movie theater unearthing the inner world of a
young man crashing into madness; old men parsing the biology of rape, and
women admitted as members into Augusta National Golf Course. These Events
and images reconfirm the actuality that we live in a world of sophisticated images
and advanced communication, and volatile political environments that require
new ways of seeing, reading, and interpreting our surroundings.
Analysis of contemporary culture, and particularly visual culture, calls for the
skills and practices of visual and cultural literacy: that is, the ability to discern and
analyze how meaning is made and transmitted in the visual and media world
through images, signs, and invisible messages. That visual world includes
painting, sculpture, opera, graphic novels, photography, architecture, film, new
media, a television program, an advertisement, a museum, and such spectacles
as hysteria, rock concerts, wrestling matches, music videos, trials, mass funerals,
fashion, food competitions, dog shows, digital technologies, and so on. The shift
from so-called print to visual culture is in fact a return to the iconographic
practices and the visually literate populace of past centuries before the advent of
the book.
This course provides the theoretical foundation and visual skills for reading and
viewing the collective psyche as manifested in mass culture, media, and
performance—hypermodern culture in general.
It brings together multiple fields of study including art history, psychology, critical
and cultural theory, philosophy, and film studies. Cultural productions and
phenomena such as global terrorism, crime, climate change, Fashion, gender
psychology, spectacle, reality shows, architecture, technology, postmodern
bodies, and video will be studied. Readings will include Texts from Dubois,
Lacan, Fanon, Barthes, Butler, Baudrillard, Zizek, Seltzer, and virilio as well as
Others. Students will perform independenton site work at on and off campus
sites, using cable television, videos, film, and on the internet. Emphasis will also
be placed on the substantial psychoanalytic approaches to culture that came
after Freud including the theories of Melanie Klein, Alice Miller, Hans Kohut, and
otto kernberg to name a few. These theorists and others' will provide ways to talk
about culture as repetition compulsion, borderlinity, narcissism, psychopathology
and the hyper-real.
Leaming objectives: Upon completeion of the course, studentwill be skilled in
visual literacy; that is, the ability to analyze and “read” images on film, screen
media, the built environment, and mass cultural phenomena.
Students will be steeped in the theory and practice, the conventions of visual
studies and its practitioners. They will be able to notonly absorb visual and
mass culture butto proactively analyze what they are seeing and experiencing.
Classes will combine lecture, discussion, and workshop formats where students
can develop ideas for blogs, videos, internet productions and essays. Students
are responsible for all the readings in advance of classes and should be ready
and prepared to engage in conversation. That means that cell phones, smart
phones, and lpods/pads should be turned off unless we are using them for
purposes of discussion, bathroom breaks should be confined to before and after
class.
Grading will be based on a take-home midterm 35%, a major project and
presentation 50% and 3 short papers dispersed throughoutthe semester 15%. of
course plagiarism in any form is unacceptable, but please don't hesitate to
consult with the instructor on how to cite websites, paraphrase, or present
anyone else’s ideas or materials. Students are allowed 3 unexcused absences.
After that, points will be deducted from your grade. In cases of medical or other
personal emergencies, please don’thesitate to contact me via voice mail or
email.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C
(73-76) C- (70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Academic Integrity: Plagiarism and other forms of academic dishonesty will not
be tolerated. Unless otherwise stated, all work is to be conducted and produced
individually and all work submitted must be the student's own, unless the
assignment specifically calls for collaboration and/or external sources; external
sources must be properly credited. Students should familiarize themselves with
the University's policies on academic dishonesty (see the Undergraduate
Bulletin: https:/www.albany.edu/undergraduate bulletin/regulations.html). Such
acts will result in a failing grade for the assignment and, quite possibly, the
course. ALL incidents of academic dishonesty will be referred to the Office of
Undergraduate Education. To learn more about plagiarism and how to avoid it,
view the “Plagiarism 101“ informational website and tutorial at http://
library.albany.edu/usered/plagiarism/index.html.
Required Texts:
Nicholas Mirzoeff, editor. The visual culture reader
Tentative schedule:
8/27 introduction, hand out syllabus
8/29 read the subject of visual culture by mirzoeff
9/5 Plug-in Theory read introduction
9/10 Read Descartes, marx, du bois, lacan,
9/12 read fanon, mccluhan, barthes, althusser
9/19 read debord, baudrillard, butler, hayles
9/24 video the examined life with discussion
9/26 No Class
10/1 read introduction on spectacle and display
10/15 Discussion on spectacle types
10/17 Midterm review and exam handed out
10/21las vegas, disneyworld, dubai
10/23 junkspace, po mo architecture, malls
10/28 Fashion, tiara tots, childhood, addictions, violence,
facebook,
diet, celebrit
10/30 planning and discussions for final projects
11/5 read introduction global digital, Katherine Hayles
11/7 Social network film and discussion
11/12 Social network film and discussion
11/14read introduction the body and sexuality
11/19 read haraway, balsamo, jones
11/26 psychoanalysis, gender and the body
11/28 presentations of final projects
12/3 presentations of final projects
12/5 presentations of final projects
12/10 presentations of final projects (take home final handed out)
12/15 Final Handed in online
ENGLISH 355 Studies in Film (Class # 8049), 3 credits, No Pre-req’s
Topic: TRAUMA CINEMA: Cinematic Disruptions: Personal and
Collective Wounds
Laura Wilder
Synchronous, ONLINE
TTh 4:30-5:45
Iwilder@albany.edu
Office Hours by appointment
Trauma and Film:
Zoom Meeting ID: 983 9623 2718
Trauma theory has become a vital, interdisciplinary area of critical studies
since the1980s, via the interface between psychology and the humanities.
The incorporation of trauma theory into film and media studies plus multiple
publications in the field of psychoanalytically informed film theory have
amplified these relationships; trauma studies now inform historical events,
media objects and subjects, spectatorship, and mental processes. Trauma
theory has opened debate about the nature and location of trauma; memory
studies; Holocaust trauma, pandemic trauma, racial oppression and PTSD,
and environmental shock and dislocation.
This class in the English Department’s visual culture track explores key
works in the field, including the scholarly research of Caruth, Felman and
Laub, Radstone, and Kaplan. Students will become familiar with these
foundational texts in contemporary trauma theory and will study a spectrum
of trauma films including Little Children, based on a novel about pedophilia,
childhood trauma, and trauma culture; The Reader, a film combining sexual
trauma and the Holocaust, The Talented Mr. Ripley, psychopathology and
trauma; Silence of the Lambs, a classic study of childhood trauma,
psychopathy, and gender dysmorphia; Black Swan, Aronofsky’s dark ballet
vision about trauma, borderlinity, and hallucinatory imaginings; Hitchcock’s
Marnie, another example of childhood molestation and traumatic memory,
and The Hereafter Clint Eastwood’s depictions of three traumatic events:
one environmental, another accidental, and the other intra-psychic trauma.
Films will be balanced with readings in both psychoanalytic film theory and
the latest research on trauma and the brain, trauma and childhood, traumatic
memory, developmental trauma, and the neuroscience of trauma.
REQUIRED TEXTS:
Todd McGowan: Psychoanalytic Film Theory and The Rules of the Game
Bessel Van der Kolk: The Body keeps the Score: Brain, Mind, and Body in
the Healing of Trauma
REQUIRED FILMS:
Because of licensing regulations and the time limitations of remote teaching
and the pandemic, I will be able to show film clips rather than longer film
sections. Students are required to watch the following films in their
entirety, and take notes throughout the screenings. These notes will make up
the major content of your film journal in addition to your thoughts on
trauma, repressed memory, and personal experiences. Films should be
prepared for the first day of lecture and discussion.
Little Children
Marnie
The Reader
The Talented Mr. Ripley
Silence of the Lambs
Black Swan
The Hereafter
The Undoing
The Queen’s Gambit
FILM JOURNAL:
Students are expected to buy and keep a film journal to record your
observations and notes about the films we are studying, and other thoughts
on trauma, the theory, and ideas for papers. Journals will be handed in at
semester’s end.
COURSE OBJECTIVES:
This course in Cinema and Psychoanalysis will serve as an introduction to
the central theories, practices, and history of three fields: trauma studies;
film theory and analysis; and psychoanalysis. While psychoanalysis’
methodology has been appropriated by literary theory and film critique, and
is rarely employed by practitioners, the ideas and techniques remain
extremely useful tools to teach the principles and practices of cinematic
analysis, trauma theory, and visual studies. Course objectives include: to
develop visual literacy, the practice of “reading” and analyzing visual texts,
such as films and televisual productions; to inculcate students with the
practices of critical thinking and multi-layered analysis via cinematic and
psychoanalytic texts. The course fulfills the critical thinking component
of the General Education objective. Visual culture studies draws on
contemporary film theory and the ideas of cultural theorists, film historians,
filmmakers and trauma theorists for its content. Included in our mix of
lectures and discussions, we will study the procedures and practices of these
disciplines as interdisciplinary fields. This approach enables students to be
producers as well as consumers of knowledge, and promotes critical inquiry
about the assumptions, goals, and methods of various fields of academic
study and the interpretive, analytic, and evaluative competencies central to
intellectual development.
Tentative Schedule
Tuesday, Feb. 2 General Introduction
Thursday, Feb. 4 Trauma Theory in General
Tuesday, Feb. 9 The Neuroscience Revolution
Reading “This is Your Brain on Trauma” in Van der Kolk
Running for Your Life; Body-Brain Connections, Losing Your Body,
Losing Your Self
Thursday Feb. 11 Psychoanalytic Theory and trauma
Reading in McGowan Introduction to Psychoanalytic Film Theory
Tuesday Feb. 16 Marnie
Thursday Feb. 18 Marnie
Tuesday Feb. 23 Little Children
Thursday Feb. 25 Little Children
Tuesday. March 2 The Minds of Children
Reading The Minds of Children: Getting on the Same Wavelength;
Attachment and Attunement; Trapped in Relationships; The Cost of Abuse
and Neglect; What’s Love Got to Do with It? Developmental Trauma: The
Hidden Epidemic
Thursday March 4 The Reader
Tuesday March 9 The Reader
Thursday March 11 Collective Trauma
Tuesday, March 16 Silence of the Lambs
Thursday, March 18 Silence of the Lambs
MIDTERM take home exams handed out
Tuesday, March 23 Black Swan
Thursday March 25 Black Swan
Tuesday March 30 Psychoanalytic Film Theory Lacan
Thursday April 3 Hereafter
Tuesday April 6 NO CLASS
Thursday, April 8 Hereafter
Tuesday April 13 The Talented Mr. Ripley
Thursday April 15 The Talented Mr. Ripley
Tuesday April 20 The Imprint of Trauma
Reading The Imprint of Trauma: Uncovering Secrets, The Problem of
Traumatic Memory; The Unbearable Heaviness of Remembering
Thursday April 22 The Undoing
Tuesday April 27 The Undoing
Thursday April 29 The Undoing
Tuesday May 4 Review Final Exam Handed Out
Tuesday May 11 Final Exam Due.
GRADING POLICY:
Grading will be based on A/E scheme with the following apportionments:
film journal 10%, class participation 20%, a take home midterm exam 35%,
and a take home final exam 35%. Exams will consist of responses to essay
questions, with choice, following a comprehensive review of both theories
and visual content.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C
(73-76) C- (70-72) D+ (67-69) D (63-66) D- (60-62) E<60
ATTENDANCE:
All classes will be conducted synchronously, that is, in person with the
instructor lecturing and conducting the discussion at the class time only.
Attendance policy: Each student is allowed 3 unexcused absences; after
exceeding that limit, the student’s grade will be lowered accordingly.
Attendance does not mean “just showing up,” but requires the student to
come fully prepared and to be fully engaged in class discussions and
lectures.
In this time of covid-19, a pandemic that has affected all our
lives, special accommodations are called for. Our friends and
families’ lives, our locations, jobs, responsibilities for siblings
and parents, there will be circumstances that call for flexibility,
empathy, and compassion. Please find below the medical
excuses protocols, and if you are sick or you have to take care
of someone who is sick, please keep documentation of your
situation. | will be cognizant of all these situations including
mental health issues of all kinds.
(http: //www.albany.edu/health_center/medicalexcuse.shtml
Absence policies, including where possible a link to the University's Medical Excuse
Policy: (http://www.albany.edu/health_center/medicalexcuse.shtml)
Disability Resources Reasonable Accommodation Statement: Including a link to the
DRC: http://www.albany.edu/disability/prospective-new.shtm]
Absence policies due to religious observance: Instructors must
explicitly refer to New York State Education Law (Section 224-A)
whereby campuses are required to excuse, without penalty, individual
students absent because of religious beliefs, and to provide
equivalent opportunities for make-up examinations, study, or work
requirements missed because of such absences. Faculty should work
directly with students to accommodate religious observances.
Students should notify the instructor of record in a timely manner.
(http://www.albany.edu/undergraduate_bulletin/regulations.html
Cell phones should be turned off and put away during class unless we are
using them for class, and please try and limit bathroom breaks to before and
after class.
Plagiarism, that is the failure to credit your sources (whether it is a direct
quote, a paraphrase or a general idea or line of thinking) will not be
tolerated. Papers and exams should be well documented and include
quotations and paraphrases of information on websites. Information about
academic integrity, including where possible a link to the University's
Standards of Academic Integrity:
http://www.albany.edu/undergraduate_bulletin/regulations.html
Incompletes: No grades of incomplete will be given unless you have
completed the major part of the coursework and have a documented medical
or other emergency. The S/U or pass fail option will be in place this
semester.
Mental Health Syllabus Recommendations
As a student there may be times when personal stressors interfere with your
academic performance and/or negatively impact your daily life. The
University at Albany Counseling and Psychological Services (CAPS)
provides free, confidential services including individual and group
psychological counseling and evaluation for emotional, social and academic
concerns. Given the COVID pandemic, students may consult with CAPS
staff remotely by telephone, email or Zoom appointments regarding issues
that impact them or someone they care about. For questions or to make an
appointment, call (518) 442-5800 or
emailconsultation@albany.edu. Visit www.albany.edu/caps/ for hours of
operation and additional information
If your life or someone else’s life is in danger, please call 911. If you are
in a crisis and need help right away, please call the National Suicide
Prevention Lifeline at 1-800-273-TALK (8255).
Students dealing with heightened feelings of sadness or hopelessness,
increased anxiety, or thoughts of suicide may also text “GOT5” to
741741 (Crisis Text Line).
Instructor: Dr. Ineke Murakami Course section: 8418
Semester: Fall 2020 Zoom Mtgs: Tuesdays, 10:30-11:50 a.m.
imurakami@albany.edu ~ online ~
Office Hours: Thursdays 4:00-5:00 p.m. Office: HU 328, 442-4072
Topic: Shakespeare and the Poetics of Revenge
AENG 357 Studies in Drama (3 Credits), No Pre-req's
Course Description:
By the time the polymath Sir Francis Bacon wrote, “revenge is a kind of wild justice,” people
throughout England were already considering the costs and rewards of vengeance through a form
of popular entertainment: the revenge tragedy. What made plays about vindictive ghosts, corrupt
rulers, rape, murder, and mutilation so captivating? After all, aristocratic codes of “civil” conduct
reached their zenith in this period, and James I prided himself on being the ruler of a “peaceful
empire.” Yet, neither Court nor Church seemed able to control the factional conflicts and private
duels that disturbed the peace of the realm for while commoners enjoyed unprecedented access
to legal protection for property, the spectacular public punishment of “criminals” cast doubt on a
system which remained visibly stacked against the poor, the marginalized, and the vulnerable.
This course considers how the language of revenge tragedy, which is always gendered, raced and
classed, reveals the ethical problems at the core of retributive justice. Analyzing work by
Shakespeare and his contemporaries, we will put early modern playwrights in conversation with
some of the most powerful philosophical thinkers on the topic of revenge and its alternatives,
from the ancient writer of Leviticus to genocide scholar, Martha Minow. We will explore causes
and effects of retaliatory violence in early modernity and weigh which conditions make a
punishment seem “just” and which render it “vindictive.” Ultimately, we will ask what role, if
any, the wild justice performed by early modern revengers continues to script the current
discourse of just war and civil justice. Expect to complete: near-weekly Discussion Board
entries, near-weekly reading quizzes, a team taught presentation, and a short research paper,
broken down into steps.
Objectives:
© To examine the ways rhetorical and narrative strategies can produce the exculpation of one
person or group and the condemnation of another
© To explore the ways principles of theology and civil law are used to justify, modify, or at
times negate each other in matters of early modern (and modern) justice
© To identify early modern historical conditions that make retribution a societal issue
©% To gain a better sense of Shakespeare as part of a larger, highly collaborative community of
dramatic and non-dramatic writers and thinkers
To sharpen close reading skills
To strengthen the critical thinking that enables intellectual growth
To ponder the roots of a literary and intellectual history that continues to be reproduced in
films and novels today
RAE
* Fulfills general education “critical thinking” competency http://www.albany.edu/generaleducation/
Required Texts: available through UAlbany Bookstore
(Please use ISBN numbers to make sure you have correct edition)
Heywood, Thomas. 4 Woman Killed with Kindness, Frances Dolan, ed. 2"! ed. New Mermaids,
2012. ISBN: 978-0713677775
Kyd, Thomas. Spanish Tragedy, 3 ed. New Mermaids, ISBN: 978-1408114216
Shakespeare, William. Othello, Russ McDonald, ed., The Pelican Shakespeare, 2016. ISBN:
978-0143128618
Shakespeare, William. Titus Andronicus, Russ McDonald, The Pelican Shakespeare, 2017.
ISBN: 978-0143130192
Webster. John. The Duchess of Malfi, John Brian Gibbons, ed. 5" ed. New Mermaids, 2014.
ISBN: 978-1472520654
ERes (Electronic Reserves) material, includes critical, historical, and theoretical essays, video
clips, audio clips, and web pages, on the schedule. Most of these materials, will also be
linked to weekly learning modules on Bb’s Course Materials section
* All readings on the schedule are mandatory. Weekly Blackboard modules may also
offer supplementary readings, bibliographies, and material you may find of interest or
useful as you prepare to write your final paper.
Course requirements and evaluation:
1. Preparation and participation 20%
2. Reading quizzes 20%
3. Team Teaching w/Case study 20%
4. Final Paper — in steps 40%
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72) D
+ (67-69) D (63-66) D- (60-62) E<60
1. Preparation and participation includes the following:
* Demonstrate careful reading of all scheduled materials by contributing to Zoom and
Discussion Board discussions—especially crucial in our remote learning situation! Early
modern English can be challenging, and other readings in this course may be knotty, as
well. Give yourself plenty of time to read. And be persistent. Read passages more than
once if necessary. Even the best students find themselves occasionally confused or
uncertain about early modern texts. The good news is: the more you read them and
discuss them, the more natural this form of English will become.
* Mark up your texts. This is a standard active reading practice in English studies (for
a quick refresher, see Princeton’s active reading strategies at
(https://mcegraw.princeton.edu/active-reading-strategies). If you wish to re-sell your
books, “mark” them up with Post-its. By underlining troubling or insightful passages in
each text, questioning or noting key episodes in the margins, you gain material for
quizzes, discussions, and papers.
* Discussion Board posts (Bb)
+ All interactions should meet our collectively developed Community Norms. These
will be posted when complete on the Course Information page (Bb). Those who break
the norms will be given one warning. The second infraction will result in a zero for
the day.
Grading
Discussion Board posts will be graded in the following way:
S+ above Satisfactory, same as an mid-A
S Satisfactory, similar to a low-range B
S- Unsatisfactory, similar to C-
+ Expect to contribute one post, and respond to at least one classmate’s post, nearly
every week
+ All of your work here should be your own. Cutting and pasting from online sources
without proper attribution is plagiarism.
* Group Work (synchronous Zoom) Studies link learning to consistent, active
participation, and showing up for Zoom will lend our weeks some structure.
* Ona near-weekly basis, during face-to-face Zoom meetings, I will assign group work
to be completed in breakout rooms. Your breakout group will be random, at least until
I know your strengths and can create groups with a roughly equitable membership.
+ You may miss 3 synchronous Zoom meetings total (no questions
asked). With the 4" unexcused absence from a Zoom meeting your participation
grade for the semester drops by a third of a letter grade, and an additional 1/3 letter
grade thereafter.
Extenuating circumstances. If illness, a family member’s illness, or a
similar emergency arises, please contact me as soon as you are able to discuss
make-up work. You are responsible for keeping track of your own absences
from synchronous Zoom. Lateness is disruptive, so please show up to
Zoom on time_or count it toward your absences (and view the recording, later).
Religious observances. If you must be absent for religious observances,
please contact me as soon as possible before your intended absence to arrange
for make- up materials.
+ Zoom etiquette: Mute your audio when you enter a Zoom room; Video — seeing
each other is always preferable, but if bandwidth or other considerations make this a
problem, you are not required to use the video feature. Do be sure to use either your
full roster name or your full preferred name to sign into Zoom, or I will not be able to
give you credit for the day.
¢ Recordings: as part of the regular, synchronous class “meeting,” some group
interactions may be recorded along with the rest of our synchronous class work.
Recordings will be made available after class on the Course Materials page (Bb).
* Check UAlbany email on a daily basis. University policy holds students responsible
for any communication sent to their UAlbany e-mail account. I use email regularly to
alert you to changes in the schedule, modified due dates, etc.
Quizzes. Reading is fundamental to this course: much of what occurs in lectures and group
work will fail to make sense if you have not done the reading. Reading quizzes encourage
everyone to stay caught up and reward those who do. Expect short, timed quizzes nearly
every week. Each new quiz will appear on the Bb module for the week 48 hours before the
due date and time. The cut-off will always be before 10:30 a.m. (the scheduled time of our
class) on the due date.
The best way to prepare is to jot “reading notes” as you read, or mark up your texts
intelligently in the margins to use as needed during a quiz. There will be no makeup quizzes
(w/out extenuating circumstances). Also, please note the following:
Each of our quizzes will have 4 multiple-choice questions.
These questions will be about the day’s assigned primary text, secondary text(s), or both. The
answers will be easy for those who have done the reading, but will not be among the first to
appear in a Google search.
Quiz Grading
Quizzes are graded differently than a regular exam. If you miss--
0 questions you earn 100% -A
1 question 75% -B
2 questions 50% -C
3 questions 25% -D
4 questions 0% -E
Your two lowest quiz grades will be dropped at the end of the course.
Team Teaching. Early in the semester, you will sign up to deliver a short (approximately
20 minute) presentation to your classmates on one of our critical essays. Look for the Sign-
up Sheet in the Team Teaching section of the Course Information page (Bb), then email me
with your preference. For presentation ideas see the handout “Team Teaching Basics,” which
explains the “case studies” and other characteristics of an excellent presentation. You and
your team will decide how to divide up the work but please note: you will be graded
individually, so it is in your best interest to be equitable.
4. Final Paper is a ten-page research paper. See “Assignments” on the Course Information
page (Bb) to preview specifications. We will go over the assignment in advance of the first
due date to clear up any questions.
Late paper policy: I do not accept late papers. If you need an extension on any
assigned work, please contact me as soon as possible—at least 24 hours before the paper
or assignment is due. This policy applies to every step of the final paper.
Students with a Documented Disability:
Please have the DRC (Disability Resource Center) contact me with the accommodations you
require as soon as possible. | am happy to accommodate, but may do so only with an up-to-date
version of your letter of academic accommodations. If you require accommodations for quizzes,
let me know ASAP, even if you are awaiting an updated DRC form. Students are responsible for
coordinating all forms of accommodation.
Tips for Success:
= Try to maintain a regular schedule. For example, carve out Tuesdays and Thursdays,
10:30-11:50 a.m. each week to do nothing but work for this class. You will probably
require more time for reading than this—a recent study found the average successful
college student spends 2 to 3 hours of outside classwork for each course credit hour, per
week—but it’s a start. Perhaps our scheduled class time can be the time you catch up on
Discussion Board entries.
> Try to stay focused when we’re Zooming synchronously. Yes, you are paying money
for this course but it isn’t Coursera—the difference is, here you have an opportunity to
influence the direction of discussion, contribute your observations, ask questions, and add
your knowledge and experience to the collective knowledge of the class. In face-to-face
classes, I build flexibility into each day to make room for the kinds of dialogue that
builds intellectual muscle. It’s a lot more fun for me, but more importantly, research
shows that it’s how students learn about literature best: through discussion, debate,
dialogue—the humanities’ version of “hands-on” experiementation. I will work hard to
make our synchronous Zoom time fertile for such work. Help me by taking an active role
in your learning.
= Take advantage of feedback offered in the steps that lead up to turning in your final
paper. Professional writers don’t work in a vacuum, why should you?
= Make sure your basic needs are filled, and if not, reach out. I list a number of
resources under The Bb button “Resources/Needs” designed to help you to thrive.
=> Use my office hours to get extra help with your reading if you need it, or get questions
answered. I am also easy to reach through email and am happy to clarify any point or
answer any question.
Academic Integrity:
By this point, you should know how to recognize and avoid the issue of plagiarism, which is
“presenting as one's own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).”
Plagiarism and other forms of academic dishonesty will not be tolerated, and will result in a
failing grade for the paper and possibly for the course. The offense of plagiarism necessitates the
filing of a Violation of Academic Integrity Report with the office of the Vice Provost for
Undergraduate Education, which may result in suspension or even expulsion from the university.
Please refresh your memory if you do not recall the standards of academic integrity:
https://www.albany.edu/undergraduate_bulletin/regulations.html
Reproduction of this material is prohibited without the author’s consent.
© 2018, Ineke Murakami
Shakespeare and the Poetics of Revenge
Fall 2020
Schedule (subject to change)
DM = Duchess of Malfi; CM = Course Materials (Bb); O = Othello;
ST = Spanish Tragedy ; TA = Titus Andronicus; WKK = A Woman Killed with Kindness
Week| Date In-class Activity Reading/Writing due
Aug. 25 |* Introductions Class syllabus and schedule
+ Peruse syllabus
1 = Discuss genre and Thyestes ‘CM: Seneca, Thyestes, 45-65 (just
‘Aug. 27 (see "Thyestes dramatis personae and before Chorus @ line 546); Broude,
ug. pronunciation" for who's who)-------------------- => |"Revenge and RevengeTragedy in
Renaissance England"
= Discuss Thyestes CM: Thyestes , 65-83; McDonald,
Sept.1 |* Prepare for Kyd, Shakespeare, et al. by "Shakespeare's Dramatic Language," 36-
thinking about language 47; "How to Read a Play"
2 + The Spanish Tragedy and Humanist ST: Kyd, Spanish Tragedy, Act 1; CM:
Sept. 3 [Philosophies Hutton, "Platonism, Stoicism,
= TT Hutton Scepticism," 44-57
= Discuss Kyd's Spanish Tragedy ST: Kyd, Spanish Tragedy , Act 2-3.2;
Sept. 8 CM: McDonald, "The Church" "Ideology
3 of Order," 315-21
« Discuss Kyd's Spanish Tragedy ST: Kyd, Spanish Tragedy , Act 3.3-3.15;
Sept. 10 CM: KJV, Romans 12:17-19
* TT Sacks ST: Kyd, Spanish Tragedy, Act 4 CM:
Sept. 15 |. Discuss Kyd's Spanish Tragedy Sacks, "Where Words Prevail Not," 576-
601
4 = Moors and the Making of Englishness TA: Shakespeare, Act 1; CM: Devlin,
Sept. 17 |" Discuss Shakespeare's Titus Andronicus BBC Mag. "Britain's First Black
Community"; Rincon on "Cheddar Man"
Sept. 22 » Discuss Shakespeare's Titus Andronicus TA: Shakespeare, Act 2
5 « Discuss Titus Andronicus and the idea of Just |TA: Act 3; CM: Wills, "What is a Just
Sept. 24 lwar War?"
‘The Impact of Words and Titus Andronicus TA: Acts 4, CM: Redmond & Sojoyner,
Sept. 29 "Keywords in Black Protest: A(n Anti-)
6 Vocabulary"
Finish Titus Andronicus TA: Act 5. CM: Noble, "Medicinal
Oct.1 |» TT Noble Cannibalism, and Healing the Body
Politic"
Domestic Tragedy and Heywood's A Woman IWKK: Heywood, Scene I-IV (pg. 24);
Oct. 6 |Killed with Kindness ‘CM: McDonald, "Men and Women:
MT = Discuss early modern gender roles Gender, Family, Society"
7 » Discuss A Woman Killed with Kindness IWKK: Scene V-VIII (pg. 47); CM:
Oct.s |" TT Green Green, "Open Ears, Appetite & Adultery";
53-74; "Assignment," Read + ask any Q's
re: final paper
Week|) Date In-class Activity Reading/Writing due
* A Woman Killed with Kindness and WKK: Heywood, Scene VIII-XIII (pg. 71);
Oct. 13 |Restorative Justice? CM: J. Butler, "Violence, Mourning,
8 + Discuss Butler and Tutu Politics"; Interview w/Archbishop D. Tutu
on "Ubuntu"
Oct. 15 |Finish A Woman Killed with Kindness WKK: Heywood, Scene XIll-end
Early Modern Plays: collaborative and forever in |CM: "Printed Plays," Early modern
Oct. 20 process Hamlet editions, Folio title pg.- Q2, G3;
ck = What makes an early modern edition? SV: Public Theater's "To Be or Not to Be"
9
Recap, take a breath CM: Minow, "Vengeance and
Oct. 22 |, TF Minow Forgiveness," 9-24
« Discuss John Webster's Duchess of Malfi DM: Act 1; CM: Niccolo Machiavelli, The
Oct. 27. |" Machiavellian government Prince , “in What Way Princes Should
a5 Keep Their Word"
« Discuss Duchess of Malfi DM: Act 2; CM: Smith, Theory of the
Oct. 29 Moral Sentiments, Part Il, "Of Merit and
Demerit," 36-43;
« Discuss Duchess of Malfi DM: Act 3; Proposal due; CM Smith,
« Ghosts, Resentment, Justice: Smith's Theory |Theory of the Moral Sentiments, Part Il,
Nov. 3. of the Moral Sentiments "Of Merit and Demerit," 44-51
Due: Proposal for Final Paper, upload to Bb,
11 by 11:50 p.m
= Discuss Duchess of Malfi DM: Act 4-5; CM: Clover, "Getting
+ Finish Smith's Theory of the Moral Sentiments |Even," 114-165
Nov. 5
+ TT Clover
Othello O: Shakespeare, Othello, Act 1; CM:
Nov. 10 |, Mini thesis workshop SV Boswell, "Dear Mr. Shakespeare"
12 = Discuss Othello O: Shakespeare, Othello Act 2; E:
Nov. 12 |" Discuss claims outline Claims Outline, Tips - read and be
prepared w/questions
« Discuss Othello O: Shakespeare, Act 3; Claims Outline
Nov. 17 |Due 11/18: Claims Outline for final paper, due
43 upload to Bb by 11:50 pm
« Discuss Othello O: Shakespeare, Act 4.DM: Royal
Nov. 19 |* TT Royal Shakespeare Company Shakespeare Co., "Is Othello a Racist
Play?"
Last day: wrap up class O: Shakespeare, Act 5
14 | Nov. 24 |, finish discussing Othello
15 Nov. 29 |Due: Final Paper, upload to Bb by 11:50 pm
University at Albany
College of Arts and Sciences
AENG 358—Studies in Poetry: “Modernist American Poetry, 1900-1950”
Social Sciences Building 133, Tuesdays and Thursdays 10:15 — 11:35 Fall
2018 (Class #9739)
INSTRUCTOR
Eric Keenaghan, Associate Professor of English
Humanities 343 (Third Floor, English Department)
Office Phone: (518) 442-4078 (Note: Email is preferred.)
Email: ekeenaghan@albany.edu
OFFICE HOURS
Tuesdays 2:45-4:00 and Thursdays 9:00-10:00; or by appointment
TEACHING ASSISTANT
Ashley Manning, English PhD Student
Office: Humanities 389 (Third Floor, English Department)
Email: amanning@albany.edu (No office phone available.)
TA Office Hours: Tuesdays 12:00-1:00
COURSE CREDIT HOURS
3 credits
COURSE PREREQUISITES
None. Elective for English major and English minor
COURSE DESCRIPTION
Catalogue description: Examination of poetry with an emphasis on study of poetic forms and
modes. Topics to be discussed may include, among others: major developments in themes,
language, forms, and modes of poetry; poetics; poetry in the arts, including theatre and song.
May be repeated once for credit when content varies.
Section/topic description: Modernism was a vibrant and exciting literary and cultural period,
often marked by scholars as beginning at the turn of the twentieth century and ending shortly
after the Second World War (c.1900 — 1950). In the United States, the emergence of modernist
poetry coincided with the development of new technologies and drastic changes in social ideas
and ideals (including notions of race, ethnicity, class, and gender), economics and politics, and
even understandings of human embodiment and psychology. Artists and writers living and
working in this country, as well as American authors who had expatriated, vied for cultural
leadership in the changing social and cultural landscape. Whether hoping to fend off
modernizing changes so as to cling to “old ways” or desiring to promote revolutionary shifts in
attitudes and institutions, most writers attempted to intervene in this tumultuous period through
their art. Indeed, the very nature of literature and perceptions of its social purpose were changing.
That fact was especially true for poetry, which mostly had been a “genteel” genre prior to World
War I. But more and more writers had begun to challenge conventions about what was
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considered “appropriate” poetic subject matter, language, and forms. American modernist poetry
entailed both formal and stylistic experimentation, as well as social messaging and political
agitprop. Polemical poems about aesthetic values proliferated, and were often supplemented with
artists’ manifestos or quieter craft essays explaining their intentions. Cross-genre innovations
became more common, as artists blurred the lines between prose and poetry, poetry and drama,
and poetry and the visual arts (painting and collage). New cultural forms like the blues, jazz
poetry, workers’ anthems, radio broadcast verse-plays, Surrealist lyric film, Dadaist sound-
poetry and performance art took poetry off the page. An explosion of “little magazines” made it
possible for writers to entertain a variety of styles and objectives, while reaching larger or more
widespread readerships. Modernist poetry encompassed work celebrating first wave feminism,
proletarian class and labor movements, the Harlem Renaissance and a shifting African American
consciousness, “high modernist” aesthetic autonomy, sexual difference and emergent queer
communities, antiwar (or pro-war) positions ... among many other facets of modern American
life. This class will offer a survey exploring a wide range of works though an anthology of
modernist poetry, complemented by a few major modernist long poems, key poetic collections,
and an online archive’s facsimile reproductions of a few important little magazines. All readings
will be contextualized with critical readings that supply brief historical accounts of the period
and relevant social issues. Writers’ manifestos and poetics essays will help us make more sense
of their poetic endeavors.
STUDENT LEARNING OBJECTIVES
Upon completion of this course, students will be able to:
(1) Identify the varieties of poetry produced by US citizens and residents during the
modernist period (c.1900-c.1950)
(2) Critically read experimental literary forms, both formally and in conversation with
critical articles, historical accounts, and discourses and artifacts from the literary
period
(3) Write critical analyses of poetry using secondary sources (literary criticism, social
history, poetics statements)
(4) Conduct research of peer-reviewed journal articles about a literary author and/or
the literary period studied
(5) Research digital archives of early twentieth-century literary magazines and
documents
(6) Share their critical insights in classroom conversation and workshops, as members of
a community of learners and researchers
UALBANY GENERAL EDUCATION COMPETENCIES
General education competencies fulfilled: Critical Thinking. See:
http:/;www.albany.edu/generaleducation/
COURSE MATERIALS
Books are available through the UAlbany Bookstore (in the Campus Center). Inexpensive used
copies are available through online retailers. URLs to online sources and PDF files of other
required and recommended readings are on Blackboard, accessible through your MyUAlbany
portal. (Titles available on Blackboard are specified on the schedule of reading assignments.)
Please have relevant materials on hand for class discussions. Texts with asterisks (*) beside them
p.3
are on 3-hour reserve at the UAlbany Main Library’s Reserve Desk.
Required textbooks for purchase or rental:
(1) ed. Steven Axelrod The New Anthology of American Poetry: Modernisms, 1900-1950
(Rutgers UP)
(2) * ed. Alex Davis and Lee Jenkins, The Cambridge Companion to Modernist Poetry
(Cambridge UP)
(3) * Peter Howarth, Cambridge Introduction to Modernist Poetry (Cambridge UP)
(4) Muriel Rukeyser, The Book of the Dead (U of West Virginia P)
(5) Langston Hughes, The Selected Poems of Langston Hughes (Vintage)
(6) * H.D. (Hilda Doolittle), Trilogy (New Directions)
COURSE REQUIREMENTS
Students are required to attend class, and are expected to come prepared with the assigned
materials for the day and ready to engage in discussion of the readings after my brief
introductory lecture. See the attendance policy below.
Assignments Descriptions:
(1) Class Attendance and Participation (4 absences before penalty; automatic failure
for course after 7 absences) (10% of course grade): All of my courses depend toa
great extent on students’ active participation and contributions to class discussions, as
well as in breakout groups. So, attendance is required.
(2) Reading Journal (Ungraded, but mandatory): After you complete the assigned reading,
spend 15-20 minutes taking notes in your reading journal. If you choose, you can
concentrate your reflections on the reading by using the study question I usually write on
the board during the prior class. This informal writing assignment is a means for you to
explore some insights and to process the material—even if it is only to start to determine
what you do or do not understand about the readings—before you come to class. Bring
your reading journal to class every day. You may use the Shared Reading Journal on
Blackboard, if you wish for me to access your entries.
(3) Midterm Essay (5-7 pages, analyzing 1 poem using 1 poetics source and 1 critical essay
from syllabus) (30% of course grade): You will choose one assigned poem, one
historical or critical essay, and one poetics essay from the syllabus to develop a
historically grounded critical reading of the modernist poem. Brief comments and a grade
will be supplied. Prompts and full specs for this assignment will be posted on Blackboard
two wecks before the due date.
(4) Finding and Using Sources Worksheet (10% of course grade): This assignment requires
you to find and assess three critical sources not on the syllabus about the your author,
text, and/or issue you have chosen as the subject of your final paper. You will find the
sources from database searches, put the bibliographic information in MLA format,
annotate in 3-4 sentences each source’s thesis and main argument, and note why you
believe this source is good either for establishing a “critical frame” for your analysis of
the poem or for supplying a “local support” fora specific point planned in your analysis.
(5) Final Paper (50% of course grade) (10-12 pages; 3-5 secondary sources, at least 1 of
which must be from off-syllabus): The final paper will be a longer original reading of
one poem by one of the authors assigned after the midterm essay. How does that poem
p.4
intervene in readers’ cultural, social, or political perceptions of the world, and why was
that intervention significant then and/or why is it interesting now? You must write on a
poet assigned after the midterm essay. Use at least one external source from the Finding
and Using Sources assignment; the remaining secondary sources can be drawn from the
syllabus. This essay will be planned, researched, drafted, and workshopped in the
semester’s final weeks. Prompts and specs will be posted on Blackboard after midterm.
GRADING
Grading Scheme: graded A-E
Grading Scale:
Course Average Final Grade
93-100 A
90-92 A-
87-89 B+
83-86 B
80-82 B-
771-79 C+
73-16 Cc
70-72 C-
67-69 D+
63-66 D
60-62 D-
<60 E
Evaluation rubrics for graded components and assignments:
(1) Class Attendance and Participation (10% of course grade)
Attendance: There are no penalties for absences | through 4, each of which is
automatically excused. Between 5 and 7 absences, you lose 10 points per
excessive day from your Attendance and Participation Grade (e.g., from “B” to
“C” for 5 absences, to “D” for 6 absences to “E” for 7 absences). If you miss
more than 7 classes, you automatically fail this course. If you arrive more than
10 minutes for class, it will count as an absence. Keep track of your own
absences, as you would sick days used at a job.
Participation criteria: Active participation includes answering questions, volunteering
your insights and readings, and active listening (i.c., listening and note-taking),
and cooperating in all workshop and breakout group activities.
Note on disruptive behavior: College classrooms are learning environments, and my
classrooms are zero tolerance zones. Any disruptive behavior will receive only
one verbal warning. After that, dismissal from class will follow, and it will count
as an absence. Disruptive behavior includes, but is not limited to: sleeping;
chatting with neighbors; passing notes; using electronic devices inappropriately;
refusing to answer direct questions. Any threatening or hostile behavior directed
against me or classmates will result in: (1) my immediate notification of Judicial
Affairs; (2) the offender’s automatic failure of the course; and, depending on
one’s record, (3) possible probation, suspension, or expulsion from UAlbany.
p.5
Participation grade rubric:
A- to A = strong, active participation in discussion, workshop, & breakout groups
B- to B+ = good and active listener, but tends to speak less in general class
discussion though may be more verbal in workshop and breakout groups
C- to C+ = average to minimal participation in workshop and disciplinary issues
in class
D- to D+ = often withdrawn and not participatory in both workshop and class
E (for course) = more than 7 absences and/or other disciplinary issues
(2) Midterm Essay (30% of course grade)
Criteria for evaluation: basic writing mechanics, grammar, syntax; original thesis;
focused discussion; clear articulation of your original reading of a poem, set up in
relationship to a frame narrative using sources to discuss the issue indicated by
the prompt and the author’s poetics; support for your claims with quotes from
properly cited primary and secondary texts; language from quotes are “unpacked”
(i.e., explained and interpreted to further your reading)
Grading rubric:
A- to A: Excellent in all aspects—and an excellent and original thesis
B- to B+: Good in all aspects but needs improvement in 1 or more—and/or thesis
needs strengthening—and or/ close reading needs to be more fully
developed
C- to C+: Average for college-level writing and critical analysis, but needing
substantial improvement in 2 or more aspects—and/or no original thesis—
and/or not a strong close reading—and/or questionable choice of
secondary sources
D- to D+: Poor and substandard in most or all aspects, possibly including missing
sources
E: Plagiarized, failed to turn in assignment, or egregiously poor in all aspects
(3) Finding and Using Sources (10% of course grade)
Evaluation criteria and grading rubric:
A- to A: Complete and excellent engagement with the materials, with strong
summaries of thesis statements, good judgment about selection of suitable
sources for the research topic, and consistently good use of MLA format
B- to B+: Generally good, but needs to strengthen account of sources’ thesis
statements and/or needs to use correct MLA format and/or needs to make
more consistently discerning judgments about sources most suitable for
your research topic
C- to C+: Average, possibly missing information for one or more items, seems to
be a mushed job without adequate detail, needs to significantly strengthen
account of sources’ thesis statements, needs to use better judgment about
the suitability of particular sources for the research topic, and/or needs to
use correct MLA format
D- to D+: Failed to follow instructions, and/or incomplete work, and/or generally
poor quality
E: Failed to submit by due date or exceptionally poor effort
(4) Final Paper (50% of course grade)
Criteria for Evaluation: A strong grasp on basic writing mechanics, grammar, syntax;
p.6
original thesis; a focused discussion with smooth transitions; clear articulation of
your original and focused close reading of a poem, set up in relationship toa
researched frame narrative using sources to discuss the issue indicated by the
prompt; support for your claims with quotes from properly cited primary and
secondary texts; successfully uses the required number of on-syllabus and off-
syllabus secondary research; language from quotes are set up in relationship to the
poem’s story and unpacked (i.e., explained and interpreted to further your
reading).
Grading rubric:
A- to A: Excellent in all aspects—and an excellent and original thesis
B- to B+: Good in all aspects but needs improvement in 1 or more—and/or thesis
needs strengthening—and/or close reading needs to be more fully
developed
C- to C+: Average for college-level writing and critical analysis, but needing
substantial improvement in 2 or more aspects—and/or no original thesis—
and/or not a strong close reading—and/or questionable choice of
secondary sources—and/or missing the required number of secondary
sources
D- to D+: Poor and substandard in most or all aspects, possibly including missing
sources
E: Plagiarized, failed to turn in assignment, or egregiously poor in all aspects
UNIVERSITY POLICIES
Policy on Academic Integrity
All written assignments must be your own original work. If you submit any plagiarized work (no
matter how small the assignment), you will automatically fail this course, and | will report the
case to the Dean of Undergraduate Studies and to your department or program chair. (Note that if
you withdraw from the course after receiving notice of having failed for plagiarism, the Dean’s
Office will file a second Violation of Academic Report against you.) Two or more reports on file
can lead to academic probation, suspension, even expulsion. Plagiarism is more than the
wholesale copying of an entire document. The University’s definition of plagiarism is as follows:
“Presenting as one's own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Some examples of plagiarism include copying, paraphrasing, or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase/use of
prepared research or completed papers or projects, and the unacknowledged use of research
sources gathered by someone else. Failure to indicate accurately the extent and precise nature of
one's reliance on other sources is also a form of plagiarism. Students are responsible for
understanding legitimate use of sources, the appropriate ways of acknowledging academic,
scholarly, or creative indebtedness.” Also note that violations of academic integrity also include
“self-plagiarizing,” or submitting the same (or similar) work for multiple courses. Claims of
supposed ignorance about if a practice constitutes plagiarism, as well as claims that the proven
plagiarism was “unintentional,” are not adequate defenses. If you are uncertain if a practice
constitutes plagiarism, ask me or another faculty member before you turn in work. Visit the
following webpage for the University’s statement about, and policies regarding, violations of
academic integrity: https://www.albany.edu/undergraduate_bulletin/regulations.html
p.7
Reasonable Accommodations
When appropriate to the assignment and the situation, students registered with the Disability
Resource Center may be eligible for extensions, alternative modes of examination, or adaptive
equipment. Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you
have a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 137, 442-5490). That office will provide me with
verification of your disability, and will recommend appropriate accommodations. Please present
your forms from the Disability Resources Center to me at the start of the semester, and we will
discuss when alternative arrangements will be necessary for our course. For details, refer to the
Disability Resources Center webpage: http://www.albany.edu/disability/
OTHER CLASS POLICIES:
Attendance
Please adhere to the allotted number of excused absences indicated above, in the description
above regarding the course attendance and participation grade criteria. Additional absences will
be excused only if they include your own hospitalization, religious observance, or civic duty (i.e.,
jury or military duty). All valid excuses must be documented by the Undergraduate Dean’s
Office or, in the case of hospitalizations, by Student Health Services (SHS). Except in the case of
a hospitalization, a medical note from SHS does not allow you more absences than the allotment.
For the University’s Medical Excuse Policy, consult the following link:
http:/Avww.albany.edu/health_center/medicalexcuse.shtml
Policies on Electronic Devices in Class
* Only laptops and tablets are permitted to take notes or to read the online materials being
discussed. If you use these devices inappropriately (i.e., messaging, surfing the web, etc.),
I may dismiss you for disruptive behavior.
* Smart phones are not permitted in class, either to read materials or to take notes. Silence them
and put them away upon entering the classroom, as you would when boarding a plane or
a theater. Do not put your phones on your lap or on your desk. Do not check your phone.
If your phone rings, if you look at it during class, or if you refuse to put it away, I can and
will dismiss you for disruptive behavior.
Policies for All Written Assignments
* All written assignments must feature your own original ideas and critical prose. Summary,
rehashing of class notes, and readings based on historical generalizations or inaccuracies,
will earn a “C,” at best.
* Any amount of plagiarism in an assignment leads to automatic failure for the course.
* All written assignments must be completed in order to pass the course.
* Late assignments will be docked one full grade (“B” to “C,” etc.) per day late. This includes
each day of the weekend. J do not accept any papers one week (7 days) after the due date.
* If you require a short extension on an assignment, request it in person or by email at least 24
hours before the due date. Not all requests will be granted.
* For assignments to be submitted via Blackboard, the name of your file should be formatted as:
your last name, assignment (class number, semester). Example: “Smith, Final Paper
(ENG 358, Fall 2018).”
p.8
* All assignments should be typed or word-processed in an academic 12-point font (such as
Times New Roman), with numbered pages.
* Include a bibliography for all primary and secondary sources referenced or cited at the end of
your paper (not as a separate file).
* Every paper must demonstrate basic writing skills, ranging from grammar to sentence
mechanics to the organization and development of a focused critical argument.
* As in life, there are no “do overs” or “extra credit.” Plan, pre-write, and do your strongest
work the first time around. Come speak to me during office hours about problems or
issues with the assignment before the due date.
Inclement Weather and Class Cancelations
In the event that the University cancels one or more class meetings due to inclement weather, I
will email everyone and post an announcement to Blackboard about an alternative schedule for
the day’s assignments. In the rare instance that inclement weather makes my own commute
unsafe but the University has not canceled classes, I will notify you by email and post a
Blackboard announcement, as soon as I am able. If necessary for making up any crucial canceled
lectures, I may adjust the syllabus by replacing workshops or writing days with lectures.
COURSE SCHEDULE
Key and abbreviations for reading assignments:
Context = Literary history or criticism (secondary source)
Poetics = Statement by a poet about her craft or her ideas about art (secondary source)
Poetry = Literary text (primary text)
Recommended = Not required but might be referenced in lectures. Possible sources for papers.
NAAP = New Anthology of American Poetry (ed. Axelrod, et al.)
CCMP=Cambridge Companion to Modernist Poetry (ed. Davis and Jenkins)
MAPS = Modern American Poetry website (see below)
BB = PDF or URL on Blackboard
UNIT ONE: WHAT MODERNISM WAS, AND HOW TO READ IT
Week One
Introduction to Modernist American Poetry: Formal Experiment, Looking for an Audience
Tuesday, August 28
Introduction: What are your ideas about poetry, as a genre? — Approaching modernism as a
literary period — Strategies for reading modernist poetry, both formally and historically —
Should I read the contextual essays, the poems, or the poetics essays first? — Using
MAPS and other digital resources for further exploration
Poetry (projected for discussion): Marianne Moore, “No Swan So Fine” (BB); Langston
Hughes, “The Weary Blues” (BB); and Hart Crane, “Voyages III” (BB): Note the variety
p.9
of styles often collectively referred to as “modernist”
Handout: How To Read a Poem (BB)
Thursday, August 30
Context: Christine Stansell, “Art and Life: Modernity and Literary Sensibilities” (BB)
Earlier poetry: Walt Whitman, from “Song of Myself” (1856) (precursor to modernism) (BB);
George Santayana, “On a Piece of Tapestry” (genteel) (BB)
The transition to modernism: from Poetry: A Magazine of Verse vol.1 no.1 (1912) (BB)}—
Harriett Monroe, “The Motive of the Magazine” (poetics statement); Arthur Davison
Ficke, “Poetry” (genteel); William Vaughan Moody, “I Am the Woman” (genteel); Ezra
Pound, “To Whistler, American” (modernist)
Visual Art: Paintings by James McNeill Whistler (BB)
Bohemian modernism: Guido Bruno “Disasters and Poetry” (poetics statement) (BB); Djuna
Bames, The Book of Repulsive Women (poems and illustrations) (BB)
Recommended context; Richard Pells, “Modernism in Europe and America” (BB)
Week Two
“Why Write Like This?”: Authors, Audiences, and Modernism’s Revolution of the Word
Tuesday, September 4
Context: Peter Howarth, Ch.1 of Cambridge Introduction to Modernist Poetry
Poetics: Laura Riding and Robert Graves, from A Survey of Modernist Poetry (1927) (BB)
Poetics: ¢.e. cummings, “You Aren’t Mad, Am I?” (BB/MAPS)
Poetry: ¢.e. cummings, all selections (VAAP) plus “Four Poems” from Secession (1922) (BB);
“4 Poems” from Broom: An International Magazine of the Arts (1924) (BB)
Thursday, September 6
Context: Peter Nicholls, “The Poetics of Modernism” (CCMP)
Poetics: from ed. Eugene Jolas, In Transition (BB): The Editors (Eugene Jolas and Elliot Paul),
Introduction to transition no.1 and “Suggestions for a New Magic” and “The Pursuit of
Happiness”; Kay Boyle, et al. “Proclamation” (a.k.a. “The Revolution of the Word”)—
Check table of contents for the page numbers of these short texts; Hart Crane, from
“General Aims and Theories” (NAAP)
Poetry: transition no.3 (June 1927), pp.113-150—Read poems by the American authors (Laura
Riding, Eugene Jolas, Hart Crane, Gustav Davidson, Allen Tate, Berenice Abbott)}—
Class discussion will focus on “Cutty Sark” by Hart Crane)
Week Three
The Poem Often Thought to Epitomize Modernism: T.S. Eliot’s Waste Land
Tuesday, September 11
Context: Peter Howarth, Ch. 3 and Ch.7 of Cambridge Introduction to Modernist Poetry
Poetics: T.S. Eliot, “Tradition and the Individual Talent” (NAAP)
Poetry: T.S. Eliot, The Waste Land (NAAP)
p. 10
In-class screening: Fiona Shaw performs “The Burial of the Dead” from The Waste Land (BB)
Recommended context: Helen Gardner, “The Waste Land: Paris 1922” (BB); Lawrence Rainey,
“Pound or Eliot: Whose Era?” (CCMP)
Thursday, September 13
Poetics: T.S. Eliot, “The Modern Mind” (BB)
Poetry: Reread T.S. Eliot’s The Waste Land (NAAP), concentrating on one titled section
Workshop: Bring your reading notes on The Waste Land to class, as well as any questions you
have. Directly onto a copy of the section of Eliot’s poem that you are analyzing, make
critical annotations about the language or images you might use for your close reading.
UNIT TWO: APPROACHING MODERNISM THROUGH ITS CONTEXTS and THE
POETS’ SOCIAL, POLITICAL, & CULTURAL ENGAGEMENTS
Week Four
“News That Stays News”: High Modernist Pedagogies of History and the Imagination
Tuesday, September 18
Context: Peter Howarth, Ch. 2 of Cambridge Introduction to Modernist Poetry
Poetics: Ezra Pound, from “A Retrospect” (VAAP), Chapters 2 and 3 of ABC of Reading (BB),
and “Zweck, or the Aim” from Guide to Kulchur (BB)
Poetry: Ezra Pound, “In a Station of the Metro” and all selections from The Cantos (NAAP);
“Canto XXXIV” from Poetry: A Magazine of Verse vol. XLII no.1 (1933) (BB)
Recommended context: Marjorie Perloff, “Pound/Stevens: Whose Era?” (BB)
Note: Pound’s poetry is especially difficult. Do the best that you can, and don’t worry about
looking up all of his allusions.
Thursday, September 20
Context: Peter Howarth, from Ch.5 of Cambridge Introduction to Modernist Poetry (pp.129-40)
Poetics: Wallace Stevens, “The Imagination as Value” (BB)
Poetry: Wallace Stevens, all selections (VAAP); “It Must Be Abstract” (BB)
Recommended context: Bonnie Costello, “US Modernism I: Moore, Stevens, and the Modernist
Lyric” (CCMP)
Week Five
Making It American, or Remaking the American:
The Little Magazine Others and William Carlos Williams
The prompt and specs for the Midterm Essay will be available on Blackboard by Thursday.
Tuesday, September 25
Context: Suzanne Churchill, “Making Space for Others” (BB)
Poetics: Editorial blurb from Others vol.1 no.5 (1915) (BB)
Poem: Marianne Moore, “Poetry” (NAAP) (first appeared in 1919 in the last issue of Others)
Poetry: Read the poems in the first issue of Others (1915) (BB)—Try to get a feel for the variety
p. 11
of styles in the magazine. What makes this magazine cohere, giving it a poetic identity?
Recommended context: John Newcomb, “There Is Always Others” (BB)
Thursday, September 27
Context: Peter Howarth, from Ch.5 of Cambridge Introduction to Modernist Poetry (pp. 104-
21); Mark Scroggins, from “US Modernism I: The Other Tradition” (pp. 181-6) (CCMP)
Poetics: William Carlos Williams, from Spring and All (NAAP) and “The American
Background” (BB)
Poetry: William Carlos Williams, poems in Others vol.5 no.3 (1919) (BB); all selections (NAAP)
Visual art: Photos by Alfred Stieglitz (BB) and paintings by Charles Demuth (BB)—A
photographer who influenced WCW and a painter who was a close friend and influence
Discussion (30 minutes): Review of midterm essay prompt and specs
Week Six
Taking Poetry off the Page: Modernist “Poetry,” Technology, and Embodiment
Tuesday, October 2
Context: Tim Armstrong, “The Self and the Senses” (BB); Craig Saper, “Expatriate Avant-Garde
in the South of France, 1928-32” (BB)
Poetics: Bob Brown, excerpts from The Readies (BB)
Poetry: Bob Brown and others, Computer simulation of Brown’s reading machine (created by
Craig Saper) (BB); Robert Carlton Brown 1450-1950 (volume of “optical poems,” 1929)
(BB), Bob Brown, Words (poems with microtexts, 1931) (BB)
Recommended poetics and poetry: Bob Brown, The Readies (free complete e-text) (BB)
Thursday, October 4
Context: Irene Gammel, “Living Dada with Phallus in Hand and Taillight on Bustle” (BB)
Poetry: Baroness Elsa von Freytag-Loringhoven, “Appalling Heart” and “Is It?” (NAAP, section
on Dada); select erotic and sound poems from Body Sweats (BB); select unpublished
poems (ed. Tanya Clement) (BB)
Visual art: R. Mutt [a.k.a. Marcel Duchamp and the Baroness], Fountain (BB); photos of the
Baroness’ performance art and scultptures (BB)
Recommended poetry: Baroness Elsa von Freytag-Loringhoven, “In Transition” (Images of
manuscripts drafts of poems, ed. Tanya Clement) (BB)
Week Seven
Midterm Essay
Tuesday, October 9
Workshop: Bring to class 2-3 working draft pages, including a fully developed thesis statement
(“what” is the issue you’re investigating, “how” you are approaching that issue through a
specific element of the poem, and “why” that approach to that issue is interesting and
important). Articulate that thesis statement with a brief critical summary of a pertinent
narrative about the thesis of your critical secondary text. How does your reading of this
p. 12
poem shed new light on that author’s main argument, by challenging or extending her
premise? Bring your reading journal with further notes fleshing out your analysis of the
poem, a description of the author’s poetics (from the poetics statement), and how you see
this poem as illustrating or deviating from the author’s objectives. Annotate a copy of
your poem (i.e., print it out and write in the margins) with notes for further developing
your close reading. Bring all of your primary and secondary texts.
Thursday, October 11
No Class: Complete Your Midterm Essay
DUE by 5:00 pm: Midterm Essay (5-7 pages). Bring a hardcopy of your essay to my office
(Humanities 343) by 5:00 pm. If you are a member of the teaching assistant’s “comment
group” for this assignment, submit two copies of your essay. You will receive a set of
comments from me and one from Ashley. Late papers must be emailed to me, and will be
docked one full grade per day late.
Week Eight
The Re/Composition of Gender: The Feminist Avant-Garde
Tuesday, October 16
Context: Cristanne Miller, “Gender, Sexuality, and the Modernist Poem” (CCMP); Peter
Howarth, Ch.6 of Cambridge Introduction to Modernist Poetry (pp. 141-6 and 153-8)
Poetics: Gertrude Stein, “Composition as Explanation” (NAAP) and “Poetry and Grammar” (BB)
Poetry: Gertrude Stein, “Picasso” and selections from Tender Buttons (NAAP); “Rooms” from
Tender Buttons (BB); from “Lifting Belly” (BB); “Patriarchal Poetry” (BB)
Recommended context: Paul Peppis, from “Schools, Movements, Manifestoes” (pp. 37-42)
(CCMP); Janet Lyon, “Gender and Sexuality” (BB)
Other recommended feminist poems: Marianne Moore, “Marriage” (NAAP); H.D., “Sheltered
Garden” and “Helen” (NAAP); Edna St. Vincent Millay, selections (VAAP)
Thursday, October 18
Context: Peter Howarth, Ch. 6 of Cambridge Introduction to Modernist Poetry (pp. 147-53)
Paul Peppis, “Rewriting Sex: Mina Loy, Marie Stopes, and Sexology” (BB)
Poetics: Mina Loy, “Feminist Manifesto” (BB) and “Moder Poetry” (BB)
Poetry: Mina Loy, all selections in NAAP; “Love Songs” (first version) (BB, from Others
no.1); “Virgins Plus Curtains Minus Dots” [illustrated] (BB); “At the Door of the
House,” “The Effectual Marriage,” and “Human Cylinders” (BB)
Recommended context: Virginia Kouidis, “Rediscovering Our Sources: The Poetry of Mina Loy”
(BB); Sarah Hayden, “Dadaist Virginology” (BB)
Recommended poetics: Mina Loy, “Censor Morals Sex” & “History of Religion and Eros” (BB)
Week Nine
Race, Music, and Modernism: The New Negro Renaissance and After
Tuesday, October 23
Context: Peter Howarth, from Ch.8 of Cambridge Introduction to Modern Poetry (pp. 185-95);
Sharon Lynette Jones, “The Poetry of the Harlem Renaissance” (CCMP)
Poetics: Alain Locke, “Enter the New Negro” (BB); Langston Hughes, “The Negro Artist and
the Racial Mountain” (NAAP); Sterling Brown, “Our Literary Audience” (BB)
Poetry (what the New Negro Renaissance was reacting against): Vachel Lindsay, “The Congo:
A Study of the Negro Race” (BB)
Poetry of the New Negro Renaissance: Blues songs by W.C. Handy, Bessie Smith, Ma Rainey,
and Jelly Roll Morton (NAAP); Sterling Brown, all selections (VAAP) and selections
from Collected Poems (“Odyssey of Big Boy,” “Memphis Blues,” “Frankie and Johnny,”
“Southern Road,” “Slim in Atlanta,” “Slim Hears ‘The Call’”), and “Slim in Hell” (BB)
Recommended context: Paul Peppis, from “Schools, Movements, Manifestoes” (pp. 42-7)
(CCMP)); Mark A. Sanders, “American Modernism and the New Negro Renaissance”
(BB)
Recommended and in-class listening: Various blues, ragtime, and early jazz tracks (BB folder)
Recommended poetry by forerunners of the Renaissance: James Weldon Johnson, “O Black and
Unknown Bards” (BB) and Paul Laurence Dunbar, “A Negro Love Song” and “We Wear
the Mask” (BB)
Recommended poetics: Sterling Brown, “Negro Folk Expression: Spirituals, Seculars, Ballads,
and Work Songs” (BB)
Recommended Harlem Renaissance poetry. Selections in NAAP by: Anne Spencer, Jessie
Redmon Fauset, Countee Cullen, Claude McKay (plus “Heritage,” BB), Angelina Weld
Grimké, Georgia Douglas Johnson (plus “Black Woman,” BB), Gwendolyn Bennet, Arma
Bontemps, Jean Toomer (“Reapers” through “Her Lips Are Copper Wire”); Langston
Hughes (“The Negro Speaks of Rivers” through “Christ in Alabama”)
Thursday, October 25
Context: John Lowney, “Langston Hughes and the ‘Nonsense’ of Bebop” (BB)
Poetics: Langston Hughes, “My Adventures as a Social Poet,” “Jazz as Communication,” and
“The Roots of Jazz” (BB)
Poetry: Langston Hughes, Selected Poems: “The Weary Blues” and Montage of a Dream
Deferred (complete book-poem)
Recommended context: Anita Haya Patterson, “Jazz, Realism, and the Modernist Lyric: The
Poetry of Langston Hughes” (BB)
Recommended poetics: Langston Hughes, “From the Blues to an Opera Libretto” (BB) and “The
Negro and American Entertainment” (BB)
Recommended and in-class listening: Charlie Parker, “Constellation” (early bebop) (BB)
Week Ten
Revolutionary Poetry: Writing about Labor and Social Justice,
before and during the Great Depression
Tuesday, October 30
Context: Cary Nelson, “Poetry Chorus: The Politics of Revolutionary Memory” (BB)
Poetics: Lucia Trent and Ralph Cheyney, Excerpts from the Introduction to An Anthology of
Revolutionary Poetry (BB/MAPS)
Labor poetry: The I.W.W., The Little Red Songbook (1923 ed.) (BB): Carefully read 2 or 3
songs to get a sense of what workers’ poetry was
Modernist poetry: Lola Ridge, selections in NAAP; “The Ghetto” from The Ghetto and Other
Poems (BB), Back Yards sequence (BB); selections from Red Flag (BB), and “Three
Men Die” sequence from Dance of Fire (BB)
Recommended modernist poetry about labor (late 1920s and 1930s): Carl Sandburg, “Chicago”
(NAAP); Genevieve Taggard, selections from Calling Western Union (BB); John
Wheelwright, “Footsteps” and “Masque With Clowns” (BB); Langston Hughes,
“Advertisement for the Waldorf-Astoria” [illustrated broadside] (BB); Edna St. Vincent
Millay, selected poems (BB) and “Fear” (essay, BB); Sol Funaroff, “What the Thunder
Said: A Fire Sermon” [complete poem and abbreviated broadside version] (BB); Kenneth
Fearing, “Dirge” and “Ad” (NAAP)
Recommended poetics: Lola Ridge, “Woman and the Creative Will” (BB)
Thursday, November 1
Context: Peter Howarth, Ch.8 from Cambridge Introduction to Modernist Poetry (pp. 197-202);
Justin Parks, “Muriel Rukeyser’s Poetics of Extension and the Politics of Documentary
Photography” (BB)
Poetics: Muriel Rukeyser, Ch.4 from The Life of Poetry (BB)
Poetry: Muriel Rukeyser, The Book of the Dead (Be sure to look at the images by Rukeyser and
Nancy Naumberg also included in the volume, preceding her long poem.)
Recommended context: John Lowney, “Buried History: The Popular Front Poetics of Muriel
Rukeyser’s The Book of the Dead” (BB); Historical source documents for Book of the
Dead (MAPS/BB)
Recommended poetics: Muriel Rukeyser, “The Color of Coal Is Black” (BB) and “Poetry and the
Unverifiable Fact” (BB)
Week Eleven
An Antifascist Poetry: Responses to the Spanish Civil War
and the Rise of Fascism, before Pearl Harbor
Tuesday, November 6
Context: Cary Nelson, “The International Context for American Poetry about the Spanish Civil
War” (BB)
Poetics: Archibald MacLeish, “A Stage for Poetry” (BB); Foreword to The Fall of the City (in
PDF of the script) (BB)
Poetry (radio broadcast): Archibald MacLeish and CBS Studios, The Fall of the City (BB)—
p. 15
Listen to the broadcast of MacLeish’s verse-play. You can skim the published script or
read along to the recording to see what it looks like on the page, as verse, and how
it is changed in its performance.
Recommended poetry (verse-play): Archibald MacLeish, The Fall of the City (script, BB)
Recommended poetry (lyrics and broadsides): W.H. Auden, “In Memory of W.B. Yeats” (BB);
Langston Hughes, “Addressed to Alabama” broadside (MAPS/BB); Edwin Rolfe,
selected poems (BB); Kenneth Rexroth, all 1930s poems from website (BB); Muriel
Rukeyser, “Mediterranean” (BB); Genevieve Taggard, “To the Veterans of the Abraham
Lincoln Brigade” (VAAP)
Thursday, November 8
Poetics: Muriel Rukeyser, “The Fear of Poetry” (BB)
Poetry and poetics: Poetry: A Magazine of Verse vol. 56 no. 6 (September 1940, Special issue:
“Poets on War”) (BB): Read all of the poems in the issue, plus Kenneth Fearing’s essay
“U.S. Writers in War”
Discussion (30 minutes): Review of requirements for the final paper and the Research Process
Worksheet. A quick review of how to access and vet secondary materials from the
library’s online databases.
Week Twelve
Witness to the War: Poetry by Survivors, Pacifists, and Conscientious Objectors
The prompt and specs for the Final Paper and the Finding and Using Sources worksheet will be
available on BB by Wednesday. Consider what poem and poet you want work on for the final
paper. I recommend that everyone begin the Research Process Worksheet this weekend,
especially if you do not want to avoid having to do a lot of work over Thanksgiving Break.
Tuesday, November 13
Context: Rachel Blau DuPlessis, “H.D. and Revisionary Myth-Making” (CCMP)
Poetics: H.D., “A Note on Poetry” (BB); plus “Blue Lights” and “Tide-Line” (from Within the
Walls) (BB)
Poetry: H.D., “May 1943” (BB); plus “The Walls Do Not Fall” and “The Flowering of the Rod”
from Trilogy
Recommended poetics: H.D., from Notes on Thought and Vision (BB)
Recommended poetry: H.D., “Tribute to the Angels” in Trilogy; plus poems in NAAP.
Thursday, November 15
Context: Philip Metres, “William Everson and the Fine Arts Camp” (Behind the Lines, pp.73-92)
(BB)
Poetry and poetics: Kenneth Patchen, An Astonished Eye Looks Out of the Air (BB) and picture-
poems from Panels for the Walls of Heaven (BB)
Recommended context. Eric Keenaghan, from “The Conscience of the World” (in-progress
essay) (BB); William Everson, “Walport: An Interview with William Everson” (BB)
Recommended poetry: William Everson, Chronicle of Division (BB)
Discussion (40 minutes): On the final paper. Review the prompt and the specs for the
p. 16
assignment before class. Revisit your lecture notes, your reading journal notes, even
some of the primary texts. Make notes in your reading journal about which poet or poem
you want to write, a possible critical angle, and why that focus interests you.
Week Thirteen
A Dark and Forgotten Corner of American History and Modernist Poetry:
Poems from the United States’ Japanese and Japanese-American Internment Camps
Tuesday, November 20
Context: Violet Kazue Matsuda de Cristoforo, “Uprooting and Relocation to Concentration
Camps” (BB); MAPS webpage about the Nisei and Issei internment camps (BB/MAPS)
Poetry: Various authors, World War II Internment Camp Poetry (NAAP); Janet Matsuda, “Hope
Out of Gloom” (BB)
Recommended poetry: Various authors, Selected haiku from May Sky (ed. Matsuda de
Cristoforo) (BB)
Discussion (30 minutes): Your questions about the final paper and the research worksheet.
Thursday, November 22
No Class or Office Hours: Academic Calendar (Thanksgiving)
UNIT THREE: RESEARCHING AND WRITING THE FINAL PAPER
Week Fourteen
Preparing and Developing the Final Paper
Tuesday, November 27
DUE IN CLASS: Finding and Using Sources Worksheet
Mandatory Workshop: On integrating secondary texts into the critical frame for your original
analysis of a poem. We will collectively examine a secondary critical text assigned earlier
in the semester and discuss how the author uses sources to set up her own original thesis.
Bring hard copies or electronic files of the primary and secondary texts you plan to use
for your paper. Be prepared to share and discuss your experience of researching your
poet/poem/issue/concept and how that research has affected the your working thesis.
Thursday, December 29
Graded research worksheets will be returned today.
Mandatory Workshop: Bring to class a fully developed and fully revised thesis statement (at least
2 paragraphs), identifying your topic (“what”), your approach to this topic through a
trope or concept in the poem (“how”), and “why” this topic and trope/concept matter.
Frame your thesis statement through at least one secondary text (history, criticism,
poetics essay). Bring any other notes, any questions, and copies of the primary and
secondary texts you plan to use.
Week Fifteen
Preparing and Developing the Final Paper, Continued
Tuesday, December 4
In-class evaluations today. Please also complete the electronic SIRF evaluations for all your
classes (including this one!), available through your MyUAlbany portal.
Mandatory Workshop: Bring in 3-4 working draft pages, plus a block outline for the structure of
the rest of your argument. Your draft pages should include your fully developed thesis
statement and frame narrative, incorporating at least 1 secondary source. At the end of
workshop, a few volunteers will share their in-progress work, for collective comment.
Thursday, December 6: LAST DAY OF CLASS
Mandatory Workshop: Come to class with 5-6 working draft pages. Your pages should include
your critical frame and the start of your close reading of the poem.
Week Sixteen
Completing the Paper
Tuesday December 11 — Reading Day
Extra walk-in office hours during our usual class time and my usual office hours
Final Papers (10-12 pages) are due by Thursday, December 13 at 12:00 noon. No late
papers will be accepted. Submit all texts via Blackboard as a PDF file. A Microsoft Word (.doc
or .docx) file is also acceptable. If you are in the TA Ashley Manning’s comment group for this
assignment, please email her a copy of your paper, too, after you have uploaded it to Blackboard.
By Spm, check your email for confirmation of my receipt of your work. If I cannot download or
open your file, I will send an email asking you to resend your paper. Your failure to comply in a
timely fashion may lead to an “I”/incomplete or an “E”/fail for the course. NOTE: If you want
brief comments from me about your final paper, you must request them on the BB
submission card and I will email you brief end comments and a grade for this essay before
the semester grades post. If you are in Ashley’s comment group, she will send you
comments (but not a grade) around the time semester grades are posted.
SUPPLEMENTARY RESOURCES
Digital Archives and Other Online Resources
If hyperlinks in this document do not work, then please use the links set up on the course's BB
page for Digital Archives and Other Online Resources.
Biographical Headnotes
At the beginning of each selection in the New Anthology of American Poetry, our primary
textbook, there is a biographical headnote for each author. You should read that note before you
tead the assigned poetics essays and poems. If the poet we are reading is not included in NAAP,
you should check the website of the Poetry Foundation.
The Modern American Poetry Site (MAPS)
MAPS is a terrific online resource that provides additional poems, criticism, poet biographies,
and background information about modern and contemporary American poetry.
Recordings of Poets’ Readings
To get a different feel for modernists’ work, it often helps to hear the authors themselves read it.
In the forties and fifties, poets started to read their own work at public venues or for recordings,
and now there are digital archives of recordings by some writers we will be studying. If you are
interested in hearing a poet read, check at the Library of Congress’ Archive of Recorded Poetry
and Literature, University of Pennsylvania’s PennSound archive, Harvard University’s
Woodberry Poetry Room Listening Booth archive, or the independent site UbuWeb. Or, you can
check Youtube or elsewhere on the web.
Digital Archives of Modernist Little Magazines and Other Documents
A good resource to find digitized images of archival materials from the modernist period and
earlier nineteenth-century Romantic and Victorian periods is MODNETS (a.k.a. Modernist
Networks). This resource searches over 60 digital databases and archives, so when researching a
specific author you may find both secondary critical articles and archival primary sources,
including holograph manuscripts (i.e., handwritten drafts), unpublished notebooks, unpublished
letters. You also can select an individual participating website.
Modernism initiated the start of the little magazine, privately run journals featuring
literature, art, and social journalism that were distributed locally or internationally. Issues of
various little magazines will be assigned throughout the semester, but if you are interested in
exploring them more there are some good digital archives: Brown University and University of
Tulsa’s Modernist Journal Project has digitized issues of major little magazines through 1923;
the Blue Mountain Project has digitized Princeton University’s major collection of international
modernist little magazines; the complete run of the still existent Chicago-based magazine Poetry,
begun in 1912; many issues of the Paris-based magazine transition, edited by Eugene Jolas and
Elliot Paul in the 1920s and 1930s.
AENG 359: Studies of Narrative: The Fiction of Disaster
ENG 359 (class number: 6070), 3 Credits, No Pre-req. Prof. Richard Barney
Spring 2016 Office: HU 319
SS 131 Office Hours: TTh 11:45 a.m.-1:00 p.m.
TTh 1:15-2:35 p.m. Office pho 42-4062
rbarney@albany.edu
Required Texts (at the University Bookstore and Mary Jane Books):
Note: Please be sure to obtain the specific editions indicated below.
Daniel Defoe, Journal of the Plague Year (Oxford UP, 2010)
Mary Shelley, The Last Man (Oxford UP, 2008)
Albert Camus, The Plague (Vintage, 1991)
Margaret Atwood, Oryx and Crake (Anchor, 2004)
Cormac McCarthy, The Road (Vintage, 2007)
Colson Whitehead, Zone One (Anchor, 2011) Paperback edition
A xerox packet of secondary readings (available at Mary Jane Books; call 465-2238)
This course will examine the theme of widespread disaster in European, Canadian, and American
fiction from the 18" to the 21" century. We will begin by examining how the idea of being “modern,” a
concept that emerges during the European Enlightenment, serves as context for fearing—while also
fantasizing about—a complete breakdown of civilized life. We will begin with Daniel Defoe’s Journal
of the Plague Year (1722), before turning then to Mary Shelley’s The Last Man (1826), Albert Camus’s
The Plague (1947), Margaret Atwood’s Oryx and Crake (2003), Cormac McCarthy’s The Road (2007),
and Colson Whitehead’s Zone One (2011).
Objective: Students will focus on ways to improve their ability to write analytical essays on fiction,
while studying critical and theoretical essays related to the concept of modernity, the roots of science
fiction, and traditional narratives about apocalypse. Note: several of the novels for the course are long,
and will require reading up to two-hundred and fifty pages per week.
This course contributes to four categories of skills that are part of the University General
Education program: Critical Thinking, Information Literacy, Oral Discourse, and Advanced Writing.
For more information about the Gen Ed program, go to http://www.albany.edu/generaleducation/.
Papers. You will write three typed, double-spaced papers, between 5 and 7 pages. Your aim
will be both to explore and to apply the concepts and terminology we develop during class discussion
about the readings in order to write self-developed, original essays. For each assignment, I will give you
a sheet with guidelines, and in some cases, I will offer suggested topics. Should you be unsure of your
topic or thesis, please consult me. Paper deadlines are firm, and late essays will suffer a letter grade for
each day they are tardy. Papers count 60% of your final grade.
You will also write occasional “position papers,” approximately one page long and typed, which
will serve as the basis for class discussions while also helping you sharpen your writing abilities. While
they will not be graded, these assignments will count as part of your participation score for the class.
ENG 359 / 2
Plagiarism: Plagiarism is a serious offense with harsh consequences. Depending on the severity
of the offense, it may result in suspension, expulsion, or a failing grade for the course. The
Undergraduate Bulletin defines plagiarism as
presenting as one’s own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Plagiarism includes paraphrasing or summarizing without acknowledgement, submission of
another student’s work as one’s own, the purchase of prepared research or completed papers or
projects, and the unacknowledged use of research sources gather by someone else. Failure to
indicate accurately the extent and precise nature of one’s reliance other sources is also a form of
plagiarism. The student is responsible for understanding the legitimate use of sources, the
appropriate ways of acknowledging academic, scholarly, or creative indebtedness, and the
consequences for violating University regulations.
For details, including examples, see the Bulletin:
http://www.albany.edu/undergraduate_bulletin/regulations.html.
The University Library also has an internet tutorial on avoiding plagiarism:
http://library.albany.edu/usered/tutorials.html.
Participation. Consistent attendance is a must, because the quality of the class depends on your
contribution to discussion. Be sure you are here: each absence beyond two unexcused instances will
detract from your final average by one-third (example: B — B-). I expect you to consult with your
classmates or me concerning any material you may have missed because of absence, so that you are
fully prepared when you arrive for the next class. Participation counts 10%.
Quizzes. I will give occasional and unannounced quizzes (about ten); some may be take-home,
while others will occur at the beginning of class. If you have done the required reading, and understand
the basic plot and/or ideas, you should pass them easily. There will be no makeup quizzes. Quizzes
count 10%.
Final Exam. There will be a take-home final examination, oriented mainly around essay
questions. The final counts 20%.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72) D+
(67-69) D (63-66) D- (60-62) E<60
Electronic Devices. You are allowed to use laptops or tablets in class so long as they are
exclusively for the purposes of accessing course texts (e.g., via Kindle) or otherwise contributing
ENG 359 /3
directly to class discussion. This is a provisional privilege, subject to being immediately revoked should
it be abused by using such devices for other purposes (checking email, etc.); it will also incur the
additional penalty of 25% deducted from your highest quiz grade. Cell phones should be silenced and
completely out of sight during class time; any time I may see them in view other than before class
begins or after it ends will incur the penalty of 25% deducted from your highest quiz grade, a penalty
that can be applied multiple times.
Accommodation for Coursework: any students who need accommodation for learning or other
disabilities should bring this my attention as soon as possible by providing me with documentation of
their disability from the campus Disability Resource Center (CC 137). Contact information: 442-5490.
Website: http://www.albany.edu/disability/index.shtml.
Class Schedule:
Jan, 21 Introduction
Jan. 26-28 Defoe, Journal of the Plague Year (up to p. 130)
Feb. 2-4 Defoe, Journal (cont.)
Feb. 4 Xerox packet: Abrams, selection from Natural Supernaturalism
Feb.9-11 Shelley, The Last Man (up to p. 238)
Feb. 16-18 Shelley, The Last Man (cont.)
Feb. 18 Xerox packet: Paley, “The Last Man: Apocalypse Without Millennium”
Feb. 23-25 Camus, The Plague (up to p. 164)
March 1 Camus, The Plague (cont.)
Paper #1 due (5-6 pages)
March 3 Camus, The Plague (cont.); xerox packet: Stephanson, “The Plague Narratives of Defoe
and Camus”
March 8 Xerox packet: Berger, “Introduction” and “Post-Apocalyptic Rhetorics” in After the End;
recomm’d: selection from Chap. 2: “Trauma and the End of the World”
March 10 Paper Workshop: read “Criteria for Grading” and “Directions” (in the xerox packet
appendix); read, comment on, and grade the sample papers per the directions. Turn in
typed comments.
March 15-17 SPRING BREAK
March 22-24 Atwood, Oryx and Crake (up to p. 213)
March 29-31 Atwood, Oryx and Crake (cont.)
March 31
April 5-7
April 7
April 12-14
April 14
April. 19-21
April 26-28
April 28
May 3
May 11
ENG 359/4
Xerox packet: Dunning, “Margaret Atwood’s Oryx and Crake: The Terror of the
Therapeutic”
McCarthy, The Road (up to p. 168)
Paper #2 due (5-6 pages)
McCarthy, The Road (cont.)
Xerox packet: Hoberek, “Cormac McCarthy and the Aesthetics of Exhaustion”
Whitehead, Zone One (up to p. 183)
Whitehead, Zone One (cont.)
Xerox packet: Lauro & Embry, “A Zombie Manifesto” and Hoberek, “Living with
PASD”
Review for exam
Paper #3 due (5-7 pages)
Final Exam due by 10:30 a.m. HU 319, submitted electronically on Blackboard
ENG 360y Tutoring & Writing G credits)
Course Policies & Schedule, Spring 2016
Section: 6470 Instructor: Professor Laura Wilder
Meeting times: T & Th 11:45-1:05 | Instructor email: Lwilder@ albany.edu
Meeting place: Humanities 116 Instructor’ s office: Humanities 349
Course Website: on Blackboard Instructor’s office hours: T & Th 10:30-11:30 a.m. & by appointment
Pre-req: Permission of Instructor _ | Instructor’s office phone: 442-4084
Course Description and Objectives: This course is primarily designed to train tutors to work in the
University’s Writing Center, though those interested in exploring writing instruction, writing processes from
brainstorming to revision, or rhetorical concerns of audience and purpose may also find this course of value. We
will investigate our own and others’ writing processes, styles and purposes for writing in various academic
disciplines, and the dynamics of giving and receiving useful feedback on writing as well as the role of a Writing
Center on campus. (This course fulfills the University at Albany General Education Oral Discourse requirement
and the Critical Thinking General Education Competency.)
Required Texts: Available from the University at Albany Bookstore (Campus Center) and Mary Jane Books
(214 Quail St.):
Ryan, Leigh and Lisa Zimmerelli. The Bedford Guide for Writing Tutors. 5th ed. Boston: Bedford/St.
Martin's, 2010. [ISBN 0-312-56673-5]
Williams, Joseph M. and Joseph Bizup. Style: Lessons in Clarity and Grace. 11" ed. Boston: Pearson,
2014. [ISBN 0-321-89868-0]
Available from Mary Jane Books (214 Quail St.):
A course packet for Professor Laura Wilder's ENG 360y
Assignments and Grades: Final course grades will be given using the traditional A-E grading scheme. Y our
final semester grade will be based on your work completing the following assignments, calculated according to
the following percentages:
* Writing Autobiography (4-5 pages): 5%
How did you become the writer you are now? In this personal literacy narrative you are to explore
and share a few important scenes in your history as a writer.
* “How I Write” Process Analysis (4-5 pages): 10%
In this paper you are to break down the actions and describe the thoughts, feelings, resources,
materials, and settings involved in your composition of a text.
* Style Presentation (10-15 minutes): 10%
Working collaboratively with a classmate, you will be responsible for introducing and leading class
discussion of one of the lessons on writing style in Joseph Williams's Style. How might you share
Williams's style advice with a writer during a tutorial?
* Discussion Board Entries (2 substantive paragraphs each, 5 total): 10%
We will be using our discussion board on Blackboard as a collaborative reading journal. The quality
and quantity of your informal yet substantive participation in our collaborative reading journal will
contribute to your grade in this course. The course schedule provides thirteen weekly topics for you
to write on at any time during the calendar week associated with the topic. To receive full credit for
this portion of your grade, you should post at least 2 substantive paragraphs in reply to at least five
of these topics or your classmates’ postings.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72)
D+ (67-69) D (63-66) D- (60-62) E<60
¢ Reflections on Y our Experiences of Two Tutorials (each 2-3 pages): 10%
Y ou are required to experience two tutorials in the Writing Center this semester. A fter each visit you
should write on your impressions of the experience— how did you feel during the tutorial? In what
ways was it helpful? W ere there any drawbacks to the experience? When writing your second
reflection, you should also compare your most recent tutorial experience to your previous tutorial
experience. The due dates for these two reflections are open, and handing them both in by the last
day of class is your responsibility. The due dates are flexible because I would like to encourage you
to go to the Writing Center when you have a genuine interest in working with a tutor on any writing
assignment for this or any other class or project. Y ou can go to the Writing Center at any stage of the
writing process, from “empty-handed” brainstorming to final revisions. I strongly recommend that
you plan to hand in your first reflection by mid-semester. Submit as paper hardcopies.
* Observation & Analysis of Two Writing Center Tutorials (each 3-5 pages): 20%
Y ou are to arrange to observe two tutorials in the Writing Center and subsequently write an analysis
of each session, including analysis of the environment, the writer's and tutor’s body language, and of
the strategies and responses of both writer and tutor. Draw from (and cite) at least two of our course
readings to help you explore and explain the dynamics of the sessions. When writing your second
analysis, you should also compare your most recent observation to your previous tutorial
observation. We will share our findings in class roundtable discussions. Submit as paper hardcopies.
* Writing across the Curriculum Research Project (7-9 pages): 20%
Because many students who take advantage of the Writing Center’s services will be pursuing majors
and projects in disciplines you are unfamiliar with, this project asks you to learn about the kinds of
writing performed outside your major discipline. This project asks you to select from a variety of
primary research methods to learn about writing in the discipline you select, such as: interview of a
faculty member, rhetorical analysis of scholarly articles, analysis of discipline-specific writing
guidebooks, and analysis of writing assignments given in courses in the discipline. We will share our
findings on Blackboard and in short presentations to the class.
* Tutoring Philosophy (3-4 pages): 15%
This essay is your opportunity to reflect on a semester of reading and discussion and craft a vision
for yourself as a writing tutor. How do you plan to work with students as a writing tutor, and what
thinking, reading, and research inform your plans?
Format for Y our Written Assignments: A]] major assignments will be submitted electronically to the
appropriate discussion board on our Blackboard website. This procedure will make your final work available for
the rest of the class to see and read. Once graded, your work will be retumed to you with comments via the
Blackboard mail feature (and thus grades and instructor comments will not be publicly posted to the class).
Please format your major assignments in this way: On the first page place the following information in
the upper left-hand comer, single-spaced: Y our name; my name; English 360y, and the date the
assignment is handed in. Double space the body of your paper, use a 10 or 12-point serif font (eg.
Times New Roman), and use 1 inch margins all the way around the text. In other words, format your
papers as you would following the MLA conventions for printed academic essays.
Save your work as a “rich text file” (.rtf) that any word processing program should be able to access and
save your work with a simple file name that contains your last name and has no spaces or unusual
characters in it. For instance, I would save my Writing Autobiography with this file name
“wilderwritingautobio.rtf.”
Upload your assignment to the designated discussion board on Blackboard much as you would an
attachment to an email.
Late Assignments: Assignments must be tumed in to Blackboard before class on the date they are due as listed
in our course schedule. Late final essays may be penalized by lowering the grade earned one full grade for each
day of class after the due date the essay is late.
If you have questions about a grade you receive in this course, wait at least 24 hours after receiving the
grade to contact me (please read carefully all feedback and develop specific questions). However, do not wait
until the end of the course to contact me. Any substantial question about a grade must be made within two
weeks of receiving the grade. Do not discard any assignments until you receive a final grade for the course.
Attendance: Y ou are expected be punctual, present, and engaged for the entire duration of each week's class
meetings. If you have more than four absences you will not pass the course. Save these “excused” absences
to use when you are sick, or when you have an emergency. I will take attendance at the start of every class. If
for any unfortunate reason you arrive late, it is your responsibility to see me after class to ask to be marked
present.
Disability Resources: Reasonable accommodations will be provided for students with documented physical,
sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you have a disability requiring
accommodation in this class, please notify the Director of the Disability Resource Center (Campus Center 137,
442-5490). That office will provide the course instructor with verification of your disability, and will
recommend appropriate accommodations. About the DRC: http://www.albany.edu/disability/prospective-
new.shtml
Scholastic Honesty: Turning in work that is not your own or any other form of scholastic dishonesty will result
in a major penalty, including possible failure for the assignment or the course. If it appears that you have
committed some form of scholastic dishonesty, such as plagiarism or collusion, I will contact you to discuss the
matter at once and bring the matter to the attention of the Dean for Undergraduate Education. The incident will
be treated in accordance with the University at Albany policies, and further penalties of confirmed, egregious
cases can include suspension or expulsion.
From the University’s Undergraduate Bulletin, Academic Regulations:
Presenting as one's own work the work of another person (for example, the words, ideas, information,
data, evidence, organizing principles, or style of presentation of someone else). Plagiarism includes
paraphrasing or summarizing without acknowledgment, submission of another student's work as one's
own, the purchase of prepared research or completed papers or projects, and the unacknowledged use of
research sources gathered by someone else. Failure to indicate accurately the extent and precise nature
of one's reliance on other sources is also a form of plagiarism. The student is responsible for
understanding the legitimate use of sources, the appropriate ways of acknowledging academic,
scholarly, or creative indebtedness, and the consequences for violating University regulations.
Examples of plagiarism include: failure to acknowledge the source(s) of even a few phrases, sentences,
or paragraphs; failure to acknowledge a quotation or paraphrase of paragraph-length sections of a paper;
failure to acknowledge the source(s) of a major idea or the source(s) for an ordering principle central to
the paper's or project's structure; failure to acknowledge the source (quoted, paraphrased, or
summarized) of major sections or passages in the paper or project; the unacknowledged use of several
major ideas or extensive reliance on another person's data, evidence, or critical method; submitting as
one's own work, work borrowed, stolen, or purchased from someone else.
For documentation purposes, it will be important to keep track of resources you consult during your writing
process. I may ask you to provide me with photocopies or printouts of research materials you use. If you have
any questions about the use you are making of sources for your assignments, see me before you hand in your
work.
ENG 360y Tutoring & Writing C ourse Schedule:
Week | Day | Readings to prepare to discuss in class | Assignments & In-class Activities | Discussion Board
i 1/21 Introductions.
Introduction to Writing
Autobiography assignment.
Introduction to Reflections on Y our
Experience of Two Tutorials
assignment.
1/26 | Bedford Guide: “Introduction for Tutors” Why do you think
Course Packet: North “The Idea of a North “revisited”
2 Writing Center” his earlier article?
1/28 | Course Packet: North “Revisiting ‘The What is his later
Idea of a Writing Center’” reaction to his
earlier article?
Have you ever
wished to similarly
“revisit” something
you wrote earlier?
Why?
2/2 Course Packet: Fulwiler “Provocative Draft of Writing Autobiography | Have you
Revision” due. Bring hard-copy to class. previously used any
3 Practice tutorial sessions. of the techniques
2/4 Course Packet: Blaauw-Hara “Why Our | Introduction to Style collaborative | for revision that
Students Need Instruction in Grammar, presentation assignment. Fulwiler describes?
and How We Should Go about It” Why? What was
Style: Lessons 1 & 2 the outcome?
2/9 | Bedford Guide: Chapter 2 “The Writing | Writing Autobiography due. What surprised you
Process” when reading either
4 Course Packet: Sommers “Revision Sommers’ or
Strategies of Student Writers and Rymer’s article?
Experienced A dult Writers”
2/11 | Course Packet: Rymer “Scientific Introduction to “How I Write”
Composing Processes: How Eminent Process Analysis assignment.
Scientists Write Journal Articles”
2/16 | Bedford Guide: Chapter 3 “Inside the Introduction to Observation & Open response to
Tutoring Session” Analysis of Two Writing Center readings.
5 Course Packet: Godbee “Toward Tutorials assignment.
Explaining the Transformative Power of
Talk about, around, and for Writing”
2/18 | Bedford Guide: Chapter 4 “Helping
Writers throughout the Writing Process”
Course Packet: Brooks, “Minimalist
Tutoring: Making the Student Do All the
Work” and Shamoon and Bums “A
Critique of Pure Tutoring”
2/23 | Course Packet: Carino “Power and Style Lesson 3 presentation Share your
Authority in Peer Tutoring” and Corbett observations of and
6 “Tutoring Style, Tutoring Ethics: The teactions to
Continuing Relevance of the
Directive/Nondirective Instructional
Debate”
Style: Lesson 3
Thursday’s in-class
tutorial
demonstration.
Week | Day | Readings to prepare to discuss in class_| Assignments & In-class Activities | Discussion Board
2/25 Draft of “How I Write” Process
Analysis due. Bring hard-copy to
class.
In-class tutorial demonstration
session.
3/1 Bedford Guide: Chapter 7 “Helping “How I Write” Process Analysis | Response to your
Writers across the Curriculum” due. classmates’ “How I
7 Course Packet: Zemliansky “A Balancing | Introduction to Writing across the | Write” Process
Act of Efficiency and Exploration: Curriculum Research Project. Analyses: Do you
Tutoring Writers in Advanced Classes” Style Lesson 4 presentation. see any patterns
and Walker “The Debate Over Generalist among them?
or Specialist Tutors: Genre Theory’s
Contribution”
Style: Lesson 4
3/3 Course Packet: Dowdey “Citation and Style Lesson 5 presentation.
Documentation across the Curriculum”
Style: Lesson 5
3/8 Course Packet: Myers “Stories and Styles | Style Lesson 6 presentation. Describe an
in Two Molecular Biology Review experience you had
8 Articles” writing in an
Style: Lesson 6 unfamiliar context
3/10 | Style: Lesson 7 Writing across the Curriculum for an audience you
Research Project topic proposal | did not know much
due. Bring hard-copy to class. about.
Style Lesson 7 presentation.
3/15_| No class. Spring break.
9 3/17_| No class. Spring break.
3/22 | Course Packet: Thompson “Scaffolding in | Style Lesson 8 presentation. If you were to
the Writing Center: A Microanalysis of an conduct a study of
Experienced Tutor’s Verbal and writing center
Nonverbal Tutoring Strategies” practice using
Style Lesson 8 methods similar to
10 those used by
3/24 | Course Packet: Lavelle and Zuercher Style Lesson 9 presentation. Thompson or
“The Writing Approaches of University Lavelle and
Students” Zuercher, what
Style: Lesson 9 about writing
center practice
would you
investigate and
why?
3/29 | Bedford Guide: Chapter 5 “The Writers Style Lesson 10 presentation. Open response to
You Tutor” readings.
11 Course Packet: Rose “Rigid Rules,
Inflexible Plans, and the Stifling of
Language: A Cognitivist Analysis of
Writer's Block” and Neff “Learning
Disabilities and the Writing Center”
Style: Lesson 10
3/31 Observation & Analysis of a
Writing Center Tutorial #1 due.
Bring hard-copy to class.
Roundtable discussion of
observations.
Week | Day | Readings to prepare to discuss in class _| Assignments & In-class Activities | Discussion Board
4/5 Course Packet: Myers “Reassessing the Style Lesson 11 presentation. Reflect on your
‘Proofreading Trap’: ESL Tutoring and experience as the
12 Writing Instruction” and DiPardo writer during
“Whispers of Coming and Going’: Thursday’s in-class
Lessons from Fannie” tutorials. Describe
Style: Lesson 11 something your
4/7 Bedford Guide: Chapter 1 “The Writing | Rough draft of Writing across the | tutor helped you
Center as a Workplace” and Chapter 9 Curriculum research project due. | see about your draft
“Summing It All Up” Bring hard-copy to class. that you would
Course Packet: Cooper “Really Useful In-class tutorial sessions. have been unlikely
Knowledge: A Cultural Studies Agenda Introduction to Tutoring Philosophy | to have seen on
for Writing Centers” assignment. your own.
Style: Lesson 12 Style Lesson 12 presentation.
4/12 | Course Packet: Blau and Hall, “Guilt-Free | Style Appendix I: Punctuation Open response to
Tutoring: Rethinking How We Tutor presentation. readings.
13 Non-Native-English-Speaking Students”
Style: A ppendix I: Punctuation
4/14 | Course Packet: Williams, “Tutoring and _ Style Appendix II: Using Sources
Revision: Second Language Writers in the | presentation.
Writing Center”
Style: A ppendix II: Using Sources
4/19 | [Please note the English Undergraduate Writing across the Curriculum What do you feel is
14 Research Conference is scheduled for 4/20. Research Project due. the most important
Please consider participating and attending!] | Presentations of Writing across the | thing you learned
Curriculum research projects. from your
4/21 Presentations of Writing across the | classmates’
Curriculum research projects presentations this
continued. week?
4/26 | Bedford Guide: Chapter 8 “Coping with | Rough draft of Tutoring Chapter 8 of The
Different Tutoring Situations” Philosophy due. Bring hard-copy. | Bedford Guide for
15 Course Packet: Freed “Subjectivity in the | In-class tutorial sessions. Writing Tutors
Tutorial Session: How Far Can We Go?” presents many
and Sherwood “Censoring Students, “don’t” behaviors
Censoring Ourselves: Constraining to avoid as a tutor.
Conversations in the Writing Center” Given your
4/28 Observation & Analysis of a experiences this
Writing Center Tutorial #2 due. | semester, can you
Bring hard-copy to class. imagine a scenario
Roundtable discussion of in which you might
observations. violate this
guidance? Explain.
16 | 5/3 Tutoring Philosophy due. The discussion
Wrap-up. forum is now
closed for the
semester.
African American Literature
Fall Semester 2016
AENG 369, 3 credits, No Pre-Req's
Tues. & Thurs. 8:45-10:05 HU123
Christina Thyssen (HU 339)
cthyssen@albany.edu
Office Hours: Tuesday and Thursday 10.10am—11.40am
Course Description
Through reading, writing, discussion and performance this course
will introduce students to some of the most influential literary and vernacular texts
emerging from the African American cultural context. For the most part, these
literary and vernacular works will be considered in relation to the historical moments
in which they were produced. This historicized approach will enable class
discussions to focus on the way in which black literary production chronicled,
reflected and contributed to African America’s varied, vexed relation to the American
“democratic project.” Attention to history will also lead students into considerations
of the intimate connection between the aesthetic choices of African American writers
and the evolving legal and social statuses of black people in America.
Course Objectives
Students will be able to:
¢ Identify important texts, events and figures in African American literary
history
¢ Describe the relations between historical contexts and cultural texts
* Explain how (religious, sexual, racial, national, gender, class, etc.) identities
influence cultural texts
¢ Recognize and analyze recurring political and aesthetic themes in African
American literary history
* Assess the implications of intertextuality in African American literary history
* Share Knowledge in the community
* Collaborate selflessly on at least one group project
Required Texts
Most course readings will be found in the Norton Anthology of African American
Literature. However, we will read a novel, and a collection of poems that are not in
the Norton Anthology, and from time to time copies of short texts (essays or poems)
will be distributed to students in class. The following books are required for the
course:
Coval, Kevin, et. al. eds. The BreakBeat Poets
Gates, Henry Louis Jr. and Nellie Y. McKay, eds. Norton Anthology of African
American Literature.
Kendi, Ibram. Stamped from the Beginning: The Definitive History of Racist Ideas in
America
Whitehead, Colson. The Underground Railroad.
Course Requirements and Evaluation
The single most important requirement for this class is engaged interaction with the
assigned texts. Most elements of evaluation for this class will serve to measure the
demonstrable quality of your engagement with the texts encountered in the course.
Grade Breakdown
Class Discussions and In-Class Assignments: 20%
Critical Essay 1: 10%
Critical Essay 2: 20%
Large Group Ubuntu Project: 20%
Final Reflection: 20%
Community Engagement Work: 10%
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79)
C (73-76) C- (70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Class Discussions and In-Class Assignments:
A significant portion of your grade will be determined by the quality of your
participation in the discussions that will take place during every class session.
Discussions that are provocative and instructive will not be possible if assignments
are not taken seriously; therefore, your class discussion grade will not simply index
your contributions to classroom conversations, it will also reflect the depth of your
engagement with assignments that you do both inside and outside the classroom. For
example, you may be given a homework assignment that is meant to prepare you for a
class discussion. Or, you may have to participate in a group activity that takes place
during class time. These assignments will contribute to your class discussion grade.
If you haven’t done the homework assignment, or if you don’t involve yourself in
class activities, you won’t be prepared for class discussions. But, if you’ve done the
reading and other preparatory assignments, and if you sincerely engage in class
activities, you will be able to articulate opinions about our texts, and issues arising
from those texts, with conviction. Finally, remember that sincerity and thoughtful
open-mindedness are among the hallmarks of a first-rate conversationalist; because
much of this course will be a conversation of sorts, those traits will be important.
Obviously you cannot participate in class discussions if you are not in class. That
means that attendance will also be factored in to your class discussion grade. If you
miss more than two class meetings, you run the risk of failing the course.
Reading quizzes will also be included in your discussion grade.
Community Engagement Assignments:
Each student will participate in at least one organized effort to bring the learning of
the course into a community beyond the classroom. Students will have several
options to choose from—it is likely that we will engage with students at the
elementary and high school level, and with local library reading groups. These efforts
will require extracurricular logistical coordination (i.e. you will have to do things
outside of class time) and a high degree of commitment from each participant. Each
of these opportunities for community engagement will be detailed once the semester
gets underway.
Critical Essays:
The critical essays will measure your ability to construct sustained, logical and
persuasive arguments in response to assigned texts. Writing is a form of articulation
that often provides a measurable form of thinking. Thus, the essays you produce will
help me to measure the quality of your thinking as it pertains to material that we
encounter in this course. The grades you receive on these assignments will
correspond to the originality and persuasiveness of your arguments, your technical
(syntactical, grammatical) acuity, and the eloquence of your expression.
For the two critical essay assignments | will give you several writing topics, one of
which must be selected for development in a four page argumentative essay. Topics
will be distributed two weeks prior to the essay due dates.
These are the general grading-guidelines I apply to essays:
An “A” essay will be technically sound in all aspects: it will have few—if any—grammatical,
syntactical or spelling errors; it will be guided by a strong thesis that is original and provocative; its
arguments will demonstrate clear logic and will support the thesis; it will be coherent and balanced. It
will be an excellent piece of writing.
A “B” essay will be technically sound in almost all aspects: it will have few grammatical, syntactical or
spelling errors; it will be guided by a strong thesis that is original but perhaps not as provocative as it
might be; while its arguments will demonstrate clear logic and will support the thesis, they may lack
conviction and fail to account for obvious counter-arguments; it will be coherent and balanced, but may
also be hampered by abrupt transitions and choppy writing. It will be a good piece of writing.
A“C” essay will suffer from grammatical, syntactical or spelling errors. Its thesis will be undefined
and weak; it will probably not be original or provocative. Its arguments will probably lack conviction
and they will fail to account for obvious counter-arguments. It will probably be hampered by a lack of
coherence and confusing writing. It will be a passable but relatively unconvincing piece of writing.
A “D” essay will demonstrate obvious disregard for the assignment. Incoherence or an unacceptable
number of grammatical, syntactical or spelling errors will mar it at every turn. It will probably lack a
central thesis. Its arguments will be unconvincing and its writing will be scattered and incoherent. It
will be a piece of writing that barely meets the requirements of the assignment.
An “F” paper will be absolutely incoherent and will bear no semblance of a th ind argument. It
will fail to meet the expectations of the assignment in any way.
Large Group Ubuntu Project:
This will be the culminating event of the semester. All students will participate in a
performance-presentation that ties together the semester’s themes, ideas, arguments,
questions, jokes, images, songs, and sadnesses. Each student will contribute to the
development and presentation of a single creative, amalgamative text that, in collage-
fashion, brings together a series of individual texts produced by students. Because of
its fluid, unorthodox and collectivist character, the details and contours of this
assignment will be determined by students as the semester unfolds. The assignment is
especially challenging because it requires intense collaboration, humility, sacrifice
and commitment. It is especially rewarding for the same reasons.
Further instructions will be distributed at appropriate points during the semester.
Final Reflection:
After the completion of the final performance, students will submit a three page
personal statement reflecting on the experience of participating in the Large Group
Collaborative Assignment.
Mise.
There is no opportunity for “make-up” work. You cannot bolster your grade by doing
special assignments.
I can never project the final grade of any student. Please do not ask me to imagine
what your final grade may be. Final grades can only be determined once every
assignment has been completed and assessed. If at any time before the end of the
semester you feel that a certain final grade in this course is assured, you are mistaken.
Do not plagiarize. Integrity is expected. If you’re wondering what it means when
integrity is expected, take a look at the University’s Academic Integrity Standards:
http://www.albany.edu/studentconduct/standards of academic _integrity.php
Schedule
(All readings can be found in the Norton Anthology unless otherwise noted. All readings should be
completed for the first class meeting of the week for which they are scheduled.)
Week 1 — Aug. 30 & Sep. 1
Introductions: African American Culture, the Study of a Tradition and the Analysis of
Texts
Biographical Playlist Assignment
+ 1 Selection from The BreakBeat Poets
Week 2 — Sept. 6 & Sept. 8
Mastering Writing: First Forays and the Antebellum Era
Stamped from the Beginning: Prologue & Part 1
from The BreakBeat Poets: “Small Poems for Big,”
“stockholm syndrome,” “how to get over (for kanye”
Lucy Terry: “Bars Fight”
Phillis Wheatley: “On Being Brought from Africa to America,”
“To His Excellency General Washington,” “To the Right Honorable
Earl of Dartmouth,” “To the University of Cambridge”
Distribution of writing topics for Critical Essay 1
Week 3 — Sept. 13 & Sept. 15
Mastering Writing: The Poetics and Politics of the Slave Narrative
Stamped from the Beginning: Part 2
Frederick Douglass: Narrative of the Life of Frederick Douglass
Also read “Narrative of Jim Taylor” on Blackboard.
Introduction to Community Engagement and Ubuntu Assignments
Week 4 — Sept. 20 & Sept. 22
Slave Narratives: The Gothic & The Sentimental
Stamped from the Beginning: Part 3 / Chapters 13 - 15
Frederick Douglass: Narrative of the Life of Frederick Douglass
Critical Essay 1 Due:
Upload on Blackboard by 11:59 pm on Monday, September 26.
Week 5 — Sept. 27 & Sept. 29
Whitehead: The Underground Railroad
Week 6 — (Oct. 4 No Class) & Oct. 1
Whitehead: The Underground Railroad
Week 7 — Oct. 11 & (Oct. 13 No Class)
Whitehead: The Underground Railroad
Distribution of writing topics for Critical Essay 2
Week 8 — Oct. 18 & Oct. 20
Stamped from the Beginning: Part 3/ Chapters 16 - 20
The Vernacular Tradition: Spirituals, Rhymes, Ballads, and Folktales:
“City Called Heaven,” “Go Down Moses,” “Steal Away Jesus,” “The
Signifying Monkey,” “Wild Negre BH” “John Henry,” “Railroad Bill,”
“Stackolee,” “Shine and the Titanic,” “All God’s Chillen Had Wings,” “Brer
Rabbit Tricks Brer Fox Again,” “The Wonderful Tar-Baby Story”
Week 9 — Oct. 25 & Oct. 27
Reconstruction and the Weight of Culture: Negotiating Orality and Literacy
Paul Laurence Dunbar: “Ode to Ethiopia,” “A Negro Love Song,” “The
Colored Soldiers,” “An Ante-Bellum Sermon,” “Not They Who Soar,” “When
Malindy Sings,” “We Wear the Mask,” “Little Brown Baby,” “Sympathy”
Critical Essay 2 Due:
Upload on Blackboard by 11:59 pm on Monday, October 31.
Week 10 — Nov. 1 & Noy. 3
Stamped from the Beginning: Part 4 / Chapters 21 - 24
The Folk and the Artist-Intellectual, cont.
W.E.B. Du Bois: selections from The Souls of Black Folk
“The Forethought,” “Of Our Spiritual Strivings,” “Of the Meaning of
Progress,” “Of the Coming of John”
Week 11 — Nov. 8 & Nov. 10
Stamped from the Beginning: Part 4 Chapters 25 - 29
The Folk and the Form of the Harlem Renaissance
Rudolph Fisher: “City of Refuge”
Langston Hughes: “The Negro Speaks of Rivers,” “The Weary Blues,”
“T, Too,” “Dream Variations,”
Week 12 — Nov. 15 & Nov. 17
The Performance of Poetry
Amiri Baraka: “Preface to a Twenty Volume Suicide Note,” “SOS,” “Black
Art”
Audio Texts
Amiri Baraka:
“Black Art” (1967)
https://www.youtube.com/watch?v=Dh2P-tlIEH_w
Gill Scott Heron:
“The Revolution Will Not Be Televised” (1970)
https://www.youtube.com/watch?v=rGaRtqrlGy8
Nikki Giovanni:
“Ego Tripping” (1971)
https://www.youtube.com/watch?v=rl oSMNTIrOc&list=PLBB 1 A9ABBC70F
0071 &index=5
“The Great Pax Whitie” (1971)
https://www.youtube.com/watch?v=ihra0STduy4&index=1 &list=PLBB1A9A
BBC70F0071
Felipe Luciano:
“Jibaro, My Pretty Nigger” (1972)
https://www.youtube.com/watch?v=xWhNeljul HI
“Dope” (1978)
https://media.sas.upenn.edu/pennsound/authors/Baraka/Buffalo-78/Baraka-
Amiri 05 Dope Buffalo 12-8-78.mp3
Jessica Care Moore:
“Black Statue of Liberty” (1995)
https://www.youtube.com/watch?v=3XQVYo3yG_c
Saul Williams:
“Coded Language” (2001)
https://www.youtube.com/watch?v=jzY2-GRDiPM
Kanye West / Gill Scott-Heron:
“Lost in the World / Who Will Survive in America” (2011)
https://www.youtube.com/watch?v=gtUFRg 5uUM
Week 13 — Nov. 22 & (Nov. 24 no class — Thanksgiving Break)
Large Group Ubuntu Assignment: Workshop Meetings
Week 14 — Nov. 29 & Dec. 1
Stamped from the Beginning: Part 5 — Chapters 32—epilogue
Run DMC, King of Rock (1985)
https://www.youtube.com/results?search_query=runt+dmce+tking+of+rock+full+album
Eric B. & Rakim, Paid in Full (1987)
https://www.youtube.com/watch?v=6Fe0ZwxxDMY
Week 15 — Dec. 6 & Dee. 8
Large Group Ubuntu Assignment: Presentations/Performances
Tuesday Dec 13: Final Reflections Due (on Blackboard 11:59 pm)
James Lilley jlilley@albany.edu Office:
English 372 / 9558, 3 credits, No Pre-req HUM 333
T 10:30-11:50; Online OH: Th 10:30-11:30; by appt.
Transnational Literature: Global Modernisms: Spring 2021
Course Description: Characterized by stylistic innovation, an emphasis on interiority and a
rejection of the constraints of the traditional realist novel, modernism is generally taken to
emerge in the late 19" century, flourish in the 1910s and 1920s and to exhaust itself by the close
of the 2"? World War. Traditionally, modernism’s geographic home has been Western Europe;
recently scholars have identified modernist works from around the globe. Our course will read a
series of texts from various locations, attending to the different historical circumstances from
which these works arise as well as their aesthetic innovations.
Required Texts: Gustave Flaubert, Madame Bovary (Penguin ISBN: 978-0143106494); Mulk
Raj Anand, Untouchable (Penguin ISBN: 978-0141393605); a set of PDFs on Blackboard.
Grading: Grades will be based on two 5-7 page papers and class participation. Each paper is
worth 40%, participation is worth 20%. Papers are graded on an A-E basis. Late papers will be
marked down a 1/3 grade for each day they are late. I will allow you to rewrite the first paper if
you would like to improve your grade. Note: I always write comments in margins on your
papers. I’m told that these sometimes don’t show up if you read the paper on the phone. If you
have no other way to read the paper, let me know and we’ll work something out.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C-
(70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Class Structure: This course has been converted to an online format due to the pandemic. I am
no fan of online education and as soon as possible will never teach online again. But here we are.
The first and most important thing to say is that I recognize that this presents challenges for
many of you—challenges of access and time as well as the more obvious physical and emotional
distress. I have tried to structure the course in such a way as to capture the essential elements of
the in-person version, while also building in flexibility to accommodate the unusual
circumstances we all find ourselves in. I implore you to contact me should anything unusual
in your life prevent you from fulfilling course requirements. I am willing—within reason—to
work with you to find a way for you to complete the course.
We will meet once a week on Tuesdays on Zoom. Students are expected to come to all twelve
class sessions. However, I recognize that it might not always be possible. To that end, you are
allowed to make up three of these sessions by writing a 2 page response to the reading. These
responses must be analytical in nature, though they are not full-blown essays. They can be turned
into the Responses section on Blackboard.
What does this all mean for your grade? Class Participation, you will have observed, is part of
your grade. This includes both coming to class and talking in class. The class only really works
if it is a discussion, so I would ask that you make every effort to participate in our zoom
meetings. Because I have already built considerable slack into the schedule, I expect you to
attend all of the scheduled zoom meetings. If you miss more than three — meaning that you
neither attend nor write a response — you will fail the course. The best grade you can get on
participation if you attend all classes and never speak (or come to office hours) is a B.
How to prepare for Zoom: Please do your best to imagine that we are actually in class. Do
not read emails, watch your facebook feed or text. Try to maintain the minimum of
professional courtesy and present yourself as you might in the classroom.
Cameras on: | have discovered that if cameras are optional a large number of students will turn
them off which, in turn, means they will drift away from class almost entirely. To try to avoid
this problem, / am requiring you to turn your camera on. Remember you can always use a
virtual background if you are unhappy with whatever environment you find yourself in.
Nevertheless, if there is some legitimate reason why you cannot have your camera on, just email
me to let me know and we will work something out.
Email: You must check your Albany email account as I will, from time to time, email you
important information about our course. 1 am happy to answer questions through email, but I
would ask that you hold to the bare minimum of communicational etiquette. Emails to your
Professors are not text messages to your friends.
Academic Integrity: It should go without saying that all work must be your own. Any use of
outside sources, including general information taken from the internet, must be appropriately
cited. Here is the University’s definition of plagiarism: “Presenting as one's own work the work
of another person (for example, the words, ideas, information, data, evidence, organizing
principles, or style of presentation of someone else). Some examples of plagiarism include
copying, paraphrasing, or summarizing without acknowledgment, submission of another
student's work as one's own, the purchase/use of prepared research or completed papers or
projects, and the unacknowledged use of research sources gathered by someone else. Failure to
indicate accurately the extent and precise nature of one's reliance on other sources is also a form
of plagiarism. Students are responsible for understanding legitimate use of sources, the
appropriate ways of acknowledging academic, scholarly, or creative indebtedness.” Should you
be caught plagiarizing, you will fail the course and your violation will be reported to the
University. Quite simply, there is no purpose to higher education if you wish me to rubber stamp
someone else’s work. I spend all my time reading student work and published papers. Do not
test me. Every semester I catch someone plagiarizing. Don’t let it be you.
Disability Resources: Reasonable accommodations will be provided for students with
documented physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you
believe you have a disability requiring accommodation in this class, please notify the Director of
the Disability Resource Center (Campus Center 137, 442-5490). That office will provide the
course instructor with verification of your disability and will recommend appropriate
accommodations.
University Policy on Religious Observances:
Absences due to religious observance are covered by New York State Education Law. I am
available in office hours to cover any material you might miss for a religious observance.
This course fulfills the International Perspectives General Education Requirement. As such
it will enable you to demonstrate
« aknowledge and understanding of the history, cultures and/or traditions of any region,
nation, or society beyond the United States; and how that region, nation, or society relates
to other regions of the world
while also providing
* an understanding of a region or culture from the perspective of its people(s)
¢ anability to analyze and contextualize cultural and historical materials relevant to a
region
* an understanding of the reciprocal interactions between individuals and global systems
« anunderstanding of the economic, political, historical, and cultural relationships between
different world regions resulting from contact, interaction, and/or influence
Asa 300-level English course this also contributes to the four “core competencies”:
Advanced Writing
Critical Thinking
Oral Discourse
Information Literacy
Websites:
University resource page on COVID:
https://www.albany.edu/covid-19/teaching-learning/resources-students
Information about academic integrity:
http://www.albany.edu/undergraduate_bulletin/regulations.html
About the core competencies:
http://www.albany.edu/generaleducation/implementation-timetable.php
About the General Education program:
http://www.albany.edu/generaleducation/
About the DRC:
http://www.albany.edu/disability/prospective-new.shtml
University Policy on Medical Excuses:
http://www.albany.edu/health center/medicalexcuse.shtml
Schedule of Readings:
Week 1: 2.2
Introduction
Week 2: 2.9
Perry Anderson, “Modernity and Revolution”; Nietzsche, “Truth and Lies”
Week 3: 2.16
Gustave Flaubert, Madame Bovary
Week 4: 2.23
Bovary
Week 5: 3.2
Bovary
Week 6: 3.9
Franz Kafka, “The Metamorphosis”
Week 7: 3.16
NO CLASS; Paper #1 due on Blackboard at 5:00 PM on the 18
Week 8: 3.23
Jorge Luis Borges, Stories
Week 9: 3.30
Patricia Galvao, Industrial Park
Week 10: 4.6
NO CLASS; Classes Suspended University-Wide
Week 11: 4.13
Katherine Mansfield, Stories
Week 12: 4.20
Lu Xun, Stories
Week 13: 4.27
Mulk Raj Anand, Untouchable
Week 14: 5.4
Untouchable
Week 15: 5.11
NO CLASS; Extra Office Hours
English 210
Final papers due on Blackboard 5.15 at 5:00 PM
English 373: Literature of the Americas (3 credits, No pre-req’s)
Almanac of the Dead: The Times of Conquest
Spring 2016
Professor Wendy Roberts
T/Th 8:45-10:05 / SS 133
Office: Humanities 341
Office Hours: T/Th 1:30-2:30 or by appointment
Phone: 442-4075
Email: wroberts2@albany.edu
Learning Objectives:
Students will be able to:
— engage the difficult history and legacy of colonialism in Silko’s novel and conquest
writings and reflect upon their own role in this process
— construct a critical reading of Silko’s text that engages a crucial context for
understanding the novel, as well as the current conversation on it
— develop strategies for analyzing the same text for a long duration of time
— create their own academic community by honing their skills as cooperative team
members and engaged interlocutors
Course Texts:
All required texts for the course must be in a printed format and brought to class. Texts may be
purchased at Mary Jane Books 465-2238.
Leslie Marmon Silko, A/manac of the Dead, Penguin (ISBN 0140173196)
Howling For Justice: New Perspectives on Leslie Marmon Silko’s Almanac of the Dead
(ISBN 978-0-8165-1338-3
Cabeza de Vaca, The Account: Alvar Nunez Cabeza de Vaca’s Relacion (ISBN
1558850600)
Course Description
The Content: Just before the 500" anniversary of Christopher Columbus’s “discovery” of the
New World, the Laguna Pueblo author Leslie Marmon Silko published her novel Almanac of the
Dead (1991)—an epic rewriting of the violent legacy of encounter. Silko writes the end of
European settlement and the return of Native lands by conceptualizing a form of the novel that
instantiates Native time. Taking our cues from Silko’s novel, this course will move between her
late 20" century work and sixteenth century accounts of conquest. Placing Silko’s novel at the
center will allow it to direct our readings and to place these dominant histories at the periphery.
The Approach: Research shows that learning takes place best in an interactive environment in
which learners are held accountable for their work and receive frequent feedback on their
progress. I have designed this course around these principles. What will it look like?
The Process: The course content is divided into multiple sequences, with each focused on a
specific aspect of the course’s subject. You will do much of the processing and analysis of the
literature and fine tuning of your ideas in teams into which you will be placed on the first day of
class and will stay in for the entire semester. Your interactions and performance in your team
will be crucial to your success in the course. For each sequence, we will go through a similar set
of steps:
1. You will read a substantial portion of the reading for the learning sequence on your own
and will take a Readiness Assessment Test (RAT) on that section at the beginning of the
unit of study. You will actually take each RAT twice—once on your own and once as a
team. Both grades count.
2. As the Sequence progresses, you will continue reading literary texts and engage in in-
class and out-of-class activities, both on your own and as a member of your team, that are
designed to help you gain facility with the material.
3. Each unit will end with a final assessment to demonstrate the fluidity of the knowledge
that you have acquired.
Evaluation Method:
Readiness Assurance Process / 5% individual and 5% team) 10%
Frequent, short, in-class tasks and writing 10%
(some team, some individual)
2 Short Essay Take Home Exams 20%
2 In Class Essay Exams 20%
Short Paper 10%
Final Paper 25%
Team Member Performance (peer graded) 5%
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) € (73-76) C- (70-72) D+
(67-69) D (63-66) D- (60-62) E<60
Working in Teams: Reading new material can be difficult— but you are not alone! Learning is
best thought of as a collaborative enterprise. As such, you will be working in stable teams for the
entire semester. Several graded assignments will involve in-class collaboration with other
students, including team tests and assorted critical thinking tasks. At the end of the semester, you
will also be asked to evaluate the “helpfulness” of the contributions of each of your team
members and to assign a grade that counts as part of their grade for this course. It will not be
possible to give all members of your team the same number of points.
Attendance and Make-up Policy: Missed assignments receive no credit: there is simply no way
to make up “real-time” class work. If you must miss class, you have the following “safety
valves”: 1) The average of the best 90% of your in-class work (both individual and team
components) will count toward your grade; 2) the lowest RAT grade (individual and team
components) will be dropped from the calculation of your average.
Regarding papers: Late papers will be accepted but marked down one half a letter grade
each day they are late.
Lateness-Tardiness Policy: If you need to arrive late or leave early and thereby miss part or all
of an in-class assignment, you will receive no credit for that assignment, neither for the
individual work nor for the work of your team in your absence. [f you know that it will be
difficult for you to consistently get to class on time and stay for the entire period, you should
drop the course and take it at a later date, when your life’s circumstances are more manageable.
Cell Phone and Laptops: Please turn off cell phones before entering the classroom. You are
encouraged to bring your laptops/tablets, but please refrain from activities that are not directly
related to in-class work. Smart phones are not appropriate for reading course texts.
Plagiarism & Academic Integrity: When you write your papers, you should clearly credit any
sources from which you borrow. You should not turn in any work that is not your own.
University at Albany considers plagiarism (accidental or otherwise) a severe violation of the
educational trust. When you take tests, you must keep your eyes on your own work unless
collaboration is explicitly permitted/required. Violating academic integrity in this course will
result in a failing grade and an official report to the administration. You may review the
University’s policies here: http://www.albany.edu/eas/104/penalty.htm.
Provisions for Students with Disabilities: Any student with a verified/documented disability
requiring special accommodations should speak to me and to Disability Resource Center (518-
442-5490) as soon as possible, and by no later than the second week of classes. All such
discussions will be held in the strictest confidence.
Th Jan 22
T Jan 27
Th Jan 29
T Feb 3
Th Feb 5
T Feb 10
Th Feb 12
T Feb 17°
Th Feb 19
T Feb 24
Th Feb 26
T Mar 3
SCHEDULE OF READINGS, TESTS, ASSIGNMENTS
[* indicates the reading is on Blackboard]
--New Readings May Be Assigned During the Semester—
Introduction, Teams, practice RAT
Reading Due: *Robert Conley, “We Wait”; *Sarris, “Telling Dreams and Keeping
Secrets”
Application: Conley and Sarris
Sequence One: Maps and Prophecy
RAT 1
Reading Due: Silko, “Five Hundred Year Map” (prior to first page of Almanac);
*Shari Huhndorf, “Countermapping in Silko’s Almanac of the Dead” (end of
“*Mapping by Words’: The Politics of Land in Native American Literature”;
excerpt from Christopher Columbus, The Book of Prophecies
Application: Silko and Huhndorf
Reading due: Howling, Afterward, “Almanac: Reading Its Story Maps after
Twenty Years, An Interview with Leslie Marmon Silko”
Application: Silko and Columbus
Short Essay Take Home Exam due Feb 6 @ Midnight via Blackboard
Sequence Two: To Re-Map
RAT 2
Reading Due: Silko, “Part One: The United States of America”
Application: Silko, Part One
Reading Due: Howling, Chapter 6 “Abject Sexualities in Silko’s Almanac”
Application: Silko, Part One and Howling
Application: Silko, Part One
Application: Silko, Part One
In Class Essay Exam
Sequence Three: False Maps: Conquest Narratives
RAT3
Reading Due: Cabeza de Vaca, Relacion; *excerpt from Bernal Diaz del Castillo,
History of the Conquest of New Spain
Th Mar 5
T Mar 10
Th Mar 12
T Mar 17
Th Mar 19
T Mar 24
Th Mar 26
T Mar 31
Th Apr 2
T Apr7
Th Apr 9
T Apr 14
Th Apr 16
T Apr 21
Th Apr 23
Application: de Vaca
Application: de Vaca
Reading Due: *Clara Sue Kidwell, “Indian Women as Cultural Mediators”
Application: del Castillo and Kidwell
Spring Break
Spring Break
Reading Due: *Renato Rosaldo, “Imperialist Nostalgia”
Application: Rosaldo
Application: In Class Reflections
Short Paper Due
Sequence Four: Mapping Violence
RAT4
Readings Due: Silko, “Part Two: Mexico” and “Part Three: Africa”; *Andrea
Smith, “Rape as a Tool of Colonialism”
Application: Silko, Part Two
Application: Silko, Part Three
In Class Essay Exam
Sequence Five: Re-Mapping Marx
RAT5
Readings Due: Silko, Part Four “The Americas” and Part Five “The Fifth World”;
Howling, “Silko’s Almanac: Engaging Marx and the Critique of Capitalism”
Application: Silko, Part Four
Application: Silko, Part Four and Marx
Application: Silko Part Five
Short Essay Take Home Exam due Apr 24 @ Midnight via Blackboard
T Apr 28
Th Apr 30
T May 5
Th May 7
T May 12
Sequence Six: Maps and Prophecy
RAT 6
Readings Due: Silko, Part Six “One World, Many Tribes”; Howling, Chapter Two
“Sixty Million Dead Souls How! for Justice in the Americas”; Howling, Chapter
Twelve, “The Ground of Ethics”
Application: Silko, Part Six
Application: Silko, Part Six and Howling
Reading Due: *excerpts from Unsettling Ourselves
Application: Unsettling Ourselves
FINAL PAPERS DUE by Midnight via Blackboard
AENG 374: CULTURAL STUDIES : A HUMANITIES LAB EXPLORING THE
OBSERVABLE WORLD IN FILM, SCREEN MEDIA, ART, POPULAR CULTURE
AND ARCHITECTURE
Instructor: Professor Mary Valentis
ENGLISH 374 (5337)
3 Credits, no pre-req’s required
ONLINE: TuTh 1:30PM - 2:50PM
Office Hours: TuTh 11 A.M. —noon
Electronic Mail: mbvbooks@aol.com and by appointment on Zoom
Or mvalentis@albany.edu
Course Description/Objectives:
It began with 9/11. The trauma was profound to human beings, to the buildings, to the
world as we knew it. Those repetitive televisual images, accompanied by disturbing
scenes of loss and outrage, produced a network of complex meanings and memories, and
altered multiple social, political, and psychological terrains. Since then, image culture has
accelerated, producing sophisticated images and symbolic, political environments that
require new ways of seeing and reading to interpret. Whether it was Superstorm Sandy,
the massacre at Sandy Hook school, a Royal Wedding, Lady Gaga on the red carpet,
Black Panther, Black Lives Matter painted on the street by the White House, or the brutal
murder of George Floyd, our immense gallery of shared images and the memories they
evoke confirm the actuality that we are living in a hyperreal, visual age where
everything—spectacle, emotions, the public and personal—are amplified and intensified
on the visual level. This course aims to demonstrate how we can become visually literate.
Analysis of contemporary culture, and particularly visual culture, calls for the skills and
practices of visual literacy: that is, the ability to discern and analyze how meaning is
made and transmitted through images. What was once a relatively small and simple body
of images has grown in the decades since 9/11, and the influx of digital media that came
with it, includes not just painting, sculpture, museums, theater, opera, architecture, and
advertisements, but also policing, protests, graphic novels, photography, film, television
series, new media, and such spectacles as sporting events, rock concerts, music videos,
public trials, mass funerals, fashion, food fests and competitions, dog shows, digital
technologies, and so on. But, to complicate matters further, the shift from so-called print
culture to visual culture is, in fact, a return to the iconographic practices and the visually
literate populace of past centuries: spectacles of church and state, theater and coliseum,
cave paintings and labyrinthian formations.
This Visual Humanities Lab will serve as an introduction to the central theories,
practices, and history of the new field, visual cultural studies, the built environment, and
spectatorship. I have designed an extensive power point to accompany your reading,
lectures and our discussions. Visual culture studies draws on contemporary literary
theory and the work and ideas of cultural theorists, art historians, museum directors,
filmmakers, celebrities, and app creators for our content. Included in our mix of lectures
and discussions, you will attend a virtual film festival on monsters created here at UA;
TED talks that will amplify and extend our studies on architecture, the ideology of
Starbucks, films and television series that become texts for reading and interpreting the
layers of iconograpic meanings. We will study the disciplines that contest the distinction
between “fine” art and popular forms. Visual Studies offers explicit understandings of the
procedures and practices of disciplines and interdisciplinary fields, provides multiple
perspectives on the subject matter, reflecting the intellectual and cultural diversity within
and beyond the university, emphasizes active learning in an engaged environment that
enables students to be producers as well as consumers of knowledge, and promotes
critical inquiry about the assumptions, goals, and methods of various fields of academic
study and the interpretive, analytic, and evaluative competencies central to intellectual
development. Your final project will afford the opportunity to make a video, develop an
app, critique a mini series, write a series of film reviews, paint a mural, or a graphic novel
and so on.
REQUIRED TEXTS:
VISUAL CULTURE, RICHARD HOWELLS, JOAQUM NEGREIROS 3rd EDITION
THE GREAT GATSBY A NOVEL BY F. SCOTT FITZGERALD
FILMS:
A DANGEROUS METHOD, THE PHANTOM THREAD, THE GREAT GATSBY.
TELEVISION:
THE SOPRANOS (COLLEGE EPISODE), KILLING EVE, LITTLE FIRES
EVERYWHERE, THE MINI SERIES
TENTATIVE SCHEDULE AND ASSIGNMENTS
August 25 Introduction to Post Print Culture: Image Culture, Discussion of our Campus
Architecture and Beginning to Learn how to Read the Built Environment.
Reading: Visual Culture Chapter One on Iconology. Besides the reading please bring a
dollar bill with you to class on Thursday.
August 25-September 3 ICONOLOGY
Iconology: Definition, Symbolism, The Dollar bill and the fake presidential seal. Erwin
Panofsky’s system for visual analysis. We will look at Annie Liebowitz celebrity
portraits for Rolling Stone, Van Eyck’s Arnolfini Wedding Portrait, the Beatles White
Album, Serena Williams for Vogue, genres of representation; the images of our time
https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-
colonial-americas/renaissance-art-europe-ap/v/van-eyck-portrait-of-giovanni-
arnolfini-and-his-wife-1434
September 3 - September 10
VC Reader Art History
Reading: Visual Culture, Chapter Three, Art History
This section will survey traditional narratives about the history of art using Ernest
Gombrich as the conventional art historical imagination. In the tradition, there is a great
art and great artists tradtion much like the great books tradition in literary studies as well
as periodizing. We will look at Bottecelli’s The Birth of Venus, DaVinci’s Mona Lisa,
Picasso’s Guernica as well as the various schools of arts including the High Renaissance,
impressionism, cubism, abstract expressionism and so on.
September 10--22 IDEOLOGY
Reading: Chapter Four in VC reader Ideology
Ideology refers to the underlying themes, positions, stances of a text that are not overt.
We will study four major critics in depth: Foucault, Barthes, Mulvey
And we will focus on Velasques’ Les Meninas, Picasso, Les Meninas to study class
struggle, gender issues, nudity, privileged gazes, male gaze, phallocentrism.
September 22 Brouillet and The Performance of Hysteria Une legon clinique a la
Salpétriére“ A Dangerous Method” film screening
September 24 A Dangerous Method screening and discussion
September 29-October 8
Reading VC Reader Semiotics and Popular Culture
Sassure and post structuralism, signification, logos, Starbucks, Mercedes Benz,
Marx and the concept of commodity fetishism, celebrity culture, Baudrillard and the
Matrix: the Desert of the Real
October 8 Midterm Review and Exam sent Out Due Back October 13
October 15-18 Film Festival Discussion of Monsters and Film Chapter 9
Students will watch the film festival which will be in an online format
October 20 The Black Swan Prepare film for discussion (Aronofsky)
October 22 The Black Swan continue discussion
October 27 Boz Lehrmann’s Great Gatsy screening
October 29 The Great Gatsby (Boz Lehrmann) Screening and discussion
November 3 The Girl in the red coat Schindler’s List
November 5-17 Television
Reading VC Reader Chapter 10 Television
November 10 The Sopranos College Episode and Discussion Nature’s Gaze
November 12. Killing Eve Season 3 Episode 5
November 17 Little Fires Everywhere
November 19 Little Fires Everywhere
November 24 Classes end
GRADING POLICY:
Grading will be based on class attendance: 10%, class participation 20%, a take home
midterm exam 35%, and a semester-long project 35%. The final project will be discussed
and fully outlined at a later date.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72)
D+ (67-69) D (63-66) D- (60-62) E<60
ATTENDANCE:
Attendance policy: Each student is allowed 3 unexcused absences; after exceeding that
limit, the student’s grade will be lowered accordingly. Attendance does not mean “just
showing up,” but requires the student to come fully prepared and to be fully engaged in
class discussions and lectures.
Other items: Cell phones should be turned off and put away during class unless we are
using them for class, and please try and limit bathroom breaks to before and after class.
Plagiarism, that is the failure to credit your sources (whether it is a direct quote, a
paraphrase or a general idea or line of thinking) will not be tolerated. Papers and exams
should be well documented and include quotations and paraphrases of information on
websites.
Incompletes: No grades of incomplete will be given unless you have completed the major
part of the coursework and have a documented medical or other emergency. I believe but
am not sure that the S/U or pass fall option will be in place this semester.
AENG 399z Honors Seminar
The Medical Imagination: Contagion Narratives
ENG 399Z (class number: 3544), 3 Credits Prof. Richard Barney
Spring 2019 Office: HU 319
BB 213 Office Hours: M 5:45-7 p.m., W 3-4 p.m.
MW 4:15-5:35 p.m. Office phone: 442-4062
rbarney@albany.edu
Pre-requirements: Permission of Instructor
Required Texts (at the University Bookstore):
Note: Please be sure to obtain the specific editions indicated below.
Daniel Defoe, Journal of the Plague Year (Oxford UP 2010) ISBN 978-0-19-957283-0
Charles Brockden Brown, Arthur Mervyn (Hackett 2008) ISBN 978-0-08-7220921-3
Mary Shelley, The Last Man (Oxford UP 2008) ISBN 978-0-19-955235-1
Albert Camus, The Plague (Vintage 1991) ISBN 978-0-67972021-8
Margaret Atwood, Oryx and Crake (Anchor 2004) ISBN 978-0-38572167-7
Tony Kushner, Angels in America (Theater Communications Group 2013) ISBN 978-1-55936384-6
MLA Handbook, 8" ed. (Modern Language Association 2016) ISBN 978-8-90072021-1
This introductory seminar in the Honor’s Program sequence begins with the question:
What are the psychological, social, political, and global stakes of representing the spread of disease in
the West from the 17" century to the present? This course will work to answer that question by
exploring the portrayal of the Black Plague, smallpox, yellow fever, Avian Flu, AIDS and other
epidemics in prose, fiction, film, and medical discourse. Beginning with earlier literary portrayals of
biomedical devastation such as Daniel Defoe’s Journal of the Plague Year (1722), we will also consider
more recent representations from the 19" to the 21* century by studying texts ranging from Mary
Shelley’s The Last Man (1824) to Albert Camus’s The Plague (1947) to Margaret Atwood’s Oryx and
Crake (2003), as well as films such as Steven Soderbergh’s Contagion (2011). Along the way, we will
also study several theoretical perspectives on the significance of contagion narratives such as those
offered by Patricia Wald, Raymond Stephanson, Stephen Dunning, and Ernest Gilman. Over the course
of the semester, you will develop your proficiency in advanced research strategies. You will also
practice incorporating historical, theoretical, and scholarly materials into a sustained argument based on
the close reading of a text: key abilities in the development of next year’s thesis.
Course Objectives:
> Advance reading, writing, and research skills in preparation for thesis writing
> Provide a broad historical perspective on the literary and filmic representation of disease as a
crucial scientific, social, and political challenge
> Strengthen the ability to comprehend, analyze, and deploy arguments regarding the literary,
theoretical, and sociopolitical stakes of contagion narratives
> Cultivate an ethos of sharing one’s critical insights and independent research in the classroom
and in other public contexts
Requirements and Evaluation:
Copyright 2019 Richard Barney
ENG 399Z / 2
Preparation and participation 15%
Close Reading paper 20%
Archive Project paper 25%
Final Research paper 30%
Presentation of Research 10%
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72) D+
(67-69) D (63-66) D- (60-62) E<60
Preparation and Participation include:
M Attending class. Consistent attendance is a must, because the quality of the class depends on
your contribution to discussion. Be sure you are here: each absence beyond two unexcused instances
will detract from your final average by one-third (example: B > B-). I expect you to consult with your
classmates or me concerning any material you may have missed because of absence, so that you are
fully prepared when you arrive for the next class.
Please also be prepared to stay in class for the entirety of each meeting. Otherwise, it becomes
far too distracting, especially given our small numbers, to have people coming and going during our
discussions. If you have any medical reason for needing to leave class in such a manner, let me know as
soon as possible so that we can come to an arrangement.
MoODemonstrated Reading. Always bring the assigned reading in hard copy to class,
particularly when the reading comes from essays posted on Blackboard. Bringing hard copies to class
counts as part of consistent attendance: after one failure to do so, I will count those as absent who do not
bring hard copies of our readings to class thereafter.
Get into the habit of taking substantial notes while you are reading, so that you come well
prepared to contribute to our class conversations, while also producing material that should be useful for
future papers. Research indicates that taking notes in longhand significantly improves retention of the
material you are reading (see this link for the Association for Psychological Research website on this
point). Taking notes in class will produce a similar benefit.
Please note: given the length of the novels we will be studying this semester, you should be
prepared to read up to approximately two-hundred and fifty pages per week on occasion.
MoOChecking UAlbany email daily: It is University policy that students use their UAlbany e-
mail account to stay abreast of communication. I use e-mail regularly to communicate important
changes in the schedule, update assignments, or let you know about other developments.
Copyright 2019 Richard Barney
ENG 399Z / 3
Papers:
Close Reading Paper (5 pages): a short argumentative essay based on your close reading of one
of the first two novels in the semester.
Archive Project Paper (6-7 pages): a short argumentative essay based on your research in an
area relevant to the course’s focus. The resources for that research can include digital databases such as
Eighteenth-Century Collections Online (ECCO) or Nineteenth Century Collections Online (NCCO).
Final Research Paper (15-18 pages): a substantial argument informed by historical context,
critical or theoretical concepts, and other related research that a) expands significantly on your Close
Reading paper, b) expands significantly on your Archive Project paper, or c) pursues a new topic
relevant to the course. There will be several stages to completing the project, including a statement of
rationale and an annotated bibliography. Final versions of your paper should conform to MLA style (the
8" edition) and be uploaded to Blackboard by the deadline.
Please note: Deadlines for all the papers are firm, and late papers will suffer a letter grade for
each day they are tardy.
Plagiarism: Plagiarism is a serious offense with harsh consequences. Depending on the severity
of the offense, it may result in suspension, expulsion, or a failing grade for the course. The
Undergraduate Bulletin defines plagiarism as
presenting as one’s own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Plagiarism includes paraphrasing or summarizing without acknowledgement, submission of
another student’s work as one’s own, the purchase of prepared research or completed papers or
projects, and the unacknowledged use of research sources gather by someone else. Failure to
indicate accurately the extent and precise nature of one’s reliance other sources is also a form of
plagiarism. The student is responsible for understanding the legitimate use of sources, the
appropriate ways of acknowledging academic, scholarly, or creative indebtedness, and the
consequences for violating University regulations.
For details, including examples, see the Bulletin:
http://www.albany.edu/undergraduate_bulletin/regulations.html.
The University Library also has an internet tutorial on avoiding plagiarism:
http://library.albany.edu/usered/tutorials.html.
Presentation of Research:
Everyone will sign up to deliver a short (8- to 10-minute) presentation regarding their final
Copyright 2019 Richard Barney
ENG 399Z / 4
research project. This can entail reading from a prepared paper, while it can also include using the
blackboard, providing handouts, or employing images in PowerPoint. I will give you detailed guidelines
about your presentations once we reach that part of the semester. Presenting your work in this fashion is
crucial preparation for what you will be doing next year in ENG 498 and 499, both of which require
presentations for an audience that can include the English Department members at large. By sharing
your findings with your peers, you are doing what professional scholars do: helping to disseminate and
spark interest in new knowledge, even if it’s simply a new way of looking at something that has long
been familiar.
The Honors Lab (HU 373): All English Honors students have access to the Honors Lab, which
has computers and a printer for your use, as well as a collection of the theses produced over the years by
past graduates. To enter the lab, punch the code 2481* into the keypad on the door; a green light will
flash and you can then open the door. Please note that you should not share this code with anyone who
is not an Honors student. Feel free to drop by the lab anytime, if only for some peace and quiet.
Electronic Devices. You are allowed to use laptops or tablets in class so long as they are
exclusively for the purposes of accessing course texts (e.g., via Kindle) or otherwise contributing
directly to class discussion. This is a provisional privilege, subject to being immediately revoked should
it be abused by using such devices for other purposes (checking email, etc.); it will also incur the
additional penalty of 25% deducted from your highest quiz grade. Cell phones should be silenced and
completely out of sight during class time; any time I may see them in view other than before class
begins or after it ends will incur the penalty of 25% deducted from your highest quiz grade, a penalty
that can be applied multiple times.
Accommodation for Coursework: any students who need accommodation for learning or other
disabilities should bring this my attention as soon as possible by providing me with documentation of
their disability from the campus Disability Resource Center (CC 137). Contact information: 442-5490.
Website: http://www.albany.edu/disability/index.shtml.
Copyright: Since the course material for this class constitutes intellectual property, reproducing
it is legally prohibited without the author’s (meaning: my) consent. This includes distributing or selling
the syllabus, paper assignments, quizzes, group work sheets, or any other material I provide you in
hardcopy, electronically, or on Blackboard to other parties such as Study Blue or Course Hero.
Class Schedule:
Jan. 23 Introduction
Jan. 28 Blackboard: Wald, Introduction to Contagious: Cultures, Carriers, and the Outbreak
Narrative
Copyright 2019 Richard Barney
Jan. 30
Feb. 4-6
Feb. 6
Feb. 11-13
Feb. 18-20
Feb. 20
Feb. 25
Feb. 27
March 4-6
March 11-13
March 13
March 16-24
March 25
March 27
April 1-3
April 3
April 8-10
April 15-17
April 17
April 22-24
April 24
April 29-31
May 6-8
May 11
ENG 399Z/5
Defoe, Journal of the Plague Year
Defoe, Journal (cont.)
Blackboard: Gilman, “The Subject of the Plague”
Brown, Arthur Mervyn
Brown, Arthur Mervyn (cont.)
Blackboard: Miller, “In Utter Fearlessness of the Reigning Disease”
Close Reading Paper due
Blackboard: Girard, “The Plague in Literature and Myth”
Paper Workshop (see instructions on Blackboard)
Shelley, The Last Man
Shelley, The Last Man (cont.)
Blackboard: Wang, “Romantic Disease Discourse”
SPRING BREAK
No class
Camus, The Plague
Camus, The Plague (cont.)
Stephanson, “The Plague Narratives of Defoe and Camus”
Archive Project Paper due
Atwood, Oryx and Crake
Atwood, Oryx and Crake (cont.)
Blackboard: Dunning, “Margaret Atwood’s Oryx and Crake: The Terror of the
Therapeutic”
Kushner, Angels in America, Part One
Blackboard: Ogden, “Cold War Science and the Body Politic”
Soderbergh, Contagion
Research Project Presentations
Final Research Paper due (uploaded to Blackboard by 3:30 p.m.)
Copyright 2019 Richard Barney
E. Schwarzschild (he/him/his)
Associate Professor
TTH 1:30-2:50/online
: HU324 & Zoom
Office hours: W 10:30-12:30, & by appt.
Office phone: 442-4385
E-mail: eschwarzschild@albany.edu
SYLLABUS _ English 402Z (#7274)—Advanced Writing Workshop 3 Credits—Fall 2020
In this advanced workshop we will take an intense approach to the process of fiction writing.
We will devote our time not only to writing and revising short stories, but also to reading short
stories and talking about them. Throughout the semester, we will try to answer three deceptively
simple questions: What is a story? What makes a story “work”? And what can make a story
work better? My hope for the workshop is that, by the end of the term, you will have come to
appreciate, understand, and experience what a vibrant and varied narrative form the short story
can be. Prerequisite(s): grade of B or higher in A ENG 302Z or 302W or permission of
instructor.
Required Texts:
-Baxter/Turchi (eds.), Bringing the Devil to His Knees: The Craft of Fiction and the Writing Life
-Martone/Williford (eds.), Scribner Anthology of Contemporary Short Fiction
AND: Occasional PDFs via Blackboard
Recommended Desktop Texts:
An excellent dictionary
The Elements of Style, William Strunk Jr. and E.B. White
Basic Requirements:
ATTENDANCE--Please come to class on time and prepared and ready to Zoom. I know
this semester will be far more challenging than usual in so many ways, but multiple unexcused
absences will lower your grade for the course. Repeated lateness will be counted as an
unexcused absence.
PARTICIPATION— More than ever, the success of our workshop format will require
your active participation. More importantly, articulating your thoughts about the work of others
will help you to better critique your own writing. Remember, also, that your peers are sharing
something significant with you. We should treat the work we share with respect and
consideration--that is, we should read it, think about it, and discuss it as carefully as we can.
WRITING ASSIGNMENTS--Writing assignments, critiques, and stories need to be
turned in on time, typed, carefully proofread, and double-spaced, with page numbers and with 1”
Schwarzschild/402Z--2
margins all around. There will be weekly writing and reading assignments. We will be using
Blackboard to submit and comment upon our work. There will also be occasional in-class
writing prompts. At the end of the semester, you will hopefully have workshopped and revised
at least two substantial pieces of new writing.
PRESENTATIONS/DISCUSSION-LEADING — You will each have the opportunity
to lead a discussion of an outside story. You will also occasionally be asked to take the
responsibility for beginning the workshop of a classmate’s story. We will talk more about the
requirements for these tasks later in the semester.
READINGS.--The requirement here is simple. Keep up with the reading. Read
everything more than once. Read texts that are assigned. Read other texts that catch your eye.
Read texts you hear about. Read, read, read.
DISCUSSION BOARDS: You will need to make meaningful contributions to our
Discussion Boards on Blackboard for each class. These contributions will constitute a major
component of your class participation grade. I will post prompts to these boards at the beginning
of every week. You will then post replies to my prompt and/or to each other. We’ll also use
Discussion Boards to post our comments on your stories. Your posts should demonstrate that
you’re carefully reading our assigned work. Your posts should make original
contributions to our ongoing conversation and you should aim to be specific, thoughtful
and engaged.
WORKSHOPPING and CRITIQUING—I'll have more to say about this when the
time comes, but the basic principle is an old one: do unto others as you would have them do unto
you. In other words, offer the kind of constructive criticism and consideration that you would
like to receive.
Grading:
20% = Attendance and Participation
20% = In-class presentations/discussion leading 60% = Final Portfolio
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C-
(70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Please note: If you attend class regularly, contribute to discussion, prepare wisely for your
presentations, and do all of the assigned work in a timely, thoughtful fashion, your grade should
be in the B range. Grades of A and A- are reserved for truly exceptional work.
E-mail:
Feel free to e-mail me to make appointments and to ask questions about your work and to inform
me about emergency situations. You should not e-mail me to ask about assignments/work that
you missed. If you miss class, it is your responsibility to find out what you missed from your
classmates and/or Blackboard.
Schwarzschild/402Z--3
Cell phones and Zoom etiquette:
You will not see my cell phone during class. I do not expect to see yours. If you need access to
your cell phone because of an emergency situation, please let me know before class. Otherwise,
please consider this workshop a no cell phone zone.
We’re all navigating this new remote learning environment together. Please treat our Zoom time
together with respect and focus, and please do your best to set up a Zoom environment free of
distractions.
Content/Trigger Warning:
We will be reading contemporary fiction as well as new fiction that you create. As a result, it
shouldn’t be surprising that the content and discussion in this course will necessarily engage with
difficult topics from time to time. Some of these topics might be emotionally challenging in
ways difficult to anticipate. I will do my best to make this classroom a space where we can
engage bravely, empathetically and thoughtfully with difficult content when it comes up.
However, if you find any of our reading triggering, you do not need to continue reading it and
there will, of course, be no penalty for such a choice.
A Note on Plagiarism:
Don’t do it. The work you turn in should be written by you exclusively and originally for this
class. The university has extremely strict penalties for plagiarism. See the relevant pages in
your Undergraduate Bulletin for more details.
Class Schedule:
8/25 —Introduction + read aloud and discuss Paley, “A Conversation with my Father” (PDF)
8/27—Planning workshop schedule + discuss Carver, “Cathedral” (PDF)
9/1 —Discuss Packer, “Brownies” (SA) + Spark essay (BD) + first sentence exercise
9/3 — Discuss Orringer, “Pilgrims” (SA) + Kincaid, “Girl” (SA) + paragraph exercise
9/8 — Discuss Diaz, “Nilda” (SA) + Schwartz essay & Wachtel essay (BD) + voice exercise
9/10—Discuss Butler, “Jealous Husband...” (SA) + Schwartz & Wachtel essays (BD) + exercise
Workshop Week 1: Discuss Johnson, “Car Crash While Hitchhiking” (SA)
--9/15— Workshop Group 1 —Samantha & Kait
--9/17— Workshop Group 2—Sam & Katie
Workshop Week 2: Discuss Lahiri, “A Temporary Matter”
--9/22— Workshop Group 1—Henry & Olive
--9/24— Workshop Group 2—Meisa & Jacob
Workshop Week 3: Discuss Saunders, “Sea Oak”
--9/29— Workshop Group 1—Kira & Jenny
--10/1—Workshop Group 2— Sylvie & Amanda
Workshop Week 4: Discuss Minot, “Lust”
--10/6—Workshop Group 1—Melissa & Caitlin
--10/8— Workshop Group 2— Rachelle & Brendan
Workshop Week 5: Discuss O’Brien, “The Things They Carried”
--10/13—Workshop Group 1—Takeru & Lilya
--10/15— Workshop Group 2—Dhayahara & Sam
Workshop Week 6: Discuss Bloom, “Silver Water”
--10/20—Workshop Group 1—Samantha & Kait
--10/22— Workshop Group 2—Katie & Meisa
Workshop Week 7: Discuss Link, “Stone Animals”
--10/27— Workshop Group |—Henry & Olive
--10/29— Workshop Group 2—Jacob & Sylvie
Workshop Week 8: Discuss Nelson, “Female Trouble”
--11/3—Workshop Group 1 —Kira & Jenny
--11/5—Workshop Group 2— Amanda & Rachelle
Workshop Week 9: Discuss Baxter, “The Disappeared”
--11/10—Workshop Group 1—Melissa & Caitlin
--11/12—Workshop Group 2—Brendan & Dhayahara
Schwarzschild/402Z--4
Workshop Week 10: Discuss Moore, “How to Become A Writer” (PDF on Blackboard)
--11/17—Workshop Group 1—Takeru & Lilya
Schwarzschild/402Z--5
11/19—Open Mic with the full class
11/24—Open Mic + Conclusions/Celebration with the full class
***RINAL REVISIONS DUE ON 12/1***
NOTE: Writers always post stories ONE WEEK BEFORE workshop/discussion
English 410Y (9779) 3 Credits @ Spring 2017 ® Tues — Thurs 2:45-4:05 @ HU 113
CONTEMPORARY LITERARY AND CULTURAL THEORY
READING ANTIGONE
PROFESSOR SHEPHERDSON
office: Humanities 318
phone: 442-4056
e-mail: cshepherdson@albany.edu
office hours: Wed. 12:30 — 2:00 and by appointment
Prerequisite(s): C or better in A ENG 210, A ENG 305, or permission of instructor.
CourRSE DESCRIPTION:
This course has two main goals: it is intended (1) to train students of literature in the practice of close
textual analysis, and (2) to help students develop their knowledge of a variety of theoretical
perspectives. One recommended strategy for 410 is a “close encounter” with a major canonical text.
Accordingly, this course will focus on Sophocles’ Antigone, and will explore a series of interpretive
problems related to that text.
The readings are organized around three basic issues, in the following order. (1) First, we will try to read
the text closely, in the limited time available, looking at particular textual details, with particular attention
to the language and structure of the text, including the issue of genre. These are problems of exegesis. (2)
Second, we will consider the status of tragedy within its social context, exploring the relation between
literature and other forms of knowledge and institutional practices, for example the religious, political, and
philosophical horizon of tragedy, and the function of tragedy in the social space of early Greek
democracy (including its distinctive formulations on matters of authority, gender, subjectivity, ethics, law,
guilt, responsibility, agency, the gods, and so on). These are problems concerning the role of art in the
broader social horizon. (3) Third, we will look at some recent debates about emotion and affect, in order to
explore how tragedy may cast light on questions of emotion in the context of esthetic experience. All these
issues will involve both the primary text and a number of secondary readings, and they all raise broader
theoretical questions which will allow us to see how a literary text becomes entangled in wider debates
about culture, and engages with other disciplines beyond literature. As Nicole Loraux wrote:
“What kind of benefit accrued to the city through this event institutionally separated from the
rest of its life, the dramatic performance? What do spectators in the theater gain from
thinking, in the mode of fiction, things that cannot and must not be thought?” — N. Loraux
REQUIRED TEXT:
(1) The following text has been ordered at the university bookstore:
Sophocles I: Antigone, Oedipus the King, Oedipus at Colonus (University of Chicago Press)
(2) A required course pack containing additional readings is available on Blackboard (formerly ERES).
SECONDARY TRANSLATIONS
Students should also look at other translations of the play. Some good translations include: Richard Jebb,
trans., Sophocles (Harvard UP: Loeb Classical Library), and Sophocles’ Antigone, trans. Reginald Gibbons
and Charles Segal (Oxford UP, 2003), which also has a good introduction.
COMMENTARIES ON THE TEXT
William Blake Tyrell and Larry J. Bennett, Recapturing Sophocles’ Antigone (Rowman Littlefield, 1998).
James C. Hogan, A Commentary on the Plays of Sophocles (Carbondale: Southern Illinois UP,1991).
For an excellent line-by-line commentary in English (with the text of the play only in Greek), see Antigone,
ed. Mark Griffiths (Cambridge University Press, 1999). This text also has an excellent introduction.
Other useful notes on the text by line are available in Antigone, ed. Martin L. D’Ooge (NY: Ginn and Co.,
1885), and Joan V. O’Brien Guide to Sophocles’ Antigone (Southern Illinois UP, 1978).
REQUIRED WORK:
Students are expected to attend all classes, and to come to class with the text in hand. We will look closely at
the assigned material, and you will not be able to work appropriately without the text.
(1) Annotated Bibliography (30% of final grade)
Students will produce an annotated bibliography of 10 secondary texts, organized around a particular topic of
your choosing, in relation to the course material. This bibliography will provide the foundation for your final
paper. It serves as a formal and organized set of reading notes that will provide the research basis for your
final paper.
The full bibliography should be accompanied by a one-page abstract summarizing your final paper topic as
clearly as possible. This abstract should focus closely and in detail on the main argument you are following
through all these secondary readings. This will allow me to give you the best advice before you complete your
final paper.
Each entry in your bibliography should include:
(1) a full citation of the bibliographical material for the book or chapter or article you are
selecting (as you would provide in a footnote);
(2) a two-page summary of the main arguments made in the article or book chapter. In writing
these bibliographical entries, do not waste space on generalization. Be as precise and detailed
as possible in the limited space you have. If the argument is long and complex, you should
focus your description on the 3-4 points that are most important for your research topic.
All text should be in 12-point regular Times Roman font, double-spaced with 1-inch margins. The point of
these individual entries is not to make your own argument, but to describe as precisely as possible the main
points in the material you read. You should select the essential points from each reading based on the issue
that interests you most, to build a research platform for your final paper.
In order for me to guide you to the best material for your research topic, you will submit a list of 20 items for
the bibliography, due as posted on the calendar, and I will help you to select the 10 best sources from your
list. The due dates for these assignments are all posted on the calendar.
Rules for submission. Some texts for your bibliography (no more than four) may be drawn from the readings
we do in class, but your list should include other material (at least six entries) that you find independently in
the library. The deadline for the bibliography is posted on the calendar.
(2) RESEARCH PAPER (30% OF FINAL GRADE)
Students will produce a 10 page paper discussing the main theme or problem that organizes the materials in
your bibliography. This will allow you to delineate your own argument in relation to the main issues
addressed by the material you include in your bibliography. Your paper must include your own argument,
evidence from the primary text (the literary work), and a substantial discussion of the secondary readings.
(3) Two IN-CLASs EXAMS (20% OF FINAL GRADE FOR EACH EXAM)
The first exam will be given as posted on the syllabus, and will cover all material discussed in class prior to the
exam. The second exam will be given as posted on the syllabus and will cover all material discussed in class since
the previous exam. On each exam, there will be a section with short-answer questions (25 minutes) and a section
with two essay questions (25 minutes each).
(4) STUDENT PRESENTATIONS IN THE FINAL WEEKS OF CLASS ARE OPTIONAL AND FOR EXTRA CREDIT.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72) D+
(67-69) D (63-66) D- (60-62) E<60
The University at Albany requires that syllabi contain specific language regarding plagiarism and other
issues, as follows:
Academic Integrity: Plagiarism is defined as “Presenting as one's own work the work of another person
(for example, the words, ideas, information, data, evidence, organizing principles, or style of presentation
of someone else). Some examples of plagiarism include copying, paraphrasing, or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase/use of prepared
research or completed papers or projects, and the unacknowledged use of research sources gathered by
someone else. Failure to indicate accurately the extent and precise nature of one's reliance on other sources
is also a form of plagiarism. Students are responsible for understanding legitimate use of sources, the
appropriate ways of acknowledging academic, scholarly, or creative indebtedness.” For additional
information about academic integrity, see:
http://www.albany.edu/undergraduate_bulletin/regulations.html
Plagiarism can result in failure or a reduced grade, and may entail referral to Judicial Affairs.
Disability Resources: Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you have a
disability requiring accommodation in this class, please notify the Director of the Disability Resource
Center (Campus Center 137, 442-5490). That office will provide the course instructor with verification of
your disability, and will recommend appropriate accommodations.
About the DRC: http://www.albany.edu/disability/prospective-new.shtml
Jan.
Feb.
March
April
24
26
31
25
CALENDAR
Introduction
Antigone — scenes and commentaries (see Mark Griffiths, Hogan, and Tyrrell and Bennett)
(1) Antigone and Ismene (autadelphos, phrater) (1-99)
(2) Creon/Chorus, Creon/Guard (character & thought, word & deed, parrhesia) (162-331)
(3) Antigone and Creon (philia, dike) (376-581)
Antigone — scenes and commentaries (Griffiths, Hogan, and Tyrrell and Bennett)
(4) Haemon and Creon (626-780),
Chorus (100-61, 332-75 [teras], 582-625, 781-801 [eros], 944-87, 1115-54)
(5) Antigone’s lament (802-943)
(6) Teiresias and Creon
(7) Concluding with Deaths (1155-1353)
Charles Segal, “Lament and Closure,” Sophocles’s Tragic World, 119-37.
Martha Nussbaum, “Antigone: Conflict, Vision and Simplification,” The Fragility of Goodness.
Martha Nussbaum, “Antigone: Conflict, Vision and Simplification,” The Fragility of Goodness.
Aristotle, Poetics
Aristotle, Poetics 10-item bibliographical list due (e-mail submission by midnight)
FIRST IN-CLASS EXAM
Charles Segal, “Death and Love, Hades and Dionysos,” Greek Tragedy, ed. Erich Segal.
Jean-Pierre Vernant, “Greek Tragedy,” The Languages of Criticism and the Sciences of Man
Jean-Pierre Vernant, “Greek Tragedy,” The Languages of Criticism and the Sciences of Man.
Michel Foucault, Fearless Speech, 11-36.
Michel Foucault, Fearless Speech, 11-36.
Spring Break 2017
Spring Break 2017
Martha Nussbaum, “Aristotle on Emotions and Ethical Health,” The Therapy of Desire, 78-101.
Final 5-item bibliography and paper abstract due (e-mail submission by midnight)
David Konstan, Pity Transformed, “Introduction: Pity as an Emotion,” 1-25;
David Konstan, Pity Transformed, “Introduction: Pity as an Emotion,” 1-25;
Elizabeth Belfiore, Tragic Pleasures: Aristotle on Plot and Emotion, “Gorgon at the Feast,” 9-40.
Elizabeth Belfiore, Tragic Pleasures: Aristotle on Plot and Emotion, “Plot and Character,” 83-92.
Elizabeth Belfiore, Tragic Pleasures, “Katharsis and the Critical Tradition,” 257-71.
Passover 2017
Class Cancelled
SECOND IN-CLASS EXAM
CLASS - student presentations
Stephen Gill, Personality in Greek Epic, Tragedy and Philosophy: The Self in Dialogue,
“Introduction: Posing the Questions,” 1-15;
27 William Harris, Restraining Rage: The Ideology of Anger Control in Classical Antiquity,
“Striving for Anger Control,” 24-31; “Living Together in the Classical Polis,” 157-200.
May 2 student presentations
4 student presentations
9 Last Class — Final Papers Due (e-mail submission by midnight)
English 411Y (Course # 7788) Fall 2020 3 Credits
British Literature and Culture: Romanticism and the Anthropocene
M/W 1:10-2:30 Online via Zoom
Professor Helene Scheck
Office Hours: M/W 12:00-1:00 and by appointment
Email: hscheck@albany.edu
Course Website on Blackboard
Class Description:
This course will interrogate the role of literature in relation to recent attention in the
Humanities to the term “the Anthropocene”: a period which entails the recognition that
humans are altering the Earth’s systems (geological, biological, climatological etc.) to
such as extent that these changes will be registered in the geological record of the planet
for millennia. How does literature become a place for taking stock of the meaning of
these changes, for how they alter our conceptions of the human, of nature, and of time?
We will situate these questions within what is arguably the first literature of the
Anthropocene (before this term came into use): late 18th and early joth centu
Romanticism. In an era that featured the advent of modern democracy, of rapi
industrialization and urbanization, how did Romantic writers shape our current
conceptions of “nature,” of the relation between humans and non-humans etc.? We will
explore Romantic authors’ fascination with notions of “deep time,” which called into
question not just prior theological conceptions of the world, but human-centered ones as
well. Why were Romantic authors so fascinated with “apocalypses” of various kinds? We
will also explore the way in which the Romantics considered the socio-political
consequences of these questions. Authors studied will include Coleridge, Keats, the
Shelleys (Percy and Mary), and Wordsworth. Prerequisite(s): C or better in A ENG 210,
A ENG 305, or permission of instructor.
All Texts are Available at The Campus Bookstore
Texts: John Clare- Complete Poems (Oxford)
S.T. Coleridge- Complete Poems (Penguin)
Shelley’s Poetry and Prose (Norton)
Shelley- The Last Man (Broadview)
Wordsworth- Major Works (Oxford)
Selected Reserve Readings on Blackboard website.
Evaluation: * One - 6-7 pp. Paper (30%)
*One - Final 9-10 pp. Paper (40%)
* Class Participation (see below) (15%)
= Discussion Board Posts (15%)
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72)
D+ (67-69) D (63-66) D- (60-62) E<60
Mid- Term and Term papers: The instructor will provide topics for the essays, or, in
consultation with him, you may write on a topic that he explicitly approves. You must
seek approval for an alternative topic by e-mailing a paper proposal (of approximately
200 words). In the determination of a grade, both content (ideas, clarity of analysis,
development etc.) and structure/ grammar is considered. All assignments are to be
submitted by e-mail on the day they are due. Late papers will be docked a full grade level
each day that they are late. All papers must use MLA citation.
Class Participation: Since this class is a collaborative effort, and not just a lecture
course, participation in all zoom class meetings, in blackboard discussions, and group
discussions is essential and constitutes 15% of your grade. This means that you must
have read the material, and be prepared to discuss it in class. You will be graded on the
consistency and insightfulness of your oral and written responses.
Discussion Board Posts: This class deals with some difficult poetic and theoretical
works and questions. In order to stay on top of things, and to be prepared to discuss the
texts in our Zoom class meetings on Wednesday, you will be asked to generate a number
of discussion board post dealing with the material we will discuss that week. In our first
class, you will be divided into groups of 4-5 students who will then be asked to post
responses to the blackboard discussion list concerning one of the texts that we will
discuss that week. These short responses should be posted on the discussion board no
later than 1:00 p.m. on the Sunday prior to our zoom class that week. You post should
deal with a key feature of a text (ONE text) that we will discuss on Wednesday, and
attempt to analyze what is significant about that feature— either in terms of how it relates
to our discussions in class, or how you might anticipate it relating to other issues we have
discussed previously. You should demonstrate both that you understand something about
the text, and that you have your own original comment or question ABOUT the text.
Attendance: Attendance at all zoom classes is mandatory. I understand that the zoom
environment can be a distracting and sometimes awkward mechanism for discussion, but
it is important for you to be present during these discussion and participate in them.
Withdrawing from the Course: Students who stop attending class must officially
withdraw from the course. This must be done by the official withdrawal deadline, which
is available at the Registrar’s Office. Failure to withdraw properly will result in a grade
being assigned.
Statement on Academic Honesty: Students are expected to understand and follow the
university’s guidelines on academic honesty, as defined in the Undergraduate Bulletin:
Plagiarism and cheating will result in automatic failure. Students should understand
plagiarism to include: “presenting as one’s own work the work of another person (for
example, the words, ideas, information, data, evidence, organizing principles, or style of
presentation of someone else). Plagiarism includes paraphrasing or summarizing without
acknowledgment, submission of another student’s work as one’s own, the purchase of
prepared research or completed papers or projects, and the unacknowledged use of
research sources gathered by someone else. Failure to indicate accurately the extent and
precise nature of one’s reliance on other sources is also a form of plagiarism. The student
is responsible for understanding the legitimate use of sources, the appropriate ways of
acknowledging academic, scholarly, or creative indebtedness, and the consequences of
violating University regulations.”
Schedule of Required Readings This schedule is subject to change- all changes will be
announced and discussed in class. All other texts are available for download on the
course website on blackboard.
Aug 24- Introduction
Aug 26- Morton, “Thinking Big” (Blackboard)/ Chakrabarty “The Climate of
History”(Blackboard)
Aug 31- Gould, “The Discovery of Deep Time” (Blackboard)
Sep 2- Wordsworth, Prelude Books 1-6
Sep 7- Wordsworth, Prelude Books 7-13
Sep 9- Wordsworth, “The Ruined Cottage,” “Poems on the Naming of Places,”
“Mutability,” “Nutting.”
Sep 14- Wordsworth, “Home at Grasmere.”
Sep 16- Coleridge, “The Rime of the Ancyent Mariner,” “The Faded Flower,” “The
Eolian Harp.”
Sep 21- Coleridge, “Religious Musings,” “The Lime-Tree Bower, My Prison,” “France;
an Ode,” “Fears in Solitude.”
Sep 23- Coleridge, “Kubla Kahn,” “Dejection: an Ode,” “Hymn Before the Sunrise at
Chamouni,” “Constancy to an Ideal Object,” “Time, Real and Imaginary,” “Human Life:
On the Denial of Immortality.”
Sep 28- Smith, “Emigrants,” “Beachy Head.” (Blackboard)
Sep 30- Keats, “Sleep and Poetry” “On the Grasshopper and Cricket,” “Hyperion: A
Fragment.” (Blackboard)
Oct 5- Keats, “Ode to a Nitingale,” “Ode on a Grecian Urn,” “The Fall of Hyperion: A
Dream.” (Blackboard)
Oct 7- Clare, “Helpston,” “Recollections After an Evening Walk,” “On Taste,”
“Helpston Green,” “To the Winds.” FINAL VERSION OF PAPER #1 DUE.
Oct 12- Clare, “Sunday Walks,” “Winter,” The Last of March,” “To a Fallen Elm.”
Oct 14- - Clare, “Songs of Eternity,” “The Lament of Swordy Well,” “The Eternity of
Nature,” “The Mores.”
Oct 19- Clare, “Shadows of Taste,” “The Moorehen’s Nest,” “The Mouse’s Nest,” “The
Nitingale” (p.355), Sonnet “I am,” “I love thee Nature with a boundless love.”
Oct 21- Latour, “The Politics of Nature, Chapter 2: How to Bring the Collective
Together.” (Blackboard)
Oct 26- Percy Shelley, “Queen Mab,” “Mutability.” Percy Shelley, “Essay on the
Vegetable System of Diet” (Blackboard).
Oct 28- Percy Shelley, “Mont Blanc,” “Ozymandias,” “Lines Written among the
Euganean Hills,” “The Sensitive-Plant.”
Nov 2- Percy Shelley, “Prometheus Unbound.”
Nov 4- Percy Shelley, “Ode to the West Wind,” “Lift not the Painted Veil,” “The
Triumph of Life,” “On Life.”
Nov 9- Mary Shelley, The Last Man.
Nov 11- Mary Shelley, The Last Man.
Nov 16- Mary Shelley, The Last Man.
Nov 18- Mary Shelley, The Last Man.
Nov 23- Serres, “The Natural Contract” (Blackboard)/ MacDonald, “The Resources of
Fiction” (Blackboard)
Nov 25- THANKSGIVING- NO CLASS
Dec 4- FINAL VERSION OF PAPER #2 DUE by 4:00 P.M.
Instructor: Dr. Ineke Murakami Course section: 8646
Semester: Fall 2018 Meeting: T, Th 2:45-4: 05, AS 015
imurakami@albany.edu Office: HU 328
Hours: R 1:10-2:10 p.m. and by appointment Phone: 442-4072
Topics in Film or Drama:
Shakescenes
AENG 412Y 8 Credits
Fall 2018
[Shakespeare’s] nonpictorial theatrical style affords flexibility and a rapid pace. It also requires that the spectators
activate and exercise their curiosity and intelligence.
Russ McDonald, Bedford Companion to Shakespeare, 110
There are many things to do by way of interpreting, understanding and sharing a Shakespeare play that are
completely beside the point compared to actually living in it for a while.
Michael Dobson, Shakespeare and Amateur Performance, 216
Course Description:
What does the well-worn phrase,“Shakespeare wrote for the stage” mean? Does it refer to how
the practical concerns of a working playwright—from professional rivalry, to censorship, to
cultural fads—shaped his plays? Does it allude to process? To plays that capture moments like
snapshots, in the intensely negotiated work of play-making to which actors, playwrights, printers,
and audiences all contributed in early modern England? Perhaps it simply means that
Shakespeare’s plays need to be put on their feet, spoken aloud, worked out through the body as
well as in the mind. This is one of the operative assumptions we will explore this semester, as
you use your own performance decisions to tackle five plays (one from each of four critically-
recognized genres). By contextualizing these plays within the historical conditions of their
production, we will also improve our understanding of how Shakespeare, like his
contemporaries, manipulated conventions of language and character to goad audiences into
questioning the norms of the day. While theater students will no doubt welcome the course’s
performance component, its aim is to enable all upper-level students to engage with the texts,
leading to an improved understanding of the challenging languages of the Shakespearean page
and stage. Course texts include historical, critical, and theoretical readings that will deepen
knowledge of Shakespeare’s world. Assignments include: a short, researched paper (critical or
historical fiction), a team teaching presentation, four quizzes, and a final performance project
with written components.
Course Objectives: By the end of the semester, students will:
®& recognize how changes in conventions of genre and performance respond to historical
conditions, and how playwrights alter conventions to make meaning
® gain a deeper knowledge of the early modern theater community, and the larger world of
which it was a part
® improve mastery of Shakespearean language and a number of Shakespeare’s plays
& understand ways in which performance and editing critically interpret text
© possess a better idea of how language cues action in dramatic text
© be able to describe how the text of Shakespearean drama is shaped by, extends, and resists
performance exigencies and conventions
& engage some key issues in Shakespearean and early modern scholarship, orally and in
writing
Fulfills General Education requirements for: Advanced Writing; Information Literacy; Critical
Thinking; and Oral Discourse
Prerequisite: grades of “C” or better in English 205Z and 210
Strongly Suggested: “C” or better in English 411 “Reading Shakespeare” or similar course that
focuses on close reading Shakespeare for his poetics (i.e., use of imagery, diction, verse,
sources, etc.). Shakescenes works best as a supplement to such course work.
Required Texts: (available at UA Bookstore). Make sure to get the Pelican Shakespeare
paperback editions of these plays listed below. If cost drives you to order online, please use/check
the ISBN numbers to be sure you have the correct edition:
Maguire, Laurie and Emma Smith. 30 Great Myths about Shakespeare. ISBN: 978- 0470658512
McDonald, Russ. The Bedford Companion to Shakespeare, 2"! ed. ISBN: 978-0312248802
Shakespeare, William. Hamlet, A.R. Braunmuller, ed. The Pelican Shakespeare. ISBN: 978-
0143128540
Shakespeare, William. Othello, A.R. Braunmuller, ed. The Pelican Shakespeare ISBN: 978-
0143128618
Shakespeare, William. Richard III. Peter Holland, ed. The Pelican Shakespeare. ISBN: 978-
0143130253
Shakespeare, William. The Tempest. Peter Holland, ed. The Pelican Shakespeare. ISBN: 978-
0143128632
Shakespeare, William. Twelfth Night. Jonathan Crewe, ed. The Pelican Shakespeare. ISBN: 978-
0143128595
Richard LIT, Richard Loncraine, film - Available on Blackboard through Film link
Course Packet at Rapid Copy, $11.88. Trailer in parking lot across from Social Science Bldg.
— All readings are mandatory and must be brought to class. See Schedule for essay
titles (titles will also be available on Bb via ERes link, but note: printing a copy at the
library will cost you $.10 per page, whereas the course packet costs $.5 per page.)
Course Requirements and Evaluation:
1. Preparation and participation (including Team Teaching,
class discussion, group work, and performance exercises) 20%
2. One midterm paper, including proposal 25%
3.4 quizzes 25%
4. A final performance project and all accompanying materials 30%
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72)
D+ (67-69) D (63-66) D- (60-62) E<60
L
Preparation and participation consist of the following:
io 9
Bs
Reading. Shakespearean English can be challenging. Other readings in this course may
prove challenging, as well. Make sure to give yourself sufficient time to read and mark
up your texts. Marking up text is a standard active reading practice in English studies
(for a quick refresher, see Princeton’s active reading strategies at
https://megraw.princeton.edu/active-reading-strategies). If you wish to re-sell your books,
“mark” them up with Post-its. By underlining troubling or insightful passages,
questioning or noting key episodes in the margins, you gain valuable material for in-class
discussion, quizzes and papers.
You are responsible for ALL of the texts assigned, whether we cover them in class or not
(they may show up on quizzes). The film is also a mandatory text. ALWAYS BRING
YOUR BOOKS AND/OR ANY COURSE PACK OR E-RESERVE TEXTS IN
HARDCOPY TO CLASS! If you are unprepared because you have not read and/or
lack your book or other materials, you may be dismissed from class and marked
“absent” for the day.
Discussion. Early modern dramatists expected their work to provoke conversation;
expect to be actively engaged in every class. Discussion allows us to test and clarify
ideas, contributing to the entire class’s learning process. Mark up your texts to prepare
yourself to demonstrate your keen grasp of the plays and other course readings.
« Group work. We learn by asking questions, and working things out through the
intellectual labor of discussion (with your classmates as well as with me). I strive
to make the classroom an environment that facilitates active learning; in return, I
expect to see you engaged.
Note taking. Students who do the best on quizzes take consistently excellent class notes.
This is a true 400-level seminar in that my lectures will, in general, supplement assigned
material rather than repeating it. Be prepared to take “old school” notes. On a related
note--
«s Turn off Electronic Devices. Studies show long-hand notes are best for learning
(see “Learning Secret” on Bb Contents page), so all cell phones, smart phones,
computers and iPads/Kindles must be turned off during class time. If you text,
make or receive a call, etc., it is disruptive behavior. I will ask you to leave, and it
will count as | absence.
Teaching teams. Early in the semester, you will sign up to deliver a short (approximately
20 minute) presentation to your classmates on one of our critical essays. I have provided
Bs
Le<4
tips about what has worked in the past, but you will decide how best to engage the class.
Performance is a significant component of this course. Be prepared to perform and/or
block scenes from the plays on a weekly basis. You will not be graded on acting ability,
per se, but are expected to thoughtfully engage, and be able to explain the causes and
effects of your performance choices. A vital component of our course, your performance
will help to stimulate, complicate and extend our written work and discussion of the
plays. Consequently, ATTENDANCE IN CLASS IS MANDATORY. More than
three unexcused absences will lower your total grade for the course by 1/3".
Subsequent absences will lower it by 1/3" grade per absence. Tardiness and early
departure is also disruptive, so more than two of these will be marked as the
equivalent of one absence. If you do arrive late, see me after class to make sure I
mark you present for the class.
Any disruptive behavior will receive one verbal warning. After that, dismissal from
class will follow, and it will count as one absence. No exceptions. Disruptive behavior
includes, but is not limited to: excessive bathroom breaks when not ill; rude behavior;
sleeping or dozing off; using electronic devices; working on things other than work
for our class.
Check UAlbany email on a daily basis. University policy states that students are
responsible for all communications sent to their UAlbany e-mail account. I use email
regularly to communicate changes in schedule and clarify points of our discussions.
Food and Drink These are welcome as long as they can be consumed without disturbing
your neighbors. Save the sticky bun with the loud, crinkly wrapper, or the grinder with
extra cheese and pepperoncini for A DIFFERENT venue.
The Midterm Paper Instructions for both options are available on Blackboard,
“Assignments” on the Contents page. Both papers are 15 pages, require substantial research,
and are due October 16th.
Option A_ Historical Fiction
This paper asks you to write from the perspective of an early modern Londoner, either a
historical or an entirely fictional person who is somehow deeply involved with the early
modern theater world. You needn’t write in the archaic style of early modern English, but
you do need to show your extensive historical research through the things your character
desires, the people and things that prevent him/her from getting what he/she wants, and
how he/she makes a living, etc. See “Assignments” for more details, bibliographic
material, and ERes for excellent model papers.
Option B_ Research Paper
w Mandatory: email proposal by October 6. It must be approved before you write
your paper.
This paper draws on more typical academic skills. It must be grounded by a strong,
contestable, fact-based thesis (topic cleared in advance), supported by evidence that is
derived primarily from one of our plays. It must critically engage the ideas of other
scholars (secondary texts) who have pondered your topic or play. You may use historical,
critical, or theoretical sources from our course readings or others you find useful. The
most successful papers are those that anchor an argument on a very small, closely read
part of the text to show us something significant about the play. See ERes assignment for
details, bibliographic material, and excellent model papers.
Late paper policy: | do not take late papers. If you need an extension on an
assignment, please contact me as soon as possible--at least 24 hours before the paper is
due to make arrangements. On a related note: just as in life, there are no “do overs” for
these advanced-level research papers. Start early, do your best work, and submit it on
time.
3. Quizzes. There will be four, in total. All will require you to fill in blanks with knowledge
you have acquired and provide short essay answers. You may use your use long-hand notes
during each quiz. These quizzes are designed to demonstrate your progress in achieving the
objectives of this course, so come prepared to use fact-based ideas, terms, and issues
explored in readings and class discussions to think about the plays. Anything in the required
readings, or discussed in class, is fair game.
4. Performance Project (December 18th). For your final project, you will all become theater
managers as well as players, directors, designers, and editors. Each performance group will
select and edit a scene to produce from any one of the course plays. Working together, group
members must cast roles, a process which may involve asking classmates from outside of
your group to do a bit part (if, for example, you decide to do a crowd scene), and figure out a
rehearsal schedule, the creation of costumes, special effects, etc. A short individual
assessment of your project will be due on the day the promptbook is due.
Things to consider for your production: Will you use doubling? Puppets? Cross-dressing?
Overhead slides? What kinds of costumes or sets will you create? Will there be music? A
prologue? A fight scene? A dance? You may produce your scene as a video to show to the
class (and we can talk about access to equipment, if need be), but this involves several risks:
If equipment malfunctions, and we are unable to hear/see any part of your production,
your grade for the project will suffer.
©% You will need to think about a different set of material conditions and limitations than
those we will be discussing in most of the class.
Academic Integrity:
Do not plagiarize. Depending on the severity of the offense, it may result in suspension,
expulsion, and a failing grade for the course. For a description of violations of academic integrity
beyond what is copied below, see the University Guidelines on Scholastic Integrity.
Presenting as one's own work the work of another person (for example, the words, ideas, information, data, evidence, organizing
principles, or style of presentation of someone else). Plagiarism includes paraphrasing or summarizing without acknowledgment,
submission of another student's work as one's own, the purchase of prepared research or completed papers or projects, and the
unacknowledged use of research sources gathered by someone else. Failure to indicate accurately the extent and precise nature of
one’s reliance on other sources is also a form of plagiarism. The student is responsible for understanding the legitimate use of
sources, the appropriate ways of acknowledging academic, scholarly, or creative indebtedness, and the consequences for
violating University regulations.
© 2018, Ineke Murakami
Reproduction of this material is prohibited without the author’s consent.
6
Shakescenes Schedule
English 412Y, Fall 2018
--subject to change—
80G = 30 Great Myths; Bb - Blackboard Contents section; BCS = Bedford Companion to Shakespeare;
CP = Course Pack; E: Ereserve (via Bb); SV = short video; XN = Extreme Notes
Wk. Date Activity/Writing Due Reading Due
Introductions, traditions, myths Class syllabus + schedule; Emailed 30G:
Myth #16 and link to Folger, "400+ primary
documents”
Aug. 28 https://shakespearedocumented.folger.edu/?
| ga=2.138719610.89750280.1534878548-
1 1736530453.1529174376; Handout in class:
Introductory Survey
Early Modern Stages—Setting the stage for Othello Othello , Act 1. Bb: look over Team
Teaching Sign-up sheet; SV: Globe, Virtual
Aug. 30 |, Sign up for Team Teaching (in class) Tour; BCS: "Going to a Play" and "The
Due: Introductory Survey Playhouses," 109-120
Shakespeare's Language: Poetry and Pragmatism Othello , Act 2; SV: the Crystals,
* Discuss Othello "Shakespearean Pronunciation"; CP: Krier,
Sept. 4 |" XN: Come prepared to read aloud one or two lines in "Elements of Poetry"; B "To What End
Othello in which Shakespeare uses one of the figures all these Words?" 36-58; XN: see "Activity"
2 listed in "Reading Sh's Verse," and explain its function —|column
Shakespeare and the Construction of Race, early modern | Othello , Act 3; 30G: Myth #6 "Politically
vs. modern Incorrect"; SV: Paterson Joseph "Caesar &
Sept. 6 + Casting and motive Me" podcast 36 mins.; Boswell, Dear Mr.
* Discuss Othello Shakespeare, ca. 5 mins.
The Craft of Playing Othello , Act 4; Bb; Print out Midterm
= roles from rolls, plays from parts Historical Fiction & Research
Sept. 11 |" Go over Historical Fiction Assignment Assignments and bring to class w/any
= Discuss Othello questions you may have CP: Stern, from
3 = Team Teaching: Stern Rehearsal from Shakespeare , 1-22
Tragedy: A "great man falling from a great height"? Othello, Act 5
Sept. 13 |* Discuss Othello
Quiz #1
Lady Parts: Othello, remainder of play; E: Snyder,
* Discuss Othello: why good girls are tragic girls "Women, Sh., Processing Emotion" ca. 4
Sept. 18 | Team Teaching: McManus, Snyder + BCS pgs.+ CP: McManus, "The Woman's Part"
4 ca. 7 pgs., BCS: "The Situation of Women,"
253-9
* History Plays: the "drum and trumpet" mode Richard II, Act 1; BCS: Stubbes, excerpt
* The Purpose of History and Poetry in Early Modernity |"Anatomy of Abuses," 351 vs. CP: Sidney
5 Sept. 25 excerpt, "The Defence of Poesy"; start
* Discuss Richard III reading Goffman--it's a /ong chapter
Date
Activity/Writing Due
Reading Due
Richard and Theatricality
Richard IT, Act 2; CP: Goffman, from
5 | Sept. 27 |» Discuss Richard III Presentation of the Self in Everyday Life,
= Team Teaching: Goffman pgs. 17-76
Shakespeare's study of charisma Richard HI, Act 3; CP: Weber, "Three
Oct. 2 |* Discuss Richard III Pure Types of Legitimate Authority," 328,
6 358-63 (about 6 pgs.)
oct. 4 |" Discuss Richard III Richard HT, Act 4
Due Oct. 6: one paragraph proposal on midterm
Oct. 9 Richard and the Car-park Problem Richard IIT, Act 5
Present Richard, Relevant Shakespeare Film: Loncraine, Richard III; Bb: answer
r « Team Teaching: Hutcheon Richard III Qs, bring answers to class; CP:
Oct. 11 | Quiz #2 Hutcheon, "Beginning to Theorize
Adaptation" 1-32
Discuss Hamlet and stage history Hamlet , Act 1; 30G: Myth #8, "No
8 Oct. 16 |Midterm papers (creative & critical) due, upload |Scenery," 54-9
ito Bb
Hamlet and The Materiality of Theater I: actor, prop Hamlet , Act 2; CP: Walsh,"This Same
MT Oct. 18 |Team Teaching: Walsh Skull, Sir: Layers of Meaning and
Tradition," 65-77.
Hamlet and The Materiality of Theater II: from foul Hamlet , Act 3; 30G: Myth #4, "Not
Oct. 23 papers to editions interested in Print," 26-33; Handout:
Hamlet and the Editors: To Cut or Not to Cut Hamlet Early Modern Editions Pack, ca. 6
9 pgs.
Hamlet: the Personal is Political Hamlet, Act 4; BCS: "Family Life" 269-
Oct. 25 |* Discuss Hamlet 272; Gouge: "Of Domestical Duties," 290-
292
Oct. 30 [Finish Hamier Hamlet, Act 5
10 Comedy as Social Criticism in Early Modernity Twelfth Night, Act 1; CP: Aristotle,
Nov. 1 |. Discuss Twvelfih Night excerpt from The Poetics on Comedy
* Discuss Twelfth Night Twelfth Night , Act 2
Nov. 6 .
Meet Performance Groups
u * Discuss Twelfth Night - Carnival and Foolery Twelfth Night , Act 3; CP: Howard,
Nov. 8 | quiz #3 "Carnival & Carnivalesque"
* Discuss Twelfth Night Twelfth Night , Act 4; CP: Traub,
Nov. 13 |Team Teaching: Traub "Homoerotics of Shakespearean Comedy,"
12 135-160
= Discuss Twelfih Night Twelfth Night, Act 5
Nov. 15
* Discuss The Tempest The Tempest , Act 1; BCS: Myth #5,
18 Novii20 "Shakespeare Never Travelled." 34-39
The Private Theaters, ts on staging The Tempest, Act 2; Wanamaker
Nov. 27 |, Discuss The Tempest Theatre @ Globe complex
14 = Discuss The Tempest The Tempest, Act 3; CP: Linebaugh &
Nov. 29
‘Team Teaching: Linebaugh & Rediker
Rediker, "Wreck of the Sea Venture," 8-35
Date
Activity/Writing Due
Reading Due
The Affordances of Romance
The Tempest, Act 4; BCS: "Romance" 94-
15 Dec. 4 |* Discuss The Tempest 97
Quiz #4
Last Day of class The Tempest, Act 5
15 Dec. 6 |* Discuss The Tempest
1:00-3:00 - usual classroom
~ Performance Projects ~
Exam | Dec. 18
Wk. .
Due: Director's Promptbook and Individual
Project Assessment
University at Albany, SUNY
College of Arts and Science
AENG 413Y-001: Topics in American Literature and Culture: Sentimentality
Arts & Sciences 015, Tuesday & Thursday 1.15 — 2.35pm
Fall 2016 (Call #8315)
Instructor: Erica Fretwell, Assistant Professor of English
Email: efretwell@albany.edu
Office: Humanities 340
Phone Number: 518-442-4054
Office Hours: Tuesdays, 2 — 3.30pm and by appointment
Course Credit Hours: 3 credits
Course Prerequisites /Corequisites: “C” or better in AENG 210, AENG305, or permission of
instructor
Course Description
Focused examination of the selected topics in the literature and culture of the Americas. Individual
semesters may focus on, among other areas: a patticular historical period, genre, or theme; literature
of a region or group (e.g., African-American, Caribbean, or Latino); interpretive or other theoretical
problems in American literacy and cultural study.
Student Learning Objectives
Upon completion of this course, students will be able to:
1. Understand and describe characteristic features of sentimentalism
2. Perform the habits of scholarly readers: close reading and re-reading
3. Formulate an extended critical argument using research methods learned in class.
4. Identify an pertinent issue and support an analytic argumenta about it
5. Synthesize knowledge of sentimentalism with research strategies, including citational
practices and acceptable forms of evidence
6. Respond to and offer further interpretations in class or group discussion
Course Materials are available at SUNY textbook store. Can also be purchased at an in-person or
online bookseller.
Fern, Fanny. Ruth Hall (1854)
Foster, Hannah. The Coquette (1797)
Harper, Frances E.W. Iola Leroy (1892)
Hawthorne, Nathaniel. The Scarlett Letter (1850)
Jacobs, Harriet. Incidents in the Life of a Slave Girl (1861)
Stowe, Harriet Beecher. Uncle Tom’s Cabin (1852)
Wharton, Edith. The House of Mirth (1905)
James Baldwin’s essay “Everybody’s Protest Novel” (1949)
Course Requirements and Grading
All coursework must be submitted on time. Late assignments automatically receive a “0.” The
gtading scheme is A, B, C, D, E. Below are factors that will contribute to the grade for the class, and
a description of how each component of the final grade will be evaluated.
Syllabus Quiz. 5%
Research Essay Proposal. 10%
A research proposal written by your group for your collaborative research paper.
Lab Report 10%
Instructions forthcoming.
Discussion Board Entries 20% (total)
Over the course of the semester you will post 10 individual 500-word close analyses of the assigned
text and 10 individual 200-word responses to your peers’ entries.
Collaborative Research Paper (12 —15 pages) 25%
Work with 2 peers to develop an argumentative paper about a sentimental text that draws on at least
3 scholarly sources. Due Date TBA.
Class Participation. 30%
Your active, sustained participation in class discussion is crucial to our success. As you tead, take
notes and mark key passages. Review these notes before class so that you are ready to ask questions,
to advance discussion by providing new ideas and insights, and to build on others’ comments. All
students must be ready and willing to take intellectual risks and experiment with new ideas. Chronic
absence and/or late arrivals will adversely affect your participation grade.
Course Average Final Grade
93-100 A
90-92 A-
88-89 Bt
83-87 B
80-82 B-
78-79 C+
73-77 Cc
70—72 C-
68-69 D+
63-67 D
60-62 D-
< 60 E
UNIVERSITY POLICIES
Academic Integrity
“Fvery student has the responsibility to become familiar with the standards of academic integrity at
the University. Faculty members must specify in their syllabi information about academic integrity,
and may refer students to this policy for more information. Nonetheless, student claims of
ignorance, unintentional error, or personal or academic pressures cannot be excuses for violation of
academic integrity. Students ate responsible for familiarizing themselves with the standards and
behaving accordingly, and UAlbany faculty are responsible for teaching, modeling and upholding
them. Anything less undermines the worth and value of our intellectual work, and the reputation and
credibility of the University at Albany degree.”
l expect that all of the work you do will be your own. Plagiarism will result in a 0 for that
particular assignment. Please see me if you have any questions about plagiatism. The following are
a few examples of plagiarism:
© Copying, quoting, or paraphrasing from any source without documentation
e Purchasing a pre-written paper or letting someone else write a paper for you
e Submitting someone else’s work as your own, with or without permission
For information on the penalties of failing to meet the University’s basic standards of integrity, visit
http: //www.albany.edu/studentconduct/appendix-c.php.
Reasonable Accommodations
Reasonable accommodations will be provided for students with documented physical, sensory,
systemic, cognitive, learning and psychiatric disabilities. If you believe you have a disability requiring
accommodation in this class, please notify the Director of the Disability Resource Center (Campus
Center 130, 518-442-5490, DRC@albany.edu). That office will provide the course instructor with
verification of your disability, and will recommend appropriate accommodations.
Attendance Policy.
You are allowed 2 unexcused absences. After that, you must have an official letter to document
illness or emergency. (For cases of documented emergency, see the University’s Medical Excuse
Policy: http: //www.albany.cdu/health_center/medicalexcuse.shunl.) For every unexcused absence,
your final grade will drop by 1 letter grade.
COURSE SCHEDULE
SESSION# /DATE TOPIC READINGS / ASSIGNMENT
1. T, 8/30 INTRODUCTION N/A - SYLLABUS
2. Th, 9/01 SENTIMENTAL REPUBLIC | Hannah Foster, The Coquette, Letters 1 —
29
3.T, 9/06 SENTIMENTAL REPUBLIC | Coqueste, Letters 30 — 53
4. Th, 9/08 SENTIMENTAL REPUBLIC | Coquette, Letters 54 —74 / Syllabus Quiz
5.7, 9/13 SENTIMENTAL REPUBLIC | Fanny Fern, Rah Hall, Preface — Chapter
XXIV
6. Th, 9/15 SENTIMENTAL REPUBLIC | Ruth Hall, XXV — L; “Declaration of
Sentiments” (1848)
7.7, 9/20 SENTIMENTAL REPUBLIC | Ruth Hall, LI- XC
8. Th, 9/22 SENTIMENTAL REPUBLIC | Nathaniel Hawthorne, The Scarlet Letter,
Chapters 1— 8
9.T, 9/27 SENTIMENTAL REPUBLIC | Scarlet Letter,9 - 17
10. Th, 9/29 SENTIMENTAL REPUBLIC | Scarlet Letter, 18 — 24
11. T, 10/04 SLAVERY & SYMPATHY Harriet Beecher Stowe, Uncle Tom’s Cabin,
Preface — Ch. 8
12. Th, 10/06 WORKSHOP Library Workshop: Scholarly Historical
Databases
13. T, 10/11 SLAVERY & SYMPATHY UTC, 9 — 13
14. Th, 10/13 SLAVERY & SYMPATHY UTC, 14-19
15.T, 10/18 SLAVERY & SYMPATHY UTC, 20 - 29 / Library Report Due
16. Th, 10/20 SLAVERY & SYMPATHY UTC, 30 — 42
17. T, 10/25 SLAVERY & SYMPATHY UTC, 43 — 45; Baldwin, “Everybody’s
Protest Novel”
18. Th, 10/27 WORKSHOP Writing Workshop: Finding Your Question
19. T, 11/01 SLAVERY & SYMPATHY Harriet Jacobs, Incidents in the Life of a
Stave Girl, Preface —Ch. 8
20. Th, 11/03 SLAVERY & SYMPATHY Incidents, 9-17
21. 'T, 11/08 SLAVERY & SYMPATHY Incidents, 18 —29 / Research Essay
Proposal due
22. Th, 11/10 SLAVERY & SYMPATHY Incidents, 30 — Appendix
23.7, 11/15 WORKSHOP Writing Workshop: Argument and Evidence
24. Th, 11/17 DOMESTIC MODERNITY __| Frances E.W. Harper, lo/a Leroy,
Chapters 1-15
25.7, 11/22 DOMESTIC MODERNITY __ | Jo/a Leroy, 16-33
26.7, 11/29 DOMESTIC MODERNITY _ | Edith Whatton, The House of Mirth, Book
1: Chapters 1-8
27. Th, 12/01 DOMESTIC MODERNITY | Howse of Mirth, Book 1:9— 15
28. T, 12/06
DOMESTIC MODERNITY
House of Mirth, Book 2:1-8
29. Th, 12/08
DOMESTIC MODERNITY
House of Mirth, Book 2:9 — 14
December 15, 2016: Group Research Project Due
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University at Albany
College of Arts and Sciences
AENG 416Y, cross-listed with WGSS 416Y—Topics in Gender, Sexuality, Race, or Class:
“How Sex Tells, How Sex Sells”
Fine Arts Building 114, Tuesdays and Thursdays 11:45 — 1:05
Fall 2015 (Class #8886; Cross-listed class #8890)
INSTRUCTOR
Eric Keenaghan, Associate Professor of English
Humanities Building 343 (Third Floor, English Department)
Office Phone: (518) 442-4078 (Note: Email is preferred.)
Email: ekeenaghan@albany.edu
OFFICE HOURS
Tuesdays 5:00-6:00 (walk-in); Thursdays 9:00-10:30 (walk-in, but appt. recommended)
TEACHING ASSISTANT
Nicole Cosentino, English PhD Student
Office: Humanities 388 (Third Floor, English Department)
Email: ncosentino@albany.edu (No office phone.)
TA Office Hours: Tues 10:30-11:30; Wed 2:30-3:30
COURSE CREDIT HOURS
3 credits. AENG 416Y is an upper-level elective capstone seminar for English major, and WGSS
416Y fulfills the upper-level elective requirement for the Women’s, Gender, and Sexuality
Studies Major and the LGBTQ minor.
COURSE PREREQUISITES
For AENG 416Y, C or better in AENG 210, AENG 305, or permission of instructor.
For WGSS 416Y, declared LGBTQ minor, or permission of instructor.
COURSE DESCRIPTION
Catalogue description: Focused examination of topics in the study of gender, sexuality, race,
and/or class, as they are positioned and defined in Anglophone literary or other texts from any
period(s). Individual semesters may focus on, among other areas: a particular historical period,
genre, or theme; theories of gender, sexuality, race, and/or class as related to literary or other
forms of representation; a particular cultural problem. May be repeated once for credit when
content varies. Prerequisite(s): C or better in AENG 210, AENG 305, or permission of instructor.
Section/topic description: Sexually explicit representations not only open moral controversies
but they also introduce aesthetic problems. Sex is a part of life, so it should go without saying
(but often needs to be argued) that it belongs in art. Yet, how does one artistically represent sex?
What is the line between the aesthetic and the obscene? Is there—or should there be—such a
line? (Just consider the fact that, historically, censorious agents have claimed that texts are
“obscene” because they are so stylized they are difficult to understand!) What about the
tepresentations of non-normative forms of sex? Standards of sexual normativity do change over
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time, so now liberal-minded and progressive readers might consider what once was deemed
taboo (interracial relations, same-sex relations, relations out of wedlock, masturbation, phone
sex, virtual sex) permissible as “literary” subjects. But what about sexual forms that still are
generally less socially acceptable or even criminal, such as: public sex, prostitution and other sex
work, rape, incest, sadomasochism, fetishism, pedophilia, childhood sexuality, bestiality,
necrophilia? In literature, should sexual representations, of whatever sort, provide intellectual
pleasure, or should we regard them as essential for delivering what theorist Roland Barthes once
called “the pleasure of the text ... that moment when my body pursues its own ideas—for my
body does not have the same ideas as I do”? Can such a pleasure of the text serve as a means for
aesthetic works to effect political transformation? How much can aesthetic texts pleasure
audiences’ bodies before those fictions, poems, plays, or films become mere pornography? Must
there be a strong distinction between the pornographic and literary? The idea of pornography is
linked to the issue of censorship and the juridical category of “obscenity,” and it also draws our
attention to how literature and film—like porn—are market commodities, the consumption of
which is not always within artists’ control or according to their aesthetic or political intentions. If
a book or film is going to make its mark, though, it has to find an audience. Sometimes sex will
help a work sell, but at other times finding an audience entails compromising the erotic or sexual
dimensions of one’s vision by collaborating with censorial editors, publishers, and social or
political authorities. Some artists have misgivings and give up altogether on finding an audience,
and so suppress the publication of their own potentially controversial works. This seminar will
explore how artists’ literary approaches to the material facts of sex and physical intimacy work
to tell audiences something about life, including but not limited to sexual matters. At the same
time, they must negotiate legal, market, and social factors related to sex’s ability to help sell (or
that cause the shelving of) the work. Our literary readings will be framed by theories about sex
and representation, the artists’ own poetics statements about art and sex, as well as criticism
about the assigned literary texts and histories about modem censorship and these texts’
distribution and reception. We will begin by studying influential predecessor texts that met with
controversy, but our emphasis will be on poetry, fiction, theater, and film from three moments
and categories of twentieth- and twenty-first American texts and markets (interwar modernist
literature, c.1910-1945; cold war literature and underground film, c.1945-1980; postmodern,
homocore/punk, and new queer literature and film, c.1980-today).
STUDENT LEARNING OBJECTIVES
Upon completion of this course, students will be able to:
(1) Identify historical shifts in legal, medical, and other social constructions of sex,
sexuality, and obscenity in the United States from circa 1910 until today
(2) Write critical analyses of twentieth- and twenty first-century literary and/or film texts
that represent sex and/or sexuality and use secondary sources (literary criticism,
plus social and cultural histories) to frame one’s written analysis of the literary
text
(3) Conduct research of peer-reviewed journal articles and academic monographs about a
literary author and/or the cultural issue studied
(4) Clearly communicate their critical insights orally in seminar-style conversation and
breakout discussions, as members of a community of learners and researchers
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UALBANY GENERAL EDUCATION COMPETENCIES
General education competencies fulfilled: Advanced Writing, Information Literacy, Critical
Thinking, Oral Discourse. See: http://www.albany.edu/generaleducation/
COURSE MATERIALS
Books are available through the UAlbany Bookstore (in the Campus Center). Inexpensive used
copies are available through online retailers. URLs to online sources and PDF files of other
required and recommended readings are on Blackboard, accessible through your MyUA Ibany
portal. (Titles available on Blackboard are specified on the schedule of reading assignments.)
Please have relevant materials on hand for class discussions. Texts with asterisks (*) beside them
are on 3-hour reserve at the UAlbany Main Library’s Reserve Desk.
Required textbooks for purchase or rental:
* John D’Emilio and Estelle Friedman, Intimate Matters (3 ed.) (Chicago UP)
Michel Foucault, The History of Sexuality, Vol.1 (Vintage/Random House)
* Roland Barthes, The Pleasure of the Text (Hill and Wang/FSG)
William Gass, Willie Masters’ Lonesome Wife (Dalkey Archive)
* Henry Miller, Tropic of Capricorn (Grove)
* Tennessee Williams, A Streetcar Named Desire (New Directions)
Vladimir Nabokov, Lolita (Vintage/Random House)
Samuel R. Delany, Stars in My Pocket Like Grains of Sand (Wesleyan UP)
* Kathy Acker, Blood and Guts in High School (Grove)
Chris Kraus, J Love Dick (Semiotext/e)
Also on library reserve (but not ordered at bookstore):
* E.R. Hutchison, Tropic of Cancer on Trial: A Case History in Censorship
* Elia Kazan (dir.) and Tennessee Williams (screenplay), A Streetcar Named Desire (DVD)
COURSE REQUIREMENTS
Students are required to attend class, and are expected to come prepared with the assigned
materials for the day and ready to engage in seminar-style discussion about the readings after my
brief introductory lecture. See the attendance policy below.
Assignments Descriptions:
(1) Class Attendance and Participation (4 absences before penalty; automatic failure for
course after 7 absences) (20% of course grade): Seminars depend on regular class
participation and active discussion, so attendance is required. Active participation, in
the form of contributions to discussion, is required for the Oral Discourse competency.
(2) Midterm Essay (5- to 6-page essay analyzing a literary text and using at least two
secondary sources from the syllabus) (30% of course grade): The midterm essay is a
5- to 6-page essay, for which you will use one literary text and two secondary texts (a
historical essay, a critical essay, an archival text, and/or a poetics essay) to develop a
historically grounded critical reading of the primary text. Brief comments and a grade
will be supplied. (Note: Half of the class will be required to submit two copies of their
papers; the second set will receive additional comments from the teaching assistant.)
(3) Proposal, Research Process Worksheet, and Working Bibliography for the Seminar
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Paper (Ungraded, but mandatory): Prior to the final paper, everyone must complete a
required proposal for the final paper. Also required is a Research Process Worksheet,
which will provide instruction (or a refresher) in searching for, evaluating, and vetting
secondary sources, external of the syllabus, related to your working thesis. This
prewriting assignment concludes with a revised thesis statement (1-2 paragraphs),
incorporating external sources, and an annotated bibliography of an additional 6-8
sources that you have yet to find, read, and vet. (Note: Half of the class will be required
to submit two copies of their prewriting assignments for additional comments from the
teaching assistant.)
(4) Seminar Paper (Critical essay analyzing one primary text, 12-15 pages incorporating
6-10 secondary sources [4+ external of syllabus]) (50% of course grade): The final
paper willbe a longer analysis of one text. You must choose a different text than what
you analyzed in the Midterm Essay. Failure to do so will result in a “C” or less. Jf you
want to work on a_ text that is not on the syllabus, before the proposal is due, you must
visit me during office hours and discuss your idea in order get my permission. (Note:
Half of the class will be required to submit two copies of their papers; one will be
emailed to the teaching assistant, who will supply a second set of comments.)
GRADING
Grading Scheme: graded A-E
Grading Scale:
Course Average Final Grade
93-100 A
90-92 A-
87-89 Bt
83-86 B
80-82 B-
77-719 C+
73-76 (@
70-72 C-
67-69 D+
63-66 D
60-62 D-
<60 E
Evaluation rubrics for graded components and assignments:
(1) Class Attendance and Participation (20% of course grade)
Attendance: There are no penalties for absences 1 through 4, each of which is
automatically excused. Between 5 and 7 absences, you lose 10 points per
excessive day from your Attendance and Participation Grade (e.g., from “B” to
“C” for 5 absences, to “D” for 6 absences to “E” for 7 absences). If you miss
more than 7 classes, you automatically fail this course. If you arrive more than
10 minutes for class, it will count as an absence. Keep track of your own
absences, as you would sick days used at a job.
Participation criteria: Active participation includes answering questions, volunteering
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your insights and readings, and active listening (i.e., listening and note-taking),
and cooperating in all workshop and breakout group activities.
Writing workshop participation: The writing workshops conducted during the semester’s
last weeks will partially fulfill the Oral Discourse competency; so, an absence
from any of the mandatory workshops will incur a 5-point deduction (per missed
workshop) in your Course Participation grade, even if you have allotted
absences remaining.
Note on disruptive behavior: College classrooms are learning environments, and my
classrooms are zero tolerance zones. Any disruptive behavior will receive only
one verbal warning. After that, dismissal from class will follow, and it will count
as an absence. Disruptive behavior includes, but is not limited to: sleeping;
chatting with neighbors; passing notes; using electronic devices inappropriately;
refusing to answer direct questions. Any threatening or hostile behavior directed
against me or classmates will result in: (1) my immediate notification of Judicial
Affairs; (2) the offender’s automatic failure of the course; and, depending on
one’s record, (3) possible probation, suspension, or expulsion from UAlbany.
Participation grade rubric:
A- to A = strong, active participation in discussion, workshop, & breakout groups
B- to B+ = good and active listener, but tends to speak less in general class
discussion though may be more verbal in workshop and breakout groups
C- to C+ = average to minimal participation in workshop and disciplinary issues
in class
D- to D+ = often withdrawn and not participatory in both workshop and class
E (for course) = more than 7 absences and/or other disciplinary issues
(2) Midterm Essay (30% of course grade)
Criteria for evaluation: basic writing mechanics, grammar, syntax; original thesis;
focused discussion; clear articulation of your original reading of a literary text, set
up in relationship to a frame narrative using sources to discuss the issue indicated
by the prompt; support for your claims with quotes from properly cited primary
and secondary texts; language from quotes are “unpacked” (i.e., explained and
interpreted to further your analysis)
Grading rubric:
A-to A: Excellent in all aspects—and an excellent and original thesis
B- to B+: Good in all aspects but needs improvement in 1 or more—and/or thesis
needs strengthening—and or/ close reading needs to be more fully
developed
C- to C+: Average for college-level writing and critical analysis, but needing
substantial improvement in 2 or more aspects—and/or no original thesis—
and/or not a strong close reading—and/or questionable choice of
secondary sources
D- to D+: Poor and substandard in most or all aspects, possibly including missing
sources
E: Plagiarized, failed to turn in assignment, or egregiously poor in all aspects
(3) Final Paper (50% of course grade)
Criteria for Evaluation: A strong grasp on basic writing mechanics, grammar, syntax;
original thesis; a focused discussion with smooth transitions; clear articulation of
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your original and focused close reading of a literary text, set up in relationship to
aresearched frame narrative using sources to discuss the issue indicated by the
prompt; support for your claims with quotes from properly cited primary and
secondary texts; successfully uses the required number of on-syllabus and off-
syllabus secondary research; language from quotes are set up in relationship to the
literary text’s story are and are unpacked (i.e., explained and interpreted to further
your reading).
Note on ungraded prewriting for the final paper: The prewriting for the final seminar
paper is not graded. However, if you do not turn in the proposal or the Research
Process Worksheet and annotated bibliography on time, your final paper’s grade
will be penalized 10 points.
Grading rubric:
A- to A: Excellent in all aspects—and an excellent and original thesis
B- to B+: Good in all aspects but needs improvement in | or more—and/or thesis
needs strengthening—and/or close reading needs to be more fully
developed
C- to C+: Average for college-level writing and critical analysis, but needing
substantial improvement in 2 or more aspects—and/or no original thesis—
and/or not a strong close reading—and/or questionable choice of
secondary sources—and/or missing the required number of secondary
sources
D- to D+: Poor and substandard in most or all aspects, possibly including missing
sources
E: Plagiarized, failed to turn in assignment, or egregiously poor in all aspects
UNIVERSITY POLICIES
Policy on Academic Integrity
All written assignments must be your own original work. If you submit any plagiarized work (no
matter how small the assignment), you will automatically fail this course, and I will report the
case to the Dean of Undergraduate Studies and to your department or program chair. (Note that if
you withdraw from the course after receiving notice of having failed for plagiarism, the Dean’s
Office will file a second Violation of Academic Report against you.) Two or more reports on file
can lead to academic probation, suspension, even expulsion. Plagiarism is more than the
wholesale copying of an entire document. The University’s definition of plagiarism is as follows:
“Presenting as one's own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Some examples of plagiarism include copying, paraphrasing, or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase/use of
prepared research or completed papers or projects, and the unacknowledged use of research
sources gathered by someone else. Failure to indicate accurately the extent and precise nature of
one's reliance on other sources is also a form of plagiarism. Students are responsible for
understanding legitimate use of sources, the appropriate ways of acknowledging academic,
scholarly, or creative indebtedness.” Also note that violations of academic integrity also include
“self-plagiarizing,” or submitting the same (or similar) work for multiple courses. Claims of
supposed ignorance about if a practice constitutes plagiarism, as well as claims that the proven
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plagiarism was “unintentional,” are not adequate defenses. If you are uncertain if a practice
constitutes plagiarism, ask me or another faculty member before you turn in work. Visit the
following webpage for the University’s statement about, and policies regarding, violations of
academic integrity: https://www.albany.edu/undergraduate_bulletin/regulations.html
Reasonable Accommodations
When appropriate to the assignment and the situation, students registered with the Disability
Resource Center may be eligible for extensions, alternative modes of examination, or adaptive
equipment. Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you
have a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 137, 442-5490). That office will provide me with
verification of your disability, and will recommend appropriate accommodations. Please present
your forms from the Disability Resources Center to me at the start of the semester, and we will
discuss when alternative arrangements will be necessary for our course. For details, refer to the
Disability Resources Center webpage: http://www.albany.edu/disability/
OTHER CLASS POLICIES:
Disclaimer on Explicit Content
Although all of the assignments are “literary,” much of the material contains sexually explicit
language, situations, and/or images. Some might find the assigned texts offensive or
objectionable. Registration for this course signals ipso facto acceptance of these facts and your
contractual obligation to complete and intellectually engage all of the reading assignments.
Sometimes it will prove difficult or awkward to converse or write about such texts; but
throughout the semester we will tackle those difficulties by discussing, as a class, the intellectual
limits of introducing sexual content into academic and public discourse. Students will be asked
to sign an acknowledgment form on their first day of attendance.
Attendance
Please adhere to the allotted number of excused absences indicated above, in the description
above regarding the course attendance and participation grade criteria, Additional absences will
be excused only if they include your own hospitalization, religious observance, or civic duty (i.¢.,
jury or military duty). All valid excuses must be documented by the Undergraduate Dean’s
Office or, in the case of hospitalizations, by Student Health Services (SHS). Except in the case of
a hospitalization, a medical note from SHS does not allow you more absences than the allotment.
For the University’s Medical Excuse Policy, consult the following link:
http://www.albany.edu/health_center/medicalexcuse.shtml
Assigned Reading and Class Preparedness
* Come to class having completed the required reading. Some readings may be stylistically,
conceptually, and even linguistically challenging, so allot sufficient time to finish them.
* If you are unprepared because you have not read and/or lack assigned reading materials, I may
dismiss you. In those instances, your dismissal will count as a class absence.
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Policies on Electronic Devices in Class
* Only laptops and tablets are permitted to take notes or to read the online materials being
discussed. If you use these devices inappropriately (i.e., messaging, surfing the web, etc.),
I may dismiss you for disruptive behavior.
* Smart phones are not permitted in class, either to read materials or to take notes. Silence them
and put them away upon entering the classroom, as you would when boarding a plane or
a theater. Do not put your phones on your lap or on your desk. Do not check your phone.
If your phone rings, if you look at it during class, or if you refuse to put it away, I can and
will dismiss you for disruptive behavior.
Office Hours and Email Policies
* When possible, if you have questions or concerns come see me during office hours. The advice
and feedback I can give in person is more substantial than over email. If you have another
class during regular office hours, check to see if I can arrange another time to meet you.
* All emails should be signed, and put your name and course number in the subject line.
* During the week, allow 24 hours for me to respond to all emails during the week.
* | donot check or respond to email on the weekends (i.¢., Friday 5 pn—Monday 9 am).
* I do not address attendance or disciplinary issues via email exchanges. I might send you a
warning via email, but do not respond. Come to my office hours to discuss the issue.
* I do not review drafts of papers or projects via email, but I will be happy to discuss them
during office hours.
Policies for All Written Assignments
* All written assignments must feature your own original ideas and critical prose. Summary,
rehashing of class notes, and readings based on historical generalizations or inaccuracies,
will earn a “C,” at best.
* Any amount of plagiarism in an assignment leads to automatic failure for the course.
* All written assignments must be completed in order to pass the course.
* Late assignments will be docked one full grade (“B” to “C,” etc.) per day late. This includes
each day of the weekend. J do not accept any papers one week (7 days) after the due date.
* If you require a short extension on an assignment, request it in person or by email at least 24
hours before the due date. Not all requests will be granted.
* For assignments to be submitted via Blackboard, the name of your file should be formatted as:
your last name, assignment (class number, semester). Example: “Smith, Final Paper
(ENG 358, Fall 2018).”
* All assignments should be typed or word-processed in an academic 12-point font (such as
Times New Roman), with numbered pages.
* Include a bibliography for all primary and secondary sources referenced or cited at the end of
your paper (not as a separate file).
* Every paper must demonstrate basic writing skills, ranging from grammar to sentence
mechanics to the organization and development of a focused critical argument.
* As in life, there are no “do overs” or “extra credit.” Plan, pre-write, and do your strongest
work the first time around. Come speak to me during office hours about problems or
issues with the assignment before the due date.
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Inclement Weather and Class Cancelations
In the event that the University cancels one or more class meetings due to inclement weather, I
will email everyone and post an announcement to Blackboard about an alternative schedule for
the day’s assignments. In the rare instance that inclement weather makes my own commute
unsafe but the University has not canceled classes, I will notify you by email and post a
Blackboard announcement, as soon as I am able. If necessary for making up any crucial canceled
lectures, I may adjust the syllabus by replacing workshops or writing days with lectures.
COURSE SCHEDULE
Key of abbreviations and categories for reading assignments:
BB = PDF or URL on Blackboard
Context = Historical or critical text (secondary text)
Theory = Critical theory (secondary text)
Archive = Document from the period studied (primary historical text)
Poetics = Essay about literature/art, etc., by a writer or artist (secondary literary text)
Literature = Poetry, fiction, play, or film (primary literary text)
Recommended = Not required reading but will be referenced in my lectures
UNIT ONE: Sex in Literature and Film—Representation, Theory, Discourse
Week One — Introduction to Course
Thursday, August 27
Introduction: Your ideas about sex and its relationship to literature — Class objectives and
materials — Mandatory disclaimer form
Literature: Kenneth Anger, Fireworks (short film, 1947) (BB)
Week Two- Thinking about Sex Through Theory and the Literature Itself (part 1)
Tuesday, September 1
Theory: Wendy Steiner, “The Perfect Moment” (BB); Jonathan Dollimore, “Those Who Love
Art the Most Also Censor It the Most” (BB)
Literature: William Gass, Willie Masters’ Lonesome Wife (Bring book to class: start reading first
10 pages; Read entire text for next Thursday, Sept. 10)
Thursday, September 3
Theory: Michel Foucault, The History of Sexuality vol.1: Parts 1, 2, and 3
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Week Three — Thinking about Sex Through Theory and the Literature Itself (part 2)
Tuesday, September 8
Theory: Michel Foucault, The History of Sexuality vol.1: Parts 4 and 5
Thursday, September 10
Theory: Roland Barthes, The Pleasure of the Text (entire book)
Literature: Review Gass
Study Question: How do Foucault and Barthes cast a different light on Gass’s novella? How
does it resist their theories and compel us to think about sex and pleasure in a new way?
UNIT TWO: That’s Obscene — Literary Censorship in the U.S.
Week Four — An “Obscene” American Classic: Walt Whitman’s Leaves of Grass
Tuesday, September 15
Classes Suspended: Academic Calendar (all classes resume at 12:35 pm)
Regular office hours will be held today.
Thursday, September 17
Literature: Walt Whitman, from Leaves of Grass 1881-1882 edition: poems in the
clusters/sections: “Song of Myself,” “Children of Adam,” and “Calamus” (BB)
Context: John D’Emilio and Estelle Freedman, Intimate Matters: Chapter 7
Poetics: Walt Whitman, “Poetry To-day in America—Shakspere—the Future” (BB)
Archive: Anthony Comstock, Traps for the Young (Chapters 1 and 11) (1882) (BB);
Anonymous, Review of Leaves of Grass for San Francisco Evening Bulletin (1882)
(BB); Elmina, Review of Leaves of Grass for The Iconoclast (1883) (BB)
Recommended Context: Michael Moon, Introduction from Disseminating Whitman (BB); Walt
Whitman Archive, “Revision and Censorship in Whitman’s Poetry” (includes links to
versions Whitman revised to placate censors in Leaves of Grass before 1881) (BB)
Recommended Archive: Various, Other contemporary reviews of Leaves of Grass (1881-1882
edition) (BB); Mark Twain, “The Walt Whitman Controversy” (1882) (BB)
Week Five — Banning “Dirty” Books Between (and After) the Wars:
The Censorship Battles Over Henry Miller’s Tropics Novels (part 1)
Tuesday, September 22
NOTE: All classes are suspended starting at 2:35 pm—Our class is meeting today. Office hours
for today only: 9:00 — 11:00.
Literature: Henry Miller, Tropic of Capricorn—pp. 9 — 109
Context: John D’Emilio and Estelle Freedman, /ntimate Matters: Chapter 11
Poetics: Henry Miller, excerpt from The World of Sex (BB)
Recommended Context: Laura Frost, Introduction from The Problem with Pleasure (BB)
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Thursday, September 24
Classes Suspended: Academic Calendar (all classes resume at 12:35 pm). No office hours.
NOTE: Keep reading Miller’s novel to keep up.
Week Six — Banning “Dirty” Books Between (and After) the Wars:
The Censorship Battles Over Henry Miller’s Tropics Novels (part 2)
Tuesday, September 29
Literature: Henry Miller, Tropic of Capricorn— pp. 109 — 267
Theory: Susan Sontag, “The Pornographic Imagination” (BB)
Poetics: Henry Miller, “Obscenity and the Law of Reflection” (BB)
Recommended Context: John Semonche, from Censoring Sex (BB); E.R. Hutchison, from
Tropic of Cancer on Trial (BB); Rachel Potter, “Offense” from Obscene Modernism
(BB)
Thursday, October 1
Literature: Henry Miller, Tropic of Capricorn— pp. 267 — end
Theory: Lauren Berlant and Lee Edelman, from Sex, or the Unbearable (BB)
Week Seven — Placating Cold War Censors: Streetcar, Stage vs. Screen
The prompt for the Midterm Essay will be available on BB at the start of class on Tuesday.
Tuesday, October 6
Literature: Tennessee Williams, A Streetcar Named Desire (read entire play)
Context: John D’Emilio and Estelle Freedman, /ntimate Matters: Chapter 12
Recommended Context: Michael Paller, “The Time and World That I Live In” (BB)
Thursday, October 8
Literature: Elia Kazan (dir.) and Tennessee Williams (screenplay), A Streetcar Named Desire
(film) (Reserve DVD or watch online via a streaming service)
Context: R. Barton Palmer and William Robert Bray, “Bending the Code” (BB)
Recommended Context: Sam Staggs, from When Blanche Met Brando (BB)
Study Question: How do the changes in the film version of the story avoid possible obscenity?
How is the play’s treatment of sex substantially changed?
Discussion (30 minutes): Review of midterm essay prompt and discussion of using sources to
frame your own original critical reading
Week Eight — Censoring the Queer Underground during the Cold War: Flaming Creatures
Tuesday, October 13
Literature: Jack Smith, Flaming Creatures (film, BB)
Context: John D’Emilio and Estelle Freedman, /ntimate Matters: Chapter 13; J. Hoberman,
“Crimson Creatures” (BB)
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Poetics: Jack Smith, “Journal Notes on the Uses of Pornography” (BB)
In-class viewing: Andy Warhol, Blowjob (short film, BB)
Recommended Context: Linda Williams, “Going All the Way” (BB); Thomas Waugh,
“Cockteaser” (BB); Dominic Johnson, “Flaming Creatures and the Burden of Disgust”
(@B)
Recommended Archive: Susan Sontag, “Jack Smith’s Flaming Creatures” (BB); Parker Tyler,
“Underground Climb: From Exhibitionism to Art” (BB); Arthur Knight, “New American
Cinema?” (BB)
Thursday, October 15
No Class: Complete Your Midterm Exam Essay. (Regular office hours held today.)
DUE by 2:00 pm: Midterm Essay (5-6 pages). Bring a hardcopy of your essay to my office
(Humanities 343) by 2pm. (Half the class will be required to bring in two copies; one for
me, one for the TA.) If I am not there when you drop off your essay, please slide it under
my office door. NO LATE PAPERS WILL BE ACCEPTED.
UNIT THREE: Pushing the Bounds — Classics That Test Moral and Political Limits
through Representations of Sex, Gender, and Sexuality
Week Nine — “Light of My Life, Fire of My Loins”: Canonical Pederasty (part 1)
Tuesday, October 20
Literature: Vladimir Nabokov, Lolita—Part One
Theory: Richard D. Mohr, “The Pedophilia of Everyday Life” (BB)
In-class viewing: excerpts from Jessica Yu, /n the Realms of the Unreal: The Mystery of Henry
Darger
Recommended Literature: Henry Darger, excerpts from Jn the Realms of the Unreal (BB);
Images from Jn the Realms of the Unreal from the Darger collection at the American
Folk Art Museum (BB) and from the official Henry Darger webpage (BB)
Recommended Context: Michael Moon, “Weird Flesh, World’s Flesh” (BB)
Note: Read the assigned Nabokov. Much of the discussion today, though, will consider the
representation of children’s sexuality through the work of outsider artist/novelist Henry Darger.
Thursday, October 22
Literature: Vladimir Nabokov, Lolita—Part Two (sections 1 — 12)
Poetics: Vladimir Nabokov, Lolita: “On a Book Entitled Lolita” (Afterword in back of book)
Recommended Context: Elisabeth Ladenson, “Vladimir Nabokov: Lolitigation” (BB)
Recommended Poetics: Vladimir Nabokov, Interview with Playboy (BB)
Week Ten — “Light of My Life, Fire of My Loins”: Canonical Pederasty (part 2)
Tuesday, October 27
Literature: Vladimir Nabokov, Lolita—Part Two (sections 13 — end)
Theory: Kathryn Bond Stockton, “What Drives the Sexual Child?” (BB)
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Thursday, October 29
Literature: Kathy Acker, Blood and Guts in High School—Part One (“Inside High School”)
Context: Robert Gliick, “The Greatness of Kathy Acker” (BB)
Poetics: Kathy Acker, “Seeing Gender” (BB)
Recommended Poetics: Kathy Acker, “A Few Notes on Two of My Books” (BB)
Note: The conclusion of our discussion of Nabokov might continue into today. But Acker’s novel
supplies a postmodern and equally controversial approach to representing children’s sexuality.
Week Eleven — Is This Political?: Sex in Postmodern Feminist and Queer Fiction (part 1)
Tuesday, November 3
Literature: Kathy Acker, Blood and Guts in High School—Finish reading the novel
Context: John D’Emilio and Estelle Freedman, Intimate Matters: Chapter 14
Theory: Lynne Huffer, “There Is No Gomorrah” (BB)
Thursday, November 5
Literature: Samuel R. Delany, Stars in My Pocket Like Grains of Sand—Prologue and
Monologues | —2
Poetics: Samuel R. Delany, “The Rhetoric of Sex/The Discourse of Desire” (BB)
Recommended Poetics: Samuel R. Delany, “Sex, Race, and Science Fiction” (Interview) (BB)
Note: This class session might begin with a conclusion to our discussion of Acker.
Week Twelve — Is This Political?: Sex in Postmodern Feminist and Queer Fiction (part 2)
Tuesday, November 10
Literature: Samuel R. Delany, Stars in My Pocket Like Grains of Sand—Monologues 3 — 10
Context: John D’Emilio and Estelle Freedman, /ntimate Matters: Chapter 15
Recommended Context: Robert Reid-Pharr, “Clean: Death and Desire in Samuel R. Delany’s
Stars in My Pocket Like Grains of Sand” (BB)
Thursday, November 12
Literature: Samuel R. Delany, Stars in My Pocket Like Grains of Sand—Monologues 11 — 13
and Epilogue
Week Thirteen — (No?) Sex and (No?) Intimacy: Are We Now Post-Sexual?
The Research Process Worksheet (RPW) and the specs for the Seminar Paper will be available
on BB by Monday. Review both documents and write down questions for next Tuesday (Nov. 17).
If you are thinking about researching a literary or filmic text not on the syllabus, you must see
me during office hours sometime this week in order to discuss your ideas and get permission.
Tuesday, November 17
Literature: Chris Kraus, J Love Dick—Part One
Context: John D’Emilio and Estelle Freedman, /ntimate Matters: Chapter 16
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Poetics: Chris Kraus, “Private Parts, Public Women” (BB)
Recommended Poetics: Chris Kraus, Interview from The Believer (BB)
Thursday, November 19
Literature: Chris Kraus, J Love Dick—Part Two
Context: Karolin Meunier, “Speaking Candour” (BB)
Discussion (30 minutes): Review of RPW and workshop on researching the final paper. NOTE:
Start the RPW over the weekend, before you leave for break! It will take approx. 3-5
hours of research (in the actual library and online).
UNIT FOUR: DEVELOPING AND WRITING THE SEMINAR PAPER
Week Fourteen — On Choosing and Researching a Topic for the Seminar Paper
Tuesday, November 24
Due: Final Paper Proposal (1% - 2 pages). Email to me and the TA, by the start of our usual
class time if you are not attending today’s optional workshop. Late proposals will result
in a 10-point deduction from the Seminar Paper’s grade.
OPTIONAL WORKSHOP (Highly recommended): Bring to class 3 hardcopies of your proposal:
2 to submit, 1 to workshop. Your proposal must indicate a primary text, your inquiry, and
working thesis. Come to class with the primary texts, other notes, and any questions.
Thursday, November 26
Classes Suspended: Academic Calendar. (Office hours canceled.)
Week Fifteen — Researching and Drafting the Seminar Paper, Plus Individual Conferences
Tuesday, December 1
On Monday, Tuesday, and Wednesday of this week, we will have individual conferences in my
office (Humanities 343) about your research and your paper’s development. Your RPW and
Working Bibliography are due at our conference. Save an electronic copy, and bring a
hardcopy. Missing RPW and/or bibliography will incur a 10-point penalty on the Final Paper.
No Class: Individual student conferences instead (on Monday, Tuesday, and Wednesday)
Thursday, December 3
Required Workshop: Come to class with 3-5 working draft pages of your final paper. These
pages should include your thesis statement and frame narrative (incorporating at least 1
of your secondary sources). These last workshops are required for the Oral Discourse
competency, thus, the Course Participation grade will be docked 5 points per missed
workshop (even if you have allotted absences remaining).
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Week Sixteen — Seminar Paper Workshop
Tuesday, December 8
Required Workshop: Bring to class your working draft thus far. You should have approximately
10-12 pages—a nearly completed draft. Bring to class three questions you wish answered
in peer review. (Plan on finishing the draft by Friday so that you can revise over the
weekend, prior to submitting the finished product.) These last workshops are required for
the Oral Discourse competency; thus, the Course Participation grade will be docked 5
points per missed workshop (even if you have allotted absences remaining).
Seminar Papers (12-15 pages) are due by Monday, December 14 at 12:00 noon. No late
papers will be accepted. Submit your paper via Blackboard as a PDF file. If you cannot save it
as a PDF, a Microsoft Word (.doc or .docx) file is acceptable. Half of the class will be required
to email their papers to the TA, too. By 7pm of the due date, check your email for confirmation
of receipt of your essay. If I cannot open your file, I will send an email asking you to resend it.
Your failure to comply in a timely fashion might lead to an “I” or even an “E” for the course.
SUPPLEMENTARY RESOURCES AND READING LIST.
Below is a partial list of other primary texts you could consider researching for your seminar
paper. These texts were considered for our syllabus but, for reasons of time, did not make
the cut.
European modernist novels banned in the U.S. (1920s-1940s):
James Joyce, Ulysses (Ireland, 1922); D.H. Lawrence, Lady Chatterley’s Lover (UK,
1928); Radclyffe Hall The Well of Loneliness (UK, lesbian/transgender novel, 1928);
Jean Genet, Our Lady of the Flowers—Miracle of the Rose—The Thief’s Journal
(France, gay prison novels, 1930s-1940s; also Genet’s banned film Un chant d’amour)
Sex-positive American modernist fiction (1920s-1940s):
Djuna Bares, Ryder or Ladies Almanack (lesbian/queer); Paul Goodman, Don Juan or
the Continuum of the Libido; Empire City; Parents’ Day (bisexual/pedophilia/sex work);
Anais Nin, any of the Cities of the Interior novels; Henry Miller, Tropic of Cancer or any
of The Rosy Crucifixion trilogy; Parker Tyler and Charles Henri Ford, The Young and
Evil (gay)
Sex-positive Beat and other underground fiction, poetry, theatre, and film (1950s-1970s):
William S. Burroughs, Naked Lunch (banned, gay Beat novel); Andy Warhol and Paul
Morrissey, Trash, Heat, Flesh, or Women in Revolt (films about sex work, heroin, and
transgender subcultures); John Waters, Multiple Maniacs, Female Trouble, Mondo
Trasho, Pink Flamingos, or Desperate Living (films); Lenore Kandel, The Love Book
(banned feminist Beat poetry); Allen Ginsberg, Howl and Other Poems (banned gay Beat
poetry); Kenneth Anger, Scorpio Rising and Kustom Kar Kommandos (short gay films);
The Living Theatre, Paradise Now (avant-garde anarchist performance art, banned
because of onstage nudity and simulated sex acts); Alfred Chester, The Exquisite Corpse
Gay Liberation into HIV/AIDS fiction (1970s-1980s):
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John Rechy, City of Night or The Gay Outlaw; Edmund White, The Beautiful Room Is
Empty or The Farewell Symphony; Andrew Holleran, Dancer from the Dance; David
Wojarowicz, The Waterfront Journals or Memories That Smell Like Gasoline (short
stories by a gay visual artist)
Homocore/queer punk film and New Narrative novels (1980s-today)
Richard Kern, any of his short films; Bruce LaBruce, any of his films; Dennis Cooper
anything (Frisk and The Sluts most recommended); Dodie Bellamy: Cunt-Ups or The
Letters of Mina Harker; Kevin Killian, Spreadeagle, Impossible Princess, or Shy;
Eileen Myles, Inferno or Cool For You; Kathy Acker, any novel; Michelle Tea, The
Passionate Mistakes and Intricate Corruption of One Girl in America or Rent Girl
(graphic novel); Robert Gliick, Jack the Modernist, Elements, Margery Kempe, or
Denny Smith
Fantasy/sci-fi novels and speculative fiction (1970s-today):
Samuel Delany, Dhalgren, The Mad Man, Hogg, Phallos, or Through the Valley of the
Nest of Spiders; Philip José Farmer, Fire and the Night; Ursula Le Guin, The Left Hand
of Darkness (gender variance)
Graphic novels (1980s-today):
Chester Brown, Paying For It, R. Crumb, anything; Alan Moore, Lost Girls
Other contemporary fiction (1990s-today):
Nicholas Baker, Vox; William Vollmann, Whores for Gloria; Hanya Yangihara, The
People in the Trees or A Little Life; Chuck Palahniuk, Snuff; Bret Easton Ellis, American
Psycho
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A ENG 419/419Y
Topics in Technology, Media, and Performance:
Digital Rhetorics
University at Albany
College of Arts and Sciences
Mondays & Wednesdays, 5:45-7:05PM
Location: LC 10
INSTRUCTOR
Dr. Laura Tetreault
Itetreault@albany.edu
Humanities 346
518- 442-4089
OFFICE HOURS
Mondays & Wednesdays 4:00-5:00PM
COURSE CREDIT HOURS
3 credits
COURSE PREREQUISITES/COREQUISITES
Cor betterin A ENG 210, A ENG 305, or permission of instructor
COURSE DESCRIPTION
Focused examination of a specific theme or issue in the study of technological media or staged
phenomena, as well as readings related to these forms. Individual semesters may focus on,
among other areas: the machine in culture; artificial intelligence; notions of nature and the
body; environmental issues; print media; television; the Internet; popular arts; performance
art; ritual; social practices. May be repeated once for credit when content varies.
This course will investigate rhetorical action in digital spaces, with particular emphasis on using
digital media to speak about current social justice issues. The course will center on questions
such as: How do digital environments shape contemporary writing and rhetoric? How do
people use the affordances of digital spaces to combine textual, visual, aural, and other forms
of expressions, and with what impacts? How do dynamics such as race, gender, and sexuality
structure digital interactions differently for different people? To these ends, we will analyze
how people use digital writing both as a form of resistance to dominant ideologies and as a
method of upholding these ideologies. Readings and examples will be drawn from a variety of
experiences, but will foreground works by LGBTQ, women, and people of color writers and
digital content creators.
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STUDENT LEARNING OBJECTIVES
By the end of this course, students will be able to:
= Analyze digital rhetorics through a social justice lens
= Demonstrate knowledge of major contemporary conversations in the study of digital
rhetorics
= Apply skills indigital research to the study of rhetorical actions online
= Rhetorically analyze digital platforms and act as advocates for users of specific
platforms
= Produce multimedia texts that show awareness of audience and context and attention
to accessibility
UALBANY GENERAL EDUCATION COMPETENCIES
400 level senior seminars contribute to all 4 competencies.
COURSE MATERIALS
No textbook. Readings will be on Blackboard or web links. The class meets in a computer lab.
You are also welcome to bring your own technology to interact with class materials. You must
have Blackboard and OneDrive access to complete readings and assignments.
COURSE REQUIREMENTS
ASSIGNMENT DESCRIPTIONS
In-Class Work: 200 points/20%, due daily
Instead of an attendance grade, you receive a grade for in-class work. Every class period is
assigned a point value and youget credit for being an active participant during that period.
DISCUSSIONS: This class is very collaborative and will feature many small and large group
discussions.
EXPERIMENTS: Our class meets in a computer lab so that we can engagein regular digital
experiments and try out new technologies, platforms, and designtools ina low-stakes
environment.
Homework: 200 points/20%, due weekly
Homework is mostly readings and responses, with occasional othersmall assignments. Please
come to class on the days when readings are due with a response submitted and be ready to
discuss your response. Responses are low-stakes spaces for you to engage with the readings,
pose questions, and work through ideas.
Circulation Study: 150 points/15%, due 10/1
You willstart this project by choosing an example of activism online that interests youand that
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has gone viral, and then study how, where, and with what impacts this one example has
moved.
Platform Report: 150 points/15%, due 11/5
In this mini-report, you will question how bias and inequality impact user experience ona
digital platform/tool of your choice. Your goal is to act as a rhetorical advocate for others using
thesame platform.
Accessibility Redesign: 150 points/15%, due 11/28
In this project, you will act as designers and rhetorical advocates by revising one existing
example of digital rhetoric (of yourchoice) to increase accessibility (fora population of your
choice).
Webzine Contribution: 150 points/15%, due 12/10
In this final project, individuals will choose examples of their previous work to revise and will
work togetherto designa collaborative webzine representing our work in this course to
outside audiences.
GRADING
You can earn up to 1000 points. Your grade will be based onthe number of points youearn
during the semester:
930-1000 points=A
900-929 points =A-
870-899 points = B+
830-869 points =B
800-829 points = B-
770-799 points = C+
730-769 points =C
700-729 points = C-
670-699 points =D
630-669 points =D+
600-629 points = D-
599 and below= F
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A breakdown of what will contribute to the grade is below. Please see descriptions of each
component in the previous section of this syllabus under Course Requirements.
In-class work
20%
Points will be assigned according to the following criteria (but more specific criteria will be presented
with each assignment):
A: strong rhetoric & writing skills | deep understanding of rhetorical principles | very few minor
design adjustments needed in documents | exceptional content knowledge, research, and
preparedness
B: acceptable rhetoric & writing skills | basic understanding of rhetorical principles | several minor
design adjustments needed in documents | good content knowledge, research, and preparedness
C: less than adequate rhetoric & writing skills and/or difficulties understanding and applying rhetorical
principles | a few major design problems in documents | evidence of inadequate or inconsistent
content knowledge, research, preparedness
D/below: significant problems in terms of writing and/or major misunderstanding of rhetorical
principles | frequent evidence of inadequate or inconsistent content knowledge, research,
preparedness
POLICIES
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ACCESSIBILITY & ACCOMODATIONS
All of us learn in different ways, and the structure of any course will accommodate each
student differently. | will strive to provide an environment that is equitable and conducive to
achievement and learning for all students. Please talk to me as soonas you can about your
individual learning needs and howthis course can best accommodate them, and we can co-
designaccommodations, ifnecessary.
The Disability Resource Center at UAlbany also provides support and advocacy services to
students with visible and invisible disabilities. An interactive process based ondocumentation
is used to determine reasonable academic accommodations. Students with disabilities may
also schedule appointments forassistance with developing study and test taking skills, orto
receive coaching intime management and setting goals. Ifyou believe you have a disability
requiring accommodation in this class, please contact the Disability Resource Center (518-
442-5490; drc@albany.edu). The office makes recommendations to professors regarding
individualized reasonable accommodations.
Full UAlbany accessibility policies can be found at this link.
BASIC NEEDS
Any student who has difficulty affording groceries or accessing sufficient food to eat every day,
orwho lacks a safe and stable place to live, and believes this may affect their performance in
the course, is urged to contact UAlbany Student CARE Services for support. Furthermore,
please notify the professor if youare comfortable in doing so. This will enable her to provide
any resources that she may possess.
MENTAL HEALTH
You may experience a range of issues that can cause barriers to learning, such as strained
relationships, increased anxiety, alcohol/drug concerns, depression, difficulty concentrating
and/or lack of motivation. If you or someone you know are suffering from any challenges, you
should reach out for support. The university Counseling and Psychological Services Center
provides individual and group therapy to students at no fee. Please visit the website for more
information or to make an appointment.
CLASSROOM TECHNOLOGY
This class embraces the use of technology as part of the course content and as an important
set of tools forwriting and rhetoric. Youmay use whatever technology best helps youinteract
with course materials, including the computers in the lab classroom, personal computers,
tablets, and phones. However, if youconsistently use these in class for purposes not related to
class work, you will lose participation points foreach day youdo so, and this will distract others
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and create a negative environment.
ATTENDANCE / MEDICAL EMERGENCIES
Your success in this class depends onregular attendance because much of our work happens
during class periods. Each class period is assigned a point value, and missing classes means
you do not receive the participation points forthat class period.
However, life happens and emergencies come up. Youget one free absence this semester
without a point-loss penalty. Further, if you need to miss class, please do the following:
= Email the professoras soonas possible so she can planfor your absence.
= Ifthe class period involves group work, contact your group members so they canalso
plan for your absence.
In case of a medical emergency requiring you to miss a week or more of classes, please 1)
consult the university’s Medical Excuse Policy and 2) talk with the professorabout making up
your class work.
ACADEMIC INTEGRITY
Every student has the responsibility to become familiar with the standards of academic
integrity at the University, which can be found atthis link. Students are responsible for
familiarizing themselves with the standards and behaving accordingly, and UAlbany faculty are
responsible forteaching, modeling and upholding them. Anything less undermines the worth
and value of our intellectual work, and the reputation and credibility of the University at
Albany degree. (University’s Standards of Academic Integrity Policy, Fall 2013)
TITLE IX REPORTING
Title IX ofthe Education Amendments of 1972 is a federal civil rights law that prohibits
discrimination on the basis of sex in federally funded education programs and activities.
The SUNY-wide Sexual Violence Prevention and Response Policies prohibit offenses defined as
sexual harassment, sexual assault, intimate partner violence (dating or domestic violence),
sexual exploitation, and stalking. The SUNY -wide Sexual Violence Prevention and Response
Policies apply to the entire University at Albany community, including students, faculty, and
staff of all gender identities. The University at Albany provides a variety of resources for
support and advocacy to assist individuals who have experienced sexual offenses.
Confidential support and guidance can be found through the Counseling Center (518-442-
5800, https://www.albany.edu/counseling center/), the University Health Center (518-442-
5454, https://www.albany.edu/health_center/), and the Interfaith Center (518-489-
8573, https://www.albany.edu/spiritualityfonCampus.shtml). Individuals at these locations will
not report crimes to law enforcement or university officials without permission, except for in
extreme circumstances, such as a health and/or safety emergency. Additionally, the
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Advocates at the University at Albany's Advocacy Center for Sexual Violence are available to
assist students without sharing informationthat could identify them (518-442-CARE,
https://www.albany.edu/advocacycenter/).
Sexual offenses can be reported non-confidentially to the Title IX Coordinator within The
Office for Equity and Compliance (518-442-3800, https:/iwww.albany.edu/equity-compliance/,
Building 25, Roomaa7) and/or the University Police Department (518-442-3131,
http://police.albany.edu/).
Please note, faculty members are considered “responsible employees” at the University at
Albany, meaning that they are required to report all known relevant details about a
complaint of sexual violence to the University’s Title IX Coordinator, including names of
anyone involved or present, date, time, and location.
In case of an emergency, please call 911.
COURSE SCHEDULE AND READINGLIST
Note: This may change, in which case you will receive an updated schedule.
Color code: readings in purple; homework assignments in orange; major projects inred
Abbreviations: BB [Blackboard]; OD [Class OneDrive]
Date What’s Due What's Happening
in Class
MODULE 1: DATA & SURVEILLANCE
WEEK 1: What can digital rhetoric be?
Mon 8/27 Introductions. Activity.
Wed 8/29 Readings due: Discussion based on
reading responses.
Bratta, Phil, Malea Powell, and Danielle Nicole Devoss. Design Justice Principles.
“Authorships, Infrastructures, and the Digital Publishing Digital experiment.
Lab.” [Online]
Design Justice in Action zine [Online]
WEEK 2: How do marginalization, oppression, resistance operate in digital spaces?
Mon 9/3 NO CLASS: LABOR DAY
Wed 9/5 Carey, Tamika. “A Tightrope of Perfection: The Rhetoric Discussion and digital
and Risk of Black Women’s Intellectualism on Display in experiment.
Television and Social Media.” [BB]
Ribero, Ana Milenaand AdelaC. Licona. “Digital Art +
Activism: A Focus on QTPOC Digital Environments as
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Rhetorical Gestures of Coalition and Un/belonging.”
Routledge [BB]
Reading response/Positionality statement [OD]
WEEK 3: What is circulation? How do circulation and virality shape online activism?
Mon 9/10 NO CLASS: ROSH HASHANAH
Wed 9/12 Gries, Laurie. “iconographic Tracking.” [BB] Discussion and sharing
of examples from
Mielczarek, Natalia. “The “Pepper-Spraying Cop” Icon and responses.
Its Internet Memes: Social Justice and Public Shaming
Through Rhetorical Transformation in Digital Culture.” [BB]
Reading response [BB]
WEEK 4: Continued: How can we study circulation and virality in online activism?
Mon9/17 Pause and reflect on
circulation. In-class
circulation study
research lab.
Wed 9/19 NO CLASS: YOM KIPPUR
WEEK 5: Circulation & Virality case studies
Mon 9/24 Case study: #BlackLivesMatter and circulation Discussion of readings.
Discussion of digital
Garza, Alicia. “A Herstory of the #BlackLivesMatter research ethics for
Movement.” [Online] Circulation Study.
Khan-Cullors, Patrisse. Selection from When They Call Youa
Terrorist. [BB]
Williams, Miriam F. “#BlackLivesMatter: Tweeting a
Movementin Chronos and Kairos.” [Online]
Reading response [BB]
Wed 9/26 Bring materials relevant to your circulation study (ex. Prepare for Circulation
research, examples, notes). [OD] Study submission.
MODULE 2: PLATFORMS & BIAS
WEEK 6: How are social structures and inequities built into digital platforms?
Mon 10/1 CIRCULATION STUDY DUE Discussion of Circulation
Studies and findings.
Start Module 2. Digital
experiment.
Wed 10/3 Wachter-Boettcher, Sara. “Algorithmic Inequity.” [BB]
p.o
Response [BB]
Assign group article
presentations [see next
week].
WEEK 7: What is a digital platform? How are platforms rhetorical?
Mon 10/8 The class will be split into groups and each group will be Groups teach the class
assigned one article from the Present Tense special issue on
the rhetoric of platforms. Each group will present on their
article, teaching that article to the class.
Your group’s reading from Present Tense special issue
[Online]
Wed 10/10 Work to prepare for
Platform Report. Digital
experiment.
WEEK 8: What are algorithims? How are they rhetorical?
Mon 10/15 Noble, Safiya Umoja. “A Society, Searching” [BB]
Beck, Estee. “Implications of Persuasive Computer
Algorithms.” Routledge Handbook. [BB]
Response [BB]
Wed 10/17 Preparation work for
Platform Report. Design
strategies and
audiences.
WEEK 9:
Mon 10/22 Midterm period; Pause
to reflecton work done
so far
Wed 10/24 Prepare for Platform
Report
WEEK 10: What is data? Howis data collected online and howis this rhetorical?
Mon 10/29 Eubanks, Virginia. “Automating Eligibility in the Heartland.” | Discussion. In-class
[BB] research into data
privacy and terms of
Hutchinson, Les. “Wielding Power and Doxing Data: How service.
Personal Information Regulates and Controls our Online
Selves.” Routledge Handbook. [BB]
Response [BB]
Wed 10/31 Prepare for Platform
Report.
MODULE 3: ACCESS & DESIGN
p.10
WEEK 11: Wh
at is access? How does it manifestin digital rhetorics?
Mon 11/5
PLATFORM REPORT DUE
Wed 11/7
Watch video or read transcript: Roy, Elise. “When we
design for disability, we all benefit.” [Online]
Discussion: What is
access?
In-class examples of
redesigns.
WEEK 12: How can we (re)design for accessibility?
Mon 11/12 Arola, Kristin. “Indigenous Interfaces.” [BB] Strategies for redesign:
accessibility and
Response [BB] audiences
Wed 11/14 NO CLASS: CONFERENCE TRAVEL
WEEK 13
Mon 11/19 Research design principles that can enhance accessibility. Prepare for Accessibility
Prepare a short handout on one principle of your choice for | Redesign
your classmates. [BB]
Wed 11/21 NO CLASS: THANKSGIVING
MODULE 4: REVISION & COLLABORATION
WEEK 14
Mon 11/26 Pause and reflect.
Introduce webzine.
Discussion of possible
platforms.
Wed 11/28 ACCESSIBILITY REDESIGN DUE Presentations of
redesigns. Introduce
Module 4.
WEEK 15
Mon 12/3 Choose which previous project you want to revise for In-class revision & collab
inclusion in the webzine. work,
Create editorial teams.
Wed 12/5 In-class revision & collab
work
WEEK 16
Mon 12/10 Final collaborative webzine Reflections and
celebrations!
Helen Regueiro Elam helam@albany.edu
English 449Y/9291 (3 credits) Office: HUM 338
T Th: 1:15—2:35 PM BB 209 OH: T 2:40—4:40; by appt.
Topics in Comparative Literatures and Cultures: Anglo-American Modernism
Course Description: Characterized by stylistic innovation, an emphasis on interiority and a
rejection of the constraints of the traditional realist novel, modernism is generally taken to
emerge in the late 19" century, flourish in the 1910s and 1920s and to exhaust itself by the close
of the 2" World War. In this course we will read key works of American, British and Irish
modernism (in both poetry and prose), paying attention both to their technical and stylistic
qualities as well as the historical situations to which they respond.
Required Texts: James Joyce, A Portrait of the Artist as a Young Man; Virginia Woolf, Jacob’s
Room; Zora Neale Hurston, Their Eyes Were Watching God; William Faulkner, The Sound and
the Fury; Course Reader. Books are available at the Campus bookstore. Since the University has
destroyed its course reader system, making it prohibitively expensive, I will be sending PDFs of
what would ordinarily be a course reader. YOU MUST PRINT THESE OUT AND BRING
THEM TO CLASS.
Course Policies: Grades will be based on two papers and several shorter writing assignments.
The first paper is 6-8 pages, the second will be 7-10 pages. In addition the first paper can be re-
written if turned in one week after I give it back to you. There is no guarantee your grade will
improve, but it will certainly not go down. If you turn in your paper late you forfeit the right
to revise. Late papers will be marked down a 1/3 grade for each day they are late.
Grading: Papers are worth 40% each. Participation (including short writing assignments and
reading quizzes, should they prove necessary) is worth 20%.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72) D
+ (67-69) D (63-66) D- (60-62) E<60
Prerequisite(s): C or better in A ENG 210, A ENG 305, or permission of instructor.
Participation: Class participation does not, simply, mean coming to class, nor does it mean
logging in one superficial comment per day. It means, instead, that you are engaged in the
course and making your best attempt to come to terms with the material. This can be
demonstrated in class or in office hours. You are allowed 4 excused absences for whatever
reason. After that your participation grade will suffer. I will take an automatic 1/3 grade off for
each day you miss after the first four (meaning the highest possible grade you can get for
participation if you miss five classes is an A-, six a B+, etc.) If you miss ten or more classes
you automatically fail the course. If you attend class regularly but never speak or come to
office hours, the best you will get for participation is a B. Do not answer your phone in class. If
I catch you text-messaging I will throw you out and mark you absent. I will also mark you late if
English 449Y 2
you come to class after I take attendance (and absent if you come to class partway through).
Two lates equals an absence.
Electronic Devices: You must have all electronic devices turned off and stowed away during
class. Even the most attentive of us can not resist the internet when it is directly in front of us.
You must read — and bring — actual books to class, so that we can look at them, cite them and
discuss them.
Email: I am happy to answer questions through email, but I would ask that you hold to the bare
minimum of communicational etiquette. Recall that I am an English professor and try to include
grammar and actual English words in your email. Salutations are welcome.
Academic Integrity: It should go without saying that all work must be your own. Any use of
outside sources, including general information taken from the internet, must be appropriately
cited. Here is the University’s definition of plagiarism: “Presenting as one's own work the work
of another person (for example, the words, ideas, information, data, evidence, organizing
principles, or style of presentation of someone else). Some examples of plagiarism include
copying, paraphrasing, or summarizing without acknowledgment, submission of another
student's work as one's own, the purchase/use of prepared research or completed papers or
projects, and the unacknowledged use of research sources gathered by someone else. Failure to
indicate accurately the extent and precise nature of one's reliance on other sources is also a form
of plagiarism. Students are responsible for understanding legitimate use of sources, the
appropriate ways of acknowledging academic, scholarly, or creative indebtedness.” Should you
be caught plagiarizing, you will fail the course and your violation will be reported to the
University. Quite simply, there is no purpose to higher education if you wish me to rubber stamp
someone else’s work. I spend all my time reading student work and published papers. Do not
test me. Every semester I catch someone plagiarizing. Don’t let it be you.
Disability Resources: Reasonable accommodations will be provided for students with
documented physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you
believe you have a disability requiring accommodation in this class, please notify the Director of
the Disability Resource Center (Campus Center 137, 442-5490). That office will provide the
course instructor with verification of your disability, and will recommend appropriate
accommodations.
Core Competencies: As a 400 level English class, this course contributes to all four of the core
competencies: “Advanced Writing”; “Information Literacy”; “Critical Thinking”; and “Oral
Discourse.”
Websites:
Additional information about academic integrity:
http://www.albany.edu/undergraduate_bulletin/regulations.html
About the core competencies:
http://www.albany.edu/generaleducation/implementation-timetable.php
About the DRC:
http://www.albany.edu/disability/prospective-new.shtml
English 449Y
Schedule of Readings:
Week 1: 8.27; 8.29
Day 1: Introduction
Day 2: Modernism across the arts
Week 2: 9.3; 9.5
Day 1: Friedrich Nietzsche, “On Truth and Lies in an Extra-Moral Sense”; Perry
Anderson, “Modernity and Revolution”
Day 2: T.S. Eliot, poems in course reader.
Week 3: 9.10; 9.12
Day 1: T.S. Eliot, The Waste Land
Day 2: Wallace Stevens, poems
Week 4: 9.17; 9.19
Day 1: Marianne Moore, poems
Day 2: Gertrude Stein, Tender Buttons
Week 5: 9.24; 9.26
Day 1: William Carlos Williams, Spring and All
Day 2: Williams, (cont.)
Week 6: 10.1; 10.3
Day 1: Countee Culleen & Claude McKay
Day 2: Langston Hughes, Montage of a Dream Deferred
Week 7: 10.8; 10.10
Day 1: James Joyce, Portrait of the Artist as a Young Man (Part 1)
Day 2: Portrait (Part 2); Paper #1 due.
Week 8: 10.17
Day 2: Portrait (Parts 3 & 4)
Week 9: 10.22; 10.24
Day 1: Portrait (Part 5)
Day 2: Virginia Woolf, Jacob’s Room
Week 10: 10.29; 10.31
Day 1: Jacob’s Room (cont.)
Day 2: Jacob’s Room (cont.)
Week 11: 11.5; 11.7
Day 1: Zora Neale Hurston, Their Eyes Were Watching God
Day 2: Their Eyes Were Watching God (cont.)
English 449Y
Week 12: 11.12; 11.14
Day 1: William Faulkner, The Sound and the Fury, (Part 1)
Day 2: Sound and the Fury, (Part 2)
Week 13: 11.19; 11.21
Day 1: Sound and the Fury, (Part 3)
Day 2: Sound and the Fury, (Part 4)
Week 14: 12.3; 12.5
Day 1: Samuel Beckett, Waiting for Godot (Act 1)
Day 2: Godot (Act 2)
FINAL PAPER DUE 12.16 AT 5:00 PM
Topics in Writing Studies: Modern Feminist Rhetorics
AENG 450Y, Section 7789—3 Credits (Fully Online Synchronous)
Course and Instructor Information
Class meetings: Mondays and Wednesdays, 3:00 — 4:20 pm, Zoom
Instructor: Laura Wilder
Email: lwilder@albany.edu(This is the most efficient and reliable way to reach me.)
Phone: 442-4056
Office Hours: Mondays and Wednesdays, 1:45 — 2:45 pm, Zoom
I realize that my office hours may not work for you, so I am available to meet with you at our mutual
convenience. Please feel free to make an appointment with me at any time.
Course Prerequisites
C or better in AENG 210 and completion of AENG 305
Course Goals
By the end of this course, students will be able to
¢ critically read and analyze feminist texts using multiple rhetorical frameworks;
e articulate and critically examine the significance of a feminist text’s historical and cultural context;
e trace common themes, perspectives, arguments, and rhetorical strategies and devices across eras of
feminist thought; and
e develop and clearly articulate well-reasoned critical analyses of feminist texts using multiple rhetorical
frameworks.
Course Description
In this course, we will study the history of feminist rhetoric from the late 18th Century to the contemporary
era. While feminist paradigms share a foundational belief in women’s equality, multiple feminisms have
developed over time, making use of and critiquing rhetoric in various ways. We will consider the
development and evolution of feminist rhetorics over time and examine the rhetorical strategies feminist
writers have used to make the case for women’s equality and their right to be free, to be educated, to work, to
vote, to be treated as equals in marriage, to receive equal pay, and to exercise control over their own bodies.
In addition to other authors, we will read foundational texts by Mary Wollstonecraft, Margaret Fuller,
Sojoumer Truth, Harriet Jacobs, Elizabeth Cady Stanton, Betty Friedan, bell hooks, Adrienne Rich, Audre
Lorde, and Alice Walker.
We will approach our examination of feminist rhetorics as a conversation, meaning we will examine the
ways in which feminist writers and thinkers are corresponding with each other as well as responding to
outside forces and messages. We will also approach our work together as a scholarly conversation. The work
of rhetorical analysis is not done in isolation, and I have designed this course to create a community of
scholars. While you will be required to do a great deal of individual reading and thinking, the ultimate goal
of that work is to engage in meaningful and productive conversation with your scholarly community. This
course will give you frequent opportunities to develop, test out, and evaluate analyses and arguments, both
on your own and in discussion with your peers. organized chronologically around first, second, and
third/fourth-wave feminism. book-length narrative text. On the first day of class, you will be placed into
permanent teams, and a key function of those teams will be formulating and evaluating rhetorical analyses,
practicing the higher-order thinking skills associated with analysis and interpretation, and giving feedback on
each other’s work. Your interactions and performance in your team will be crucial to your success in the
course and to your growth as a rhetorical scholar.
The course is divided into four learning sequences. The first sequence is an introduction to rhetoric and key
rhetorical frameworks that we will use to analyze feminist texts. Each sequence will culminate with a short
(3-4 page) analytical essay.
Course Texts
I will provide PDF copies or links to free versions of all required course texts in Blackboard.
In addition to the required texts, it is recommended that you have access to the MLA Style Handbook, 8”
edition.
How You Will Earn Grades
Y our final course grade with be composed of the following elements:
60% Short Analytical Essays (4 total, 15% each)
20% Analytical Reading Guides
Note: Y ou will have the option of dropping 2 analytical reading guide grades.
10% Reading quizzes
10% Drafts, peer review, and in-class tasks and reflections
Final grades will be calculated according to this scale:
A =93-100 A- =90-92 B+ =87-89
B = 83-86 B- = 80-82 C+=77-79
C =73-76 C- = 70-72 D =60-69
E =Below 60
Description of Course Requirements
e Short Analytical Essays (60% total, 4 essays worth 15% each): Y ou will be asked to write four 3-4 page
essays, each focused on one of the texts we are reading in the course. In these essays, you will choose a
thetorical framework and use it to develop a focused critical argument about the text under consideration.
You should build upon ideas that emerge from the thinking you document in the Analytical Reading
Guides to help you begin fleshing out your argument. For each essay, you will be asked to bring a
working draft for peer and instructor feedback, and you will use that feedback to help you create a final
draft to be submitted to the instructor in Blackboard. Due dates for these essays are available on the
course schedule at the end of this document. More specific assignment instructions and grading rubrics
for each essay will be available well in advance of the due date. Y ou are welcome and encouraged to see
me outside of class for help while you are working on your essays.
Please note: Essays are considered due by the time and date specified on the Course Schedule. While in
an ideal world I would expect to receive all of your essays at the due date and time, I realize that my
scheduling of these assignments sometimes coincides with other responsibilities—both academic and
otherwise—that you are obligated to fulfill. For that reason, you have a “no excuses needed late pass” for
late submission of ONE of these four assignments. Y ou can use this pass to turn in an assignment no
more than 72 hours (3 full days) late. Because you already have this built-in extension for one essay,
there will be no need to ask for additional extensions on the essays unless there are serious extenuating
circumstances.
e Analytical Reading Guides (20%): The analytical reading guides (available for download in Blackboard)
are designed to guide you through careful reading of each of the texts. In addition to helping you
articulate your own thinking about the reading, these guides will help inform our class activities and
discussions, so they will be submitted on Blackboard before class meetings. It is ideal, also, for you to
have access to and be able to refer to your work on these guides during class. The goal of the guides is to
help you practice rhetorical analysis and begin developing ideas that will inform the short critical essays
and ultimately your final seminar paper. Due dates for the reading guides appear in the course schedule.
Please note: Because these guides are designed to help you prepare for class tasks and discussions, it is
important that they be completed on time—no late submissions will be accepted. However, you will have
the opportunity to drop 2 analytical reading guide grades during the semester. This means that while
there are 12 reading guides assigned in the course, you will be eligible for full credit for this portion of
the grade by submitting 10 completed guides by their respective due dates. If you do not need to drop 2
grades for missed guides, you will be able to drop the 2 lowest scores you receive.
e Reading quizzes (10%): Y ou will take occasional short quizzes on the assigned reading for class. These
quizzes are designed to help you assess your understanding of the reading and to ensure that you are
prepared for in-class work.
Please note: Because these quizzes are designed to help you prepare for class tasks and discussions, it is
important than they be completed on time. Y ou will have the opportunity to drop 2 reading quiz grades
during the semester. This means that while there are 10 scheduled reading quizzes, you will be eligible
for full credit for this portion of the grade by completing 8 quizzes. If you do not need to drop 2 grades
for missed quizzes, you will be able to drop the 2 lowest scores you receive.
e Drafts, peer review, and in-class tasks and reflections (10%): For each of the analytical essays, you will
submit working drafts and participate in peer review. In addition, you will complete several written
reflections, both inside and outside of class, on your learning in the course. This will include short
written reflections that are submitted alongside the essays, reflections on what you learn from feedback
on your written work, and frequent reflection on the work that we do in class.
Please note: Because much of this work is taking place in “real time,” no make-up opportunities will be
offered for these assignments, and no late assignments will be accepted. However, because
circumstances can conspire against our best intentions, sometimes you will find that you can’t make it to
class. For this reason, there are 2 drop opportunities for work in this category built into the course. If
you miss class on a day when one of these assignments is completed, it will be possible to drop the
failing grade you would automatically receive for completing the assignment. If you do not need to drop
both grades for missed assignments, you will be able to drop the lowest scores you receive.
Some Important Strategies for Success in this Course
The reading and writing assignments in this course are substantial, and they will require that you think
strategically about how best to use your time and the resources that are available to you. Below are some
strategies that I recommend to help ensure your success.
e Allot yourself enough time to complete readings. While most of the texts we will read in the course aren’t
terribly lengthy, many of them are complex and challenging. Don’t assume that you can read a 20-page
article in 30 minutes—instead, allow yourself sufficient time so that you can...
e Read critically and with care. Make sure that you are taking time to think, ask questions, make
connections, and interpret as you read. An important way to do this is to make sure you...
e Complete the Analytical Reading Guides. The analytical reading guide template is designed to focus your
reading so that you can begin to discover and articulate what you think about the texts, test out your ideas
in writing, use rhetorical strategies to conduct analysis, and begin generating ideas for the analytical
essays.
e Attend class regularly and contribute. Our class time is designed to help you gain a better understanding
of the texts and to work with your classmates to practice the skills of rhetorical analysis.
e Use the instructor as a resource. I want you to be successful! Please don’t hesitate to call on me if you
find yourself in need of support as you navigate the requirements of the course.
e Take risks and have fun with the texts. Rhetorical analysis is exciting because it can offer opportunities to
be creative and to examine texts from different perspectives and angles. Don’t be afraid to think in new
ways and to question standard readings—and don’t be afraid of being “wrong.” Sometimes the best ideas
grow out of initial mistakes.
Attendance
Y our in-class performance is crucial to your success in this course because we will spend a significant
amount of class time practicing the analytical skills that will contribute to your success on the course
assignments. Completion of written reflections in class also constitutes part of the course grade, and keeping
a passing average on these is not possible without consistent attendance. Missing class means earning an
automatic “0” for any activities or assignments missed. No make-up opportunities will be available for in-
class activities except in documented cases of extreme extenuating circumstances. Missing an activity that
happened at the beginning of class before you arrive or at the end of class after you leave early will also earn
a “0”, and there will be no make-up opportunities. The University’s Medical Excuse Policy provides
additional guidance regarding absences due to illness.
Absences due to religious observance are governed by Y ork State Education Law (Section 224-A) whereby
campuses are required to excuse, without penalty, individual students absent because of religious beliefs, and
to provide equivalent opportunities for make-up examinations, study, or work requirements missed because
of such absences. Please notify me if you believe that you will need accommodation for a religious
observance, and I will work with you. Consult the Undergraduate A cademic Regulations section of the
Undergraduate Bulletin for more information.
Your Presence in Class
Class meetings will be held in the Zoom platform. Interacting and working in this space will be different
from being in a classroom together, and this is a new teaching and learning context for many of us. However,
we will still spend our time together practicing the key analytical skills that are important for your success in
the course. | realize, though, that not everyone will be accessing the class in the same way or that, in some
cases, you may be in an environment that presents challenges. In the first days of class, we will spend some
time determining how we want to work together in class and what our expectations will be for maintaining
active presence in the class.
Maintaining a Productive Environment
My goal is for this class to be a challenging, fun, and interesting place to be—for everyone. Essential to this
environment is consistently demonstrating courtesy and respect for all of your peers and the instructor. Let’s
all work together to ensure that all our interactions are lively and engaging, but civil. Please limit your use of
electronic devices (laptops, tablets, cell phones, etc.) so that we can maintain a professional, distraction-free
environment.
Academic Integrity
Academic honesty and integrity at all levels are essential to maintaining an environment of trust ina
scholarly community. These values will be of crucial importance to your ethical participation in a workplace
environment as well. Students are on their honor to be ethical and honest in carrying out all the assignments
and requirements of this course. Any violations of this code, such as cheating, copying, plagiarism, or
misrepresentation or one’s own work, will meet with the appropriate penalties and discipline as outlined in
the UAlbany Standards of Academic Integrity.
All the work you do in this class must be your own, and it must be work originally done for this class.
Turning in your own work from other classes, current or past, is unacceptable. Saving all your drafts and
notes as evidence of your writing process is not only good scholarly practice but can also help you to show
the development of your ideas if your work is called into question.
Sometimes students are uncertain about what constitutes plagiarism. The University at Albany Libraries
provides several resources about practicing academic integrity, which includes information about plagiarism,
copyright, paraphrasing, and appropriate citation. We will spend time in class reviewing appropriate
documentation for the essays you write, and this is an important component of academically and
professionally ethical behavior. If you are not certain about what constitutes plagiarism, please ask the
instructor for clarification before submitting any work for this course.
Internet Requirements
We will rely on two key technologies for this course: Zoom (to hold class sessions and office hours) and
Blackboard (to locate course materials and assignments, keep track of your grades, and submit work). Y ou
will need reliable internet access for completing this work. Please let me know A SAP if you believe that
internet access will present a challenge for you so that we can work together to ensure you are able to
complete the course requirements successfully.
General Education
This course meets the General Education core competencies in four areas: A dvanced Writing, Information
Literacy, Critical Thinking, and Oral Discourse.
This course may also be used to fulfill the Oral Discourse General Education requirement. This requirement
has four objectives, all of which will be addressed in the course.
1. Students will demonstrate the ability to communicate ideas (creative, expressive, intuitive, intellectual)
according to a specific set of criteria.
2. Students will demonstrate the ability to establish and maintain an appropriate performer/audience
relationship in a given oral exercise, and actively engage with listeners/audience.
3. Students will demonstrate the ability to respond to and, where appropriate, incorporate listener's
comments and questions.
4. Students will demonstrate the ability to critique, orally or in writing, an oral performance.
Your Psychological Health During COVID-19
It is normal to experience some psychological distress and a range of emotional reactions to an evolving
global health situation, such as COVID-19. Some signs of distress may include:
e Difficulty concentrating
e Increased fear, anxiety, worry, or feeling paralyzed or overwhelmed
e Trouble sleeping
e Changes in appetite or eating habits
e Increase in alcohol or other drug use, and/or concerns about your use by friends or family
¢ Crying, sadness, loss of interest/pleasure
e Feeling hopeless and/or helpless
If your distress is interfering with your relationships, academic, work, or daily life, confidential support is
available to you. Contact Counseling and Psychological Services (CAPS) at 518-442-5800 or
consultation@ albany .edu to schedule an appointment with a psychologist. Virtual counseling services are
available. The CAPS website (www.albany.edu/caps/) also contains self-help resources and other valuable
information.
Special Needs Policy
Reasonable accommodations will be provided for students with documented physical, sensory, systemic,
cognitive, learning and psychiatric disabilities. If you believe you have a disability requiring accommodation
in this class, please notify the Disability Resource Center by emailing drc@ albany.edu. That office will
provide the course instructor with verification of your disability and will recommend appropriate
accommodations. To learn more about the DRC’s services for UAlbany students, you can visit:
http://www.albany.edu/disability/current.shtml.
Course Schedule
Note: This schedule may be subject to change during the semester. Y ou will receive any revisions in writing.
Overview of the Course Learning Sequences
Sequence 1 August 31-September16 The terms of the conversation: What is rhetoric?
Sequence 2 September 21-October7 Starting the conversation: First-wave feminism
Sequence 3 October 12-28 Personalizing the conversation: Second-wave feminism
Sequence4 November 2-23 Broadening the conversation: Third- (and fourth-?) wave
feminism
Sequence 1 - The Terms of the Conversation: W hat is rhetoric?
Date Preparation for class and assignments due
Monday, August 24
Introductory tasks and orientation
Wednesday, August 26
Read full course syllabus (available in Blackboard)
e Syllabus Quiz due in Blackboard by 3:00 pm
e Short course goals assignment due in Blackboard by 3:00 pm
Monday, August 31
Read Covino & Jolliffe, “What is Rhetoric?”
e Analytical Reading Guide #1 due in Blackboard by 3:00 pm
Wednesday, September 2
Read excerpt from Burke, A Rhetoric of Motives
e Reading Quiz #1 due in Blackboard by 3:00 pm
Monday, September 7
e Read excerpt from Burke, A Rhetoric of Motives
e Analytical Reading Guide #2 due in Blackboard by 3:00 pm
Wednesday, September 9
¢ Read Foss & Griffin, “Beyond Persuasion: A Proposal for an
Invitational Rhetoric”
e Reading Quiz #2 due in Blackboard by 3:00 pm
Monday, September 14
Read Ratcliffe, “Defining Rhetorical Listening”
e Analytical Reading Guide #3 due in Blackboard by 3:00 pm
Wednesday, September 16
Full Working Draft of Analytical Essay #1 due in class for peer review
Sequence 2
— Starting the C onversation: First-wave Feminism
Date
Preparation for class and assignments due
Monday, September 21
e Read Wollstonecraft, excerpt from A Vindication of the Rights of
Woman
e Analytical Reading Guide # due in Blackboard by 3:00 pm
Wednesday, September 23
e Read Fuller, excerpt from Woman in the Nineteenth Century
e Reading Quiz # due in Blackboard by 3:00 pm
e Final draft of Analytical Essay #1 due in Blackboard by 11:59 pm
Monday, September 28
e Read Stanton, Speech at the Seneca Falls Convention, 1848 and
McClintock, Mott, Stanton, and Wright, Declaration of Sentiments and
Resolutions, 1848
e Analytical Reading Guide # due in Blackboard by 3:00 pm
Wednesday, September 30
e Read Sojourner Truth, selected speeches
e Reading Quiz # due in Blackboard by 3:00 pm
Monday, October 5
Read Ida B. Wells, “Southern Horrors”
e Analytical Reading Guide #6 due in Blackboard by 3:00 pm
Wednesday, October 7
Full Working Draft of Analytical Essay #2 due in class for peer review
Sequence 3 — Personalizing the Conversation: Second-wave Feminism
Date
Preparation for class and assignments due
Monday, October 12
e Read excerpt from Betty Friedan, The Feminine Mystique
e Analytical Reading Guide #7 due in Blackboard by 3:00 pm
Wednesday, October 14
Read excerpt from Kate Millett, Sexual Politics
Reading Quiz #6 due in Blackboard by 3:00 pm
e Final Draft of Analytical Essay #2 due in Blackboard by 11:59 pm
Monday, October 19
Read excerpts from Lorde, Sister Outsider
e Analytical Reading Guide #8 due in Blackboard by 3:00 pm
Wednesday, October 21
Read excerpts from Walker, Jn Search of Our Mothers’ Gardens
e Reading Quiz #7 due in Blackboard by 3:00 pm
Monday, October 26
¢ Read excerpt from Adrienne Rich, Of Woman Born
e Analytical Reading Guide #9 due in Blackboard by 3:00 pm
Wednesday, October 28
e Read excerpt from Steinem, Outrageous Acts and Everyday Rebellions
Reading Quiz #8 due in Blackboard by 3:00 pm
Monday, November 2
e Read excerpt from hooks, Ain't J a Woman?
e Analytical Reading Guide #10 due in Blackboard by 3:00 pm
Wednesday, November 4
Full Working Draft of Analytical Essay #8 due in class for peer review
Sequence 4 — Broadening the Conversation: Third- (and Fourth-?) Wave Feminism
Date
Preparation for class and assignments due
Monday, November 9
e Read Walker, “I Am the Third Wave” and Riot Grm Manifesto
e Analytical Reading Guide #11 due in Blackboard by 3:00 pm
Wednesday, November 11
e Read Snyder, “What is Third-Wave Feminism?"
e Reading Quiz #9 due in Blackboard by 3:00 pm
e Final Draft of Analytical Essay #3 due in Blackboard y by 11:59 pm
Monday, November 16
Read excerpt from hooks, Feminism is for Everybody
e Analytical Reading Guide #12 due in Blackboard by 3:00 pm
Wednesday, November 18
e Read excerpts from Hernandez & Rehman, Colonize This!
e Reading Quiz #10 due in Blackboard by 3:00 pm
Monday, November 23
e Watch Gay, “Bad Feminist” and Adichie, “We Should All Be
Feminists”
e Last day of class
Full Working Draft of Analytical Essay # due in class for peer review
Final Draft of Analytical Essay #4 due by 11:59 pm on December 4.
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WV State University of New York
AENG 460Y (Spr 2017)
Topics in Transnational Studies:
Gothic Romance: Transatlantic Ghosts and Colonial Desires
(3 Credits)
Tu/Th: 2.45-4.05 HU 116
Office HU 351
Office Hours Thursday 12.30-2.30, and by
appointment
Contact Details | Email: jlilley@albany.edu
Course Logon to Blackboard (BLS) from
Homepage MyUAlbany
Course Description:
On both sides of the Atlantic, the Gothic continues to enjoy a privileged position in literary
studies. The ghosts, ruins, and supernatural mysteries that haunt its pages proved successful and
lucrative literary formulas when they were first published, and these same specters now enjoy a
rich critical afterlife in the hands of scholars interested in, for example, the rise of the novel, the
politics of the emerging British and U.S. nations, the development of modern forms of time and
historicity, and the establishment of racial difference in an age of colonial expansion. In this
class, we will take a broad snapshot of this literary genre, focusing on its early development in
England and then tracing its movement across the Atlantic to the United States, where it would
become the genre of choice for the new nation’s first professional authors. We will be spending
most of our time with the novels themselves, but we will also read representative examples of
current scholarship on the genre, providing us with the kind of breadth necessary to situate the
Gothic in both historical and literary critical perspective. Authors to include: Horace Walpole,
Ann Radcliffe, Monk Lewis, Jane Austen, Washington Irving, Edgar Allan Poe, and Herman
Melville. Prerequisite(s): C or better in A ENG 210, A ENG 305, or permission of instructor.
Course fulfills: Advanced Writing, Oral Discourse, Information Literacy, and Critical Thinking
competencies.
Pre-requirements: C or better in AENG 210, AENG 305, or permission of instructor.
Assignments:
Presentation: 20%
Midterm: 25%
Final Exam Project: 30%
Responses & Participation 25%
Humanities 333,
1400 Washington Avenue, Albany, NY 12222
pu: 518-442-2626 Fx: 518-442-4599
www.albany.edu/faculty’
James D. Lilley Page 2
Grade Scale:
93-100 A
90-92 A-
87-89 B+
83-86 B
80-82 B-
77-19 C+
73-76 C
70-72 C-
67-69 D+
63-66 D
60-62 D-
<60 E
Books: Available at the University Book Store.
*Clery, Emma. Gothic Documents (Manchester UP: 9780719040276)
*Poe, The Narrative of Arthur Gordon Pym (Broadview 2010) ISBN 9781551118383
*Jane Austen, Northanger Abbey, Lady Susan, The Watsons, Sanditon (Oxford World’s Classics:
978-0199535545)
*Horace Walpole, The Castle of Otranto (Oxford World’s Classics 2009: 978-0198704447)
Online Readings: In order to help defray costs, I will make additional readings available to you
through Blackboard (look for the “B” next to the reading assignment). The one caveat is that I
ask you to print these readings out and bring them to class for reference or bring a laptop/tablet
with the relevant file at hand.
Learning Objectives:
¢ Students will develop sophisticated, disciplinary interpretive, analytical, and critical
practices by:
°
°
Applying modes of close reading and textual analysis
Understanding and applying theoretical models when interpreting texts and
distinguishing between different critical approaches to textual interpretation
Understanding and responding to scholarship published in this discipline
Understanding and describing characteristic features of literary-historical periods
¢ Students will gain a proficiency in written and oral expression in disciplinary forms, as
demonstrated by:
°
The ability to identify a pertinent issue and support an analytic argument about it
amidst conflicting viewpoints
The ability to effectively revise drafts in response to constructive criticism
The ability to apply disciplinary genre conventions including argumentative
strategies, organizational structures, citation practices, and acceptable forms of
evidence
The ability to apply discipline-specific research strategies, including the use of
library resources (i.e., electronic indexes), and the ability to evaluate appropriate
sources (discerning primary from secondary sources, scholarly from popular, etc.
The ability to respond to and offer further oral interpretations of texts supported
by textual evidence during group or class discussions
James D. Lilley Page 3
Syllabus:
Week 1:
Jan 24 Course Introduction
Jan 26 Gothic Docs 1.1, 1.2, 4.4 (Lecture)
Week 2:
Jan 31 Gothic Docs 1.5, 1.6, 1.9, 2.1, 2.4, 2.6, 2.7, 2.10, 2.11
Feb 2 Gothic Docs 2.12, 3.1, 3.3, 3.4, 3.6, 3.7a
Week 3:
Feb 7 Walpole, The Castle of Otranto (Vanessa)
Feb 9 Walpole, continued.
Week 4:
Feb 14 Gothic Docs, 3.8, 3.9, 3.10, 3.11a, 3.14, 4. 1, 4.2a, 4.2b
Feb 16 Gothic Docs, 4.3, 4.3a, 4.3b, 4.5a, 4.5¢, 4.7, 4.8
Week 5:
Feb 21 Austen, Northanger Abbey (Introduction and Vol. 1): Presentation 1
Feb 22 Johnson (B): Presentation 2
Week 6:
Feb 28 Austen, Northanger Abbey (Finish) (Vanessa)
Feb 2 Paulson, “Gothic Fiction and the French Revolution” (B)
Week 7:
Mar 7 Gothic Docs, 5.1, 5.3, 5.5, 5.6, 5.7, 6.1, 6.1a, 6.6, 6.10 (Liz)
Mar 9 “Amelia; or the Faithless Briton” (B)
Week 8:
Mar 14& 16 | SPRING BREAK
Week 9:
Mar 21 Midterm Preparation (Vanessa)
Mar 23 No Class: Midterm Due by 5pm
Week 10:
Mar 28 Irving, “Rip Van Winkle” (B); Fiedler (B)
Mar 30 Irving, “The Legend of Sleepy Hollow” (B): Presentation 3
James D. Lilley Page 4
Week 11:
Apr 4 Poe, “The Man That Was Used Up,” “Some Words With a Mummy,”
“Mellonta Tauta,” “Ligeia” (B): Presentation 4
Apr 6 Poe, “The Black Cat” (B); Dayan, “Poe, Persons, Property” (B) (Vanessa)
Week 12:
Apr 11 No Class: Passover
Apr 13 Poe: “Hop-Frog,” “The System of Dr. Tarr and Professor Fether,” “MS.
Found in a Bottle” (B): Presentation 5
Apr 18 Narrative of Arthur Gordon Pym (Intro and Chs. 1-10). Presentation 6
Apr 20 Pym (Chs. 11-12) (Liz)
Week 14:
Apr 25 Pym (Finish) & Appendix A:2 and 3, and all Appendix B. Presentation 7
Apr 27 “Pym and Antarctic Exploration” (B); Morrison (B)
Week 15:
May 2 Melville, Benito Cereno (Finish) (B): Presentation 8
May 4 Benito Cereno, continued
Week 16:
May 9 Melville, Bartleby (B)
Final Exam Project Due (for comments): TBA
Academic Integrity: It should go without saying that all work must be your own. Any use of outside
sources, including general information taken from the internet, must be appropriately cited. Here is the
University’s definition of plagiarism: “Presenting as one's own work the work of another person (for
example, the words, ideas, information, data, evidence, organizing principles, or style of presentation of
someone else). Some examples of plagiarism include copying, paraphrasing, or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase/use of prepared
research or completed papers or projects, and the unacknowledged use of research sources gathered by
someone else. Failure to indicate accurately the extent and precise nature of one's reliance on other
sources is also a form of plagiarism. Students are responsible for understanding legitimate use of sources,
the appropriate ways of acknowledging academic, scholarly, or creative indebtedness.” Should you be
caught plagiarizing, you will fail the course and your violation will be reported to the University. Quite
simply, there is no purpose to higher education if you wish me to rubber stamp someone else’s work. I
spend all my time reading student work and published papers. Do not test me. Every semester I catch
someone plagiarizing. Don’t let it be you.
University at Albany
College of Arts & Sciences
Department of English
AENG 465/465Y Topics in Ethnic Literatures in Cultural Contexts
(Pre-requirements: C or better in AENG 210, AENG 305, or permission of
instructor)
Spring 2021 Semester: Online Course meets via Zoom on Tuesdays & Thursdays
from 12:00 pm to 1:20 pm
Instructor: Teaching Assistant:
Glyne A. Griffith, Ph.D. Zahra Hamdani
Professor, Dept. of English Doctoral Candidate, Dept. of English
E-mail: ggriffith@albany.edu E-mail: zhamdani@albany.edu
Instructor Office Hours: Course Credit Hours: 3
Wednesdays 11:00 am to 12:00 noon
& by appointment
Prerequisite(s): C or better in A ENG 210, A ENG 305, or permission of instructor.
Course Description:
Generically, English 465/465Y provides a focused examination of a particular topic
on constructions of "race" and/or "ethnicity" as related to literature or other forms
of representation from any period (s). In this iteration of the course, we will examine
constructions of race and ethnicity in the context of the West’s discursive and
materialist circuits of knowledge and power that link and simultaneously decouple
the West relative to its perceived “remainder,” in Achille Mbembe’s phrase. As such,
we will read a selection of texts that participate in the idea of race and ethnicity as
markers of degrees of humanity, or what Alexander Weheliye calls “assemblages of
the human, not-quite-human, and nonhuman,” and we will read countervailing tests
that assert the ethical and moral bankruptcy of modern racist and ethnocentric
ideologies that were and are critical to the logic of the West’s understanding of itself
and its remainder, if not its negation. In addition to examining a selection of essays
on the topic, we will read representative fictional works from the Anglophone
British, West African, African American, and South Asian literary and cultural
traditions.
The prose fiction readings are as follows:
(1) Heart of Darkness by Joseph Conrad
(2) Things Fall Apart by Chinua Achebe
(3) The Bluest Eye by Toni Morrison
(4) The Reluctant Fundamentalist by Mohsin Hamid
The critical readings (on Blackboard) are as follows:
(a) “The Subject of Race,” from Critique of Black Reason by Achille Mbembe.
(b) “Bare Life: The Flesh,” from Habeas Viscus by Alexander Weheliye.
(c) “An Image of Africa: Racism in Conrad’s Heart of Darkness’ by Chinua
Achebe.
(d) “Achebe’s Sense of an Ending: History and Tragedy in Things Fall Apart’ by
Richard Begam.
(e) “On Dolls, Presidents, and Little Black Girls” by Cheryl Wall.
(f) “Postcolonial Remains” by Robert J.C. Young.
Student Learning Objectives:
Upon successful completion of this course, students will:
e Be familiar with the content as well as several of the significant structural
literary devices employed in the assigned prose fiction readings.
e Be familiar with the postcolonial literary strategy of “writing back” to the
central tenets associated with the consolidation of modern racialized
assemblages in the Americas.
e Be familiar with the conceptual distinction between zoe (mere biological life)
and bos (“full” human existence).
Course Requirements: lectures, readings, in-class discussion, written assignments,
regular attendance.
Grading:
This course will be graded according to the A-E rubric as outlined below:
Course Average
94-100 A
90-93 A
87-89 B+
83-86 B
80-82 B-
77-79 C+
73-76 C
70-72 C-
60-69 D
Your overall course grade will be based on a combination of regular attendance and
active in-class participation (10%) and the quality of your critical analysis and
writing performance in two essays (90%). The first essay will focus on Heart of
Darkness or Things Fall Apart (45%) and the final essay will focus on The Bluest
Eye or The Reluctant Fundamentalist (45%). Each essay should be 5 to 7 pages in
length and typed as a Word document. Your essay should be typed double-spaced
using 12 point font. Submit your essay as a Word document only, not as a pdf. Each
essay must be submitted on the due date. Late submissions will incur a 10%
deduction for each day of lateness beyond the due date. You must submit both
essays to be eligible to pass the course. Do not plagiarize, that is to say, do not
represent the copyrighted words and/or ideas of others as your own in your written
work. This is dishonest and constitutes stealing, plain and simple. Anyone caught
plagiarizing will automatically fail the assignment that was plagiarized, and the
infraction will be reported to the Office of the Vice Provost of Undergraduate
Education. Such a report constitutes a negative mark on your academic profile.
Please consult the following website for the University’s policy on academic
integrity:
https://www.albany.edu/studentconduct/standards of academic integrity.php
I expect you to attend Zoom class regularly and on time. I expect you to conduct
yourself respectfully in class at all times. I expect you to complete reading and
writing assignments on time and to work conscientiously throughout the semester.
Reasonable Accommodations:
Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you
believe you have a disability requiring accommodation in this class, please notify the
Director of the Disability Resource Center (Campus Center, Room 130, at 518-442-
5490, or DRC@albany.edu). That office will provide me, your course instructor, with
verification of your disability and will recommend appropriate accommodations.
Please consult the following website for the University’s medical excuse policy:
https://www.albany.edu/health_center/medicalexcuse.shtml
Class Schedule:
Week of Tuesday, February 2: Read “The Subject of Race” by Achille Mbembe.
Week of Tuesday, February 9: Read Chapter I, Heart of Darkness.
Week of Tuesday, February 16: Read Chapter II, Heart of Darkness.
Week of Tuesday, February 23: Read Chapter III, Heart of Darkness. Also read “An
Image of Africa: Racism in Conrad’s Heart of Darkness’ by Chinua Achebe.
Week of Tuesday, March 2: Read “Bare Life: The Flesh” by Alexander Weheliye.
Week of Tuesday, March 9: Read Chapters One through Seven, Things Fall Apart.
Week of Tuesday, March16: Read Chapters Eight through Thirteen, Things Fall
Apart.
Week of Tuesday, March 23: Read Chapters Fourteen through Twenty-Five, Things
Fall Apart. Also read “Achebe’s Sense of an Ending: History and Tragedy in Things
Fall Apart’ by Richard Begam.
First essay due on Tuesday, March 30 (worth 45% of overall grade).
Week of Tuesday, March 30: Read pp. 3 - 58 (Autumn), 7he Bluest Eye.
Thursday, April 8: Read pp. 61 - 131 (Winter/Spring), The Bluest Eye.
Week of Tuesday, April 13: Read pp. 132 - 206 (Spring/Summer), 7he Bluest Eye.
Also read “On Dolls, Presidents, and Little Black Girls’ by Cheryl Wall.
Week of Tuesday, April 20: Read Chapters 1 through 5, The Reluctant
Fundamentalist.
Week of Tuesday, April 27: Read Chapters 6 through 9, The Reluctant
Fundamentalist.
Week of Tuesday, May 4: Read Chapters 10 through 12, The Reluctant
Fundamentalist. Also read “Postcolonial Remains” by Robert J.C. Young.
Final essay due on Tuesday, May 11 (worth 45% of overall grade).
ENG 485Y (9479) Dr. Mike Hill
Fall 2018 HU 329
T-Th 04:15-5:35 Office hours:
BA 215 T-TH: 2:40-
4; W 2-3; by
appt:
<mhill@albany.
edu>
Topics in Cultural Studies:
War and Society
COURSE CATALOG DESCRIPTION:
A ENG 485/485Y Topics in Cultural Studies (3 credits)
Focused examination of particular topic in the study of culture, broadly defined.
Individual semesters may focus on, among other areas: post-colonial studies; history of
social institutions and knowledge production; study of identity formations; cultural
forms; technology and science studies. May be repeated once for credit when content
varies.
Prerequisite(s): C or better in A ENG 310, A ENG 305, or permission of instructor.
COURSE BULLETIN DESCRIPTION:
Military historians, policy strategists, and myriad cultural commentators, have noted that
we have entered a revolutionary period regarding the significance and practice of war.
Gone we're told are the days of distant conflicts across clear battle lines--no more clear
distinctions between winners and losers, civilians and combatants, violent beginnings and
peaceful ends. Instead, the current debate on war insists that we've arrived at a unique
historical moment where foreign threats permeate the homeland, where friends and foes
crossover in shadowy (usually virtual) networks, and where the duration of war is either
permanent or totally unclear. This course will examine the relationship between war and
society, with specific emphasis on the apparent historical shift between war as it was and
war as it is. Our discussion will focus on a wide spectrum of texts: classic writing on
violence and civilian life; famous war strategists; and contemporary theorists of twenty-
first century style intra-state violence. We will also include our share of literary texts that
work on—or within—the conditions of war. Requirements: attendance, significant class
participation, two exams, and two 5-7 page critical papers. Prerequisite: C or better in
Eng 210.
STUDENT LEARNING OBJECTIVES:
‘At the end of this course, the student will be able to read effectively from a variety of
theoretical, policy oriented, and literary texts; the student will be able to synthesize this
material into two cogent and effectively argued critical analysis essays; the student will
be able to express these abilities in observable terms through a series of in class writing
assignments, including two open book essay exams.
STUDENT LEARNING ASSESSMENTS:
--participation, take home writing, in class quizzes, and attendance;
--2 discussion questions (written and delivered orally on a pre-assigned day);
--two critical essays based in-class reading and discussion (4-6 pps.);
--two in-class exams.
GRADING Percentages:
attendance 5%
--quizzes: 5%;
--discussion questions: 5%
--two longer essays: 50%;
--exams: 35%.
Grade Scale: A(93-100) A- (90-92) B+ (87-89) B (83-86) B-(80-82) C+(77-79) C(73-76)
C-(70-72) D+(67-69) D(63-66) D-(60-62) E<60
STATEMENT ON PLAGIARISM:
Plagiarism is a serious offense with harsh consequences. Depending on the severity of
the offense, it may result in suspension, expulsion, or a failing grade for the course.
The Undergraduate Bulletin defines plagiarism as:
presenting as one’s own work the work of another person (for example, the
words, ideas, information, data, evidence, organizing principles, or style of
presentation of someone else). Plagiarism includes paraphrasing or summarizing
without acknowledgement, submission of another student’s work as one’s own,
the purchase of prepared research or completed papers or projects, and the
unacknowledged use of research sources gather by someone else. Failure to
indicate accurately the extent and precise nature of one’s reliance other sources is
also a form of plagiarism. The students is responsible for understanding the
legitimate use of sources, the appropriate ways of acknowledging academic,
scholarly, or creative indebtedness, and the consequences for violating University
regulations.
For details, including examples, see the Bulletin:
http:/www.albany.edu/undergraduate_bulletin/regulations.html.
REQUIRED TEXTS:
Agamben, Giorgio. States of Exception (Chicago) 9-780226-009254
Assange, Julian. Cypher Punks: Freedom and the Future of the Internet (Times) 978-93-
82299-37-0
*Ballard, J. G. The Drought (Harper Collins) 0-586-08996-9
Clausewitz, Carl von. On War (Oxford) 978-0-19-280716-8
Connolly, William E. Neuropolitics: Thinking, Culture, Speed (Minnesota) 978-0-8166-
4022-5
*De Landa, Manuel. War in the Age of Intelligent Machines (Zone) 9-780942-299755
Dick, Philip K. The Minority Report and Other Classic Stories (Citadel) 0-8065-23-4
Galula, David. Counterinsurgency Warfare: Theory and Practice (Praeger)
0-275-99303-5
Ghosh, Amitav. The Calcutta Chromosome (Perennial) 0-380-81394-7
Habermas, Jurgen. Structural Transformation of the Public Sphere (MIT)
(<http://pages.uoregon.edu/koopman/courses_readings/phil123-
net/publicness/habermas_structural_trans_pub_sphere.pdf>)
Hobbes, Thomas. On the Citizen (Cambridge) 0-521-43780-6
National Security Strategy of the United States (2002)
<http://www.state.gov/documents/organization/63562.pdf>
Serres, Michel. The Natural Contract (Michigan) 0-472-06549-1
*Please note: these books are out or print but can be purchased used over the internet.
READING SCHEDULE:
August 27: Introductions: What is Cultural Studies?
29: National Security Strategy of the United States of America
Habermas, Structural (1-26)
September 3-10: Habermas, Structural (27-88)
5: classes suspended
12: Hobbes, Citizen (1-65)
17-19: Clausewitz, On War (7-43; 134-56; 169-90; 241-65)
24: Galula, Counterinsurgency (vii-47)
26: Dick, from Minority Report (37-51; 157-71)
October 1: Galula, Counterinsurgency (47-99)
3: Dick, from Minority Report 173-80; 289-300)
8: Review
10: Mid-term exam
15-17: Hobbes, Citizen (69-141) paper #1 due
22: Agamben, State of Exception (1-51)
24: Hobbes, Citizen (142-67)
29: Agamben, State (65-73)
31: De Landa, War (1-43)
November 5: Dick, from Minority Report (103-16; 114-45)
7: De Landa, War (54-75; 161-209)
12: Connolly, Neuropolitics (1-36; 50-77)
14: Dick, from Minority Report (71-102)
19: Serres, Natural (1-25)
21: Ghosh, Calcutta (1-80)
26: Serres, Natural (25-50)
28: classes suspended
December 3: Ghosh, Calcutta (80-214)
5: Assange, Cypherpunks (1-7; 33-85; 149-61)
10: Ghosh, Calcutta (214-311) Paper #2 due
Dec. 18 : Wednesday **1-3:00 Final Exam 10:30am — 12:30pm.
ENG 488W Special Topics in English: This Place:Writing and Photography
Spring 2018, Wednesdays, 1 - 4 pm, FALL 2018 (Note: this course will also meet
frequently in the University Art Museum)
Prof. Danny Goodwin and Prof. Edward Schwarzschild
Goodwin office hours: 10 am to Noon Wednesdays or by appointment, Boor Sculpture Studio
103
Schwarzschild office hours: 10 am to Noon Wednesdays or by appointment, Humanities 324
A ENG 488W/488Z Special Topics (3 CREDIT HOURS)
May be repeated once for credit when content varies. Prerequisite(s): C or better in A ENG 210.
In this one-time, cross-listed, shared-resource, special-topics interdisciplinary class, team-
taught by Daniel Goodwin of the Department of Art and Art History and Edward
Schwarzschild of the Department of English, writers and photographers will collaborate on
creative projects related to the Spring 2018 exhibition on view in the University Art Museum from
February Ist through April 7th. Entitled This Place, this exhibit explores the complexity of
Israel/Palestine through the eyes of twelve internationally acclaimed photographers. Our
collaborations will be informed not only by the exhibit and reviews of the exhibit, but also by
wide-ranging readings and viewings of materials related to writing, photography, and museum
practices. Throughout the course, we will interrogate the lines between various disciplines as
we rigorously examine the ways we see, describe, and understand the world around us. In
addition to producing artistic collaborations, students will also be expected to write essays and
deliver presentations.
Although we'll spend a great deal of time looking at, as well as talking and writing about,
the work of the artists in the exhibition, you will also explore (individually and
collaboratively) the topics of the course through your own creative projects. We will only meet
once a week, but you will be expected to be either in the Museum or working in the lab/studio
a minimum of three hours per week. Let us stress that this is the absolute minimum outside of class
weekly time commitment required to pass this class. You'll likely have to devote significantly
more time to working independently in order to excel. If you feel you cannot spare this time in
your schedule, you might consider dropping the class before it is too late.
There are several points in the semester when we will ask you to present your ongoing
work in a specific way. It is important that you pay close attention to the instructions given, as
these exercises are intended to hone your ability to creatively solve problems while adhering to
specific guidelines (something you will hopefully do a lot in your future career, whether
writing or art-related or not).
Student learning objectives:
e interrogate the lines between disciplines in the arts, humanities, and social sciences
e betterunderstand issues of representation and the Israel/Palestine conflict
© critique works of art which are politically charged
Your full and energetic participation in each of these components of the
course, especially the critiques, is mandatory for success in the class.
Texts:
All texts/readings for this class will be posted here on (or linked-to from) Blackboard or
provided to you, courtesy of the Department of Art and Art History and the Department of
English, with one exception: you will be required to purchase Men and Apparitions by Lynne
Tillman. Prof. Tillman will be a guest lecturer in our class this semester, as well. We've also set
up an extensive public reading room for the exhibition with relevant materials pulled from the
University Libraries. There is no need to purchase any textbook.
Attendance:
Please do not miss class, as it will be virtually impossible to pass this course if you miss
more than three classes. If you miss class, it is up to you to get notes and/or handouts, and you
are responsible for all assigned work regardless of attendance in class. Excused absences do
not excuse you from the requirement to produce the work.
Students are required to attend all scheduled critiques. Because the experience ofa three-
hour group forum cannot be replicated as “make-up” work, you are expected to make every
effort to attend and participate. Similarly, you are expected to attend and participate in any
informal, unscheduled critiques that may occur during class time.
Students are required to attend and participate in the final critique in this course. Missing the
final critique is like missing a final exam in a conventional academic course, except that group
critiques cannot be made up. University policy stipulates that we must administer a make-up
exam or “offer an alternative mutually agreeable to the instructor and the student” in the case
of a documented illness, tragedy or emergency. We will, of course, do that, but be aware
that while you will not be penalized academically, the experience of the critique cannot
logically be recreated.
Assignments:
Late projects will absolutely not be accepted. One project of your choosing may be
redone to improve the grade. If the work was turned in on time, the higher grade will be
recorded. If the work was late, the re-done project grade will be averaged with a zero. It is
always to your benefit to turn in the work- even if it is not complete- so that you may receive
feedback from me and the others in the class, and so that you avoid this formidable grade
penalty.
Reading, Viewing and Writing:
Readings specific to each of the assignments are outlined in the schedule. In addition, you
will be required to seek out contemporary art work that you find compelling and important. we
will provide many online resources for you to find work via the web, but seeing work in
person is ideal. You'll most likely only need to walk down the hall to the University Art
Museum, but other resources may be found locally, in your hometown, or in New York City.
As we read, discuss the readings, and critique each other’s work, you will learn how to
criticize works of art and why criticism is important. From time to time you may also write
about your work. Writing about your work and the work of others will help you better
understand and articulate your own artistic practice.
Academic Integrity
Plagiarism and other forms of academic dishonesty will not be tolerated. Unless otherwise
stated, all work is to be conducted and produced individually and all work submitted must be
the student’s own, unless the assignment specifically calls for collaboration and/or external
sources; external sources must be properly credited. Students should familiarize themselves
with the University's policies on academic dishonesty (see the Undergraduate Bulletin:
https://www.albany.edu/undergraduate_bulletin/regulations.html). Such acts will result in a
failing grade for the assignment and, quite possibly, the course. ALL incidents of academic
dishonesty will be referred to the Office of Undergraduate Education. To learn more about
plagiarism and how to avoid it, view the “Plagiarism 101” informational website and tutorial at
http://library.albany.edu/usered/plagiarism/index.html.
Cell Phone and Computer Use Policy:
There's a time anda place for phone use. Many of you will work primarily with the
camera in your smartphone. And we appreciate the fact that you may edit images, take notes,
look up references, schedule events, and otherwise do class-related business with the device in
your pocket. However, at those moments when you have been specifically instructed not to use
your phone, you must resist the temptation. This includes, but is not limited to, when we are
speaking to you. Please turn your phones to silent or vibrate mode when entering our class. If
you have an emergency that requires you to take a phone call, please leave the room
immediately. Do not text message during class time. There is a break in the class at about the
half-way point; you can use that time for making calls and texting. We are at least as addicted
to this technology as you are, but we will not abide phone use when your peers in the class (or
your instructors) are speaking. You will be asked to leave and will not be allowed to make up
any work missed.
Absolutely no phone use of any kind during Critique (you will be directed to leave the room and
your attendance will be marked as absent for the day.)
Continued violation of this policy will result in you being asked to leave the class as well asa
lowering of your overall course grade average by one letter for each instance of non-compliance.
Grades:
Grades will be figured A-E on the conventional percentage scale. More importantly,
grades are an indication of how well you are doing in the course. Please note that in this course
we considera “C” as nominal completion of the work, i.e., “average”. You will have to do
above average work or superior work to get a “B” or an “A”, respectively. We encourage you
to give realistic and thoughtful consideration to the grade you expect to receive on a project
before said grade is assigned.
A (100-90%) = Outstanding; pushing the limits of both the student’s creativity and the
assignment.
B (80 - 89%) = Thorough, thoughtful, and creative approach to the assignment.
C (70 - 79%) = AVERAGE; minimum project requirements met.
D (60 - 69%) = Poor; does not meet minimum requirements.
F (0 - 59%) = Fail; failure to complete the assignment.
Grading Criteria:
Projects 1, 2, 3 = 15% each (45% total)
Project 4 (Final Project) = 25%
Class Participation (Critiques, Readings Discussions, Workshops, Demos, Lab Days) = 30%
Extra Credit Options:
Students are invited and encouraged to seek ways to expand upon the basic guidelines of
the projects to receive extra credit. If you should feel confined or limited by one of our
projects, please contact us at the earliest opportunity so that we might discuss other options.
Do not settle for producing work at the minimum level required because you do not feel
engaged. There is a grade for such performance, and you don’t want it (see table above).
Special Needs:
If you require any additional help from us or the facility to accommodate a disability,
please do not hesitate to contact us. We will make every effort to insure that you are able to get
the work done. We can be incredibly flexible and creative when it comes to finding ways to
help students make work.
Lab Monitor Responsibilities:
We do not have technical support personnel managing our labs. We do have a Graduate
Teaching Assistant who has been assigned to oversee photo-related tech issues in the
department. You'll probably get to know her pretty well. Her name is Momo Chang. Her office
hours in both the Boor Sculpture Studio and the Fine Arts Building will be announced soon.
Stay tuned.
The College of Arts and Sciences also employs an Instructional Support Technician who
oversees high-level, system-wide computing support. Ifat any time you experience problems
with the computers, scanners, printers or other digital equipment in our labs, please send a
detailed note to Adam Cowie at cascomp@albany.edu.
If you would like to volunteer as a Lab Monitor for 3 hours per week in exchange for 24/7
access via swipe-card and door code to both labs, please let me know and we will arrange it.
Otherwise, know that you will only be able to work outside of class during scheduled open lab
hours.
Materials:
Please do not rush out and acquire any materials or expensive equipment prior to the first
day of classes. We need to meet and discuss options before you make purchases. As you may
know, studio art classes can be quite expensive depending on the type and amount of work that
you choose to do. Please budget carefully to insure that you are able to produce the work
required. Students typically spend around $300 (on average) on consumable supplies and
materials. Some spend twice as much; some get by on much less. In addition to a working
camera, you may be required to provide the expendable supplies described below.
Because the materials you would be required to handle in processing traditional chemistry-
based color photographs are so dangerous, and because much of the industry is abandoning
“wet lab” procedures, we will be doing all color printing using digital processes. You may
certainly still shoot film, but will then scan and color-correct on the computer, to be output in
our digital lab.
Please Note:
Pigment-based archival inks are not compatible with low-end hobbyist papers available at
office supply stores. Your results will be disappointing and the printer could actually be
damaged. Please ensure that your paper is compatible with either pigment inks or
"Ultrachrome" inks.
Black and White film should be processed in our labs here on campus. Chemistry is included in the
lab fee you've already been charged. Color film processing (E-6 and C-41) should be done at McGreevy’s
Pro Lab, 376 Broadway in Albany (518-426-1039). Film dropped off at McGreevy Pro Lab up until 6 pm
Wednesdays will be ready Thursday morning, so please plan accordingly. Asa student in our class, you
receive a 10% discount, but you have to remember to ask for it. We are not equipped to properly process
the toxic effluent produced in processing color film or paper. You may not, under any circumstances,
process color film by hand in our darkrooms. This would violate state and federal environmental
regulations and would be considered grounds for ejection from the lab.
Schedule
WEEK 1
Jan. 24
Overview: Course philosophy, objectives, materials, and requirements
Read Against Neutrality by Teju Cole
WEEK 2
Jan. 31
Discuss Cole reading
In-class writing exercise
Primer on 4x5 view camera and scanning/editing/printing work-flow
Intro Project 1
WEEK 3
Feb. 7
Meet in University Art Museum for exhibition tour and Close Looking exercise
Stephen Shore lecture at Tang Museum, Skidmore College, Feb. 3 at 5 pm
Jungjin Lee lecture in University Art Museum Tuesday, Feb. 6 at 7 pm
Read Primer on Israel/Palestine ¥
WEEK 4
Feb. 14
Workshop Creative-Critical Drafts
WEEKS5
Feb. 21
. Creative-Critical Piece (Project 1) Due
Intro Project 2
WEEK 6
Feb. 28
DG Lecture in Standish Room (Science Library) from 12:35-1:30 pm
Lab/Workshop Project 2 from 2 to 4 pm
WEEK 7
Mar. 7
CRITIQUE in FA223 Project 2 (The Whole Problem)
Intro Project 3 Muminate Something Invisible)
Frédéric Brenner lecture/conversation at Recital Hall, Performing Arts Center, 7pm
WEEK8
Mar. 14
Classes Suspended (Spring Break)
WEEK 8
Mar. 21
CRITIQUE in FA223 Project 2 (The Whole Problem)
Intro Project 3 (IMuminate Something Invisible)
WEEK 9
Mar. 28
1st half of class: Lab/Workshop Day (printing/presenting Final Project)
2nd half of class: Informal, in-progress Crit Project 3 (Muminate Something Invisible)
WEEK 10
Apr. 4
Field Trip to Tang Museum at Skidmore College DURING CLASS (please meet in
classroom at noon this day).
WEEK 11
Apr. 11
1-2 pm: Lab/Workshop
2 pm: Visiting Writer: Lynne Tillman in New York State Writers' Institute, Science Library 341
WEEK 12
Apr. 18
Ist half of class: CRITIQUE in FA223 Project 3 (luminate Something Invisible)
2nd half of class: Lab/Workshop Day (printing/presenting Final Project)
WEEK 13
Apr. 25
Lab/Workshop Day (layout/printing/presenting Final Project) meet in FA115
WEEK 14
May 2
Lab/Workshop (printing/presenting Final Project) in Boor Sculpture Studio
WEEK 15
May 7
Printing Day, 9!am-4pm, Boor Sculpture Studio
May 9
FINAL CRITIQUE in FA223 (Project 4)
All work due at the START OF CLASS
THIS SCHEDULE IS SUBJECT TO CHANGE. YOU WILL BE NOTIFIED VIA THE EMAIL
ADDRESS YOU PROVIDED AT THE BEGINNING OF THE SEMESTER OF ANY
CHANGES.
AENG 497
Independent Study in English
Course Credit Hours: 1-4
Professor: Eric Keenaghan, Associate Professor
Professor's Office Hours: TBD
Prerequisite(s): C or better in A ENG 310 and permission of a faculty member in the department
and of the appropriate departmental committee. Reserved for English majors.
Course Description:
Senior level course designed to address intellectual needs that have grown out of previous
coursework, or subject matter that is not regularly covered under the English department's
curriculum. May be repeated.
Learning Outcomes:
1. Students learn how to perform research in English.
2. Students learn how to write in an advanced context in relation to research.
3. Students learn how to receive constructive feedback from faculty and use it to
strengthen research and paper quality.
Assignment Requirements: 100% of grade is based on final written paper produced through
independent research. Paper minimum length 15 pages.
Grading Scale:
94-100 =A
90-93 =A-
87-89 =B+
83-86 =
80-82 =B-
71-719 =Ct+
73-76 =C
70-72 =C-
67-69 =D+
63-66 =
60-62 =D-
<60 =E
Course Topics:
This is a unique course that does not meet weekly. Student and professor meet during assigned
time weeks 1, 8, and 15.
o Week 1 Meeting - To discuss expectations and topic ideas
o Week 8 Meeting - To discuss draft
Week 15 Meeting - To turn in final paper
Absence Policy: Given the unique nature of this course, there are no allowed absences from the
three scheduled meetings with the professor. They can, however, by rescheduled if the student
contacts the professor to make arrangements.
Plagiarism & Academic Integrity: When you write your papers, you should clearly credit any
sources from which you borrow. You should not turn in any work that is not your own.
University at Albany considers plagiarism (accidental or otherwise) a severe violation of the
educational trust. When you take tests, you must keep your eyes on your own work unless
collaboration is explicitly permitted/required. Violating academic integrity in this course will
result in an automatic failing grade (no exceptions) and an official report to the administration.
You may review the University’s policies here: http://www.albany.edu/eas/104/penalty.htm.
Provisions for Students with Disabilities: Reasonable accommodations will be provided for
students with documented physical, sensory, systemic, medical, cognitive, learning and mental
health (psychiatric) disabilities. If you believe you have a disability requiring accommodation in
this class, please notify the Disability Resource Center by contacting them at drc@albany.edu or
518-442-5510. Upon verification and after the registration process is complete, the DRC will
provide you with a letter that informs the course instructor that you are a student with a
disability registered with the DRC and list the recommended reasonable accommodations.
Absence due to religious observance: New York State Education Law (Section 224-a) states that
campuses are required to excuse, without penalty, individual students absent because of
religious beliefs, and to provide equivalent opportunities for make-up examinations, study, or
work requirements missed because of such absences. Students should notify the instructor of
record before the religious observance and make arrangements as soon as possible in the
semester.
English 498: Thesis Seminar I
Professor Eric Keenaghan
Fall 2016
Tuesdays and Thursdays 10:15 — 11:35
This document is your student contract for this course, detailing all requirements, policies, and
assignments. Read it carefully, and consult it if you have a question about these matters. If you
cannot find the answer here, set up an appointment to meet with me during office hours.
Contact Information
Instructor: Eric Keenaghan, Associate Professor of English
Office: Humanities Building 343 (Third Floor, English Department)
Office Hours: Tuesdays 2:45-4:00 and Thursdays 9:00-10:00; or by appointment
Office Phone: (518) 442-4078 (Note: Email is preferred.)
Email: ekeenaghan@albany.cdu
Course Information for English 498
Course Catalog Number: AENG 498
Call Number: 4597
Location and Meeting Times: Social Sciences 117, Tuesdays and Thursdays 10:15-11:35
Grading Scheme: S/U, 3 credits
Requirements Fulfilled: Required for partial completion of the English Honors program
General Education Competencies Fulfilled: Advanced Writing; Information Literacy; Critical Thinking; Oral
Discourse
Pre-requisites: C or better in AENG 210, and completion of AENG 305V. Permission of instructor required.
Course Description
The English Honors Program concludes with a 2-course sequence, in which students
individually research, write, and revise an Honors thesis. The thesis is a long-form researched
critical project, a researched creative manuscript, or a hybrid creative-and-critical writing project
of 40 to 50 pages. Successful projects are those developed by students who are self-starters and
self-motivated and creative thinkers and strong writers, yet who are willing to take the notes and
recommendations of the faculty members with whom they are working. It is developed
independently, in stages and under the supervision of a faculty member from the English
Department. In the late Fall, a second faculty reader will join each committee, but usually
consults with the student starting in the spring. (Sometimes the second reader only reviews the
finished product; but many also will meet with students or read polished chapter drafts or other
materials before then.) That person often is from the English Department, too, but can be from
another program or department if that suits a given project.
In the Fall, you, as an English Honors student, will begin the process of developing and
proposing projects with me (as the Director of the Honors Program). Working together, I will
pair you with a faculty advisor and a second reader with whom you feel comfortable and excited
to work and who also are best suited for your individual project. For much of the semester, you
will be working independently. Most weeks, we will convene as a group only once during our
scheduled class time; the other scheduled class session will be reserved for research and writing
ENG 498 (Keenaghan), Fall 2016: 2
Course Description and Policies, Requirements, and Syllabus
days and/or one-on-one conferences with me. You will be asked to attend the English
Department’s Pre-Registation Open House (usually in early October) to share your experience
thus far in the program with fellow majors who might be considering applying to the Honors
Program this year or next. After Thanksgiving, you will share a brief presentation of your in-
progress research at a semi-public event that will include the incoming cohort of English Honors
students (who will be writing their own theses next year) and other students interested in
applying to or recently accepted into the program. By the end of the Fall, you will have
developed preliminary research, a provisional outline for your entire project, a strong revised
draft of your first chapter, and a provisional schedule (worked out and approved by your
project’s readers) tailored to your individual project. In the Spring, when you are registered for
English 499, you will continue to work on and will complete your independent project.
Objectives for This Course
(1) Facilitate students’ ability to select, focus, and articulate an originally conceived conceptual
problem befitting Honors-level research and writing (critical or creative) in the discipline
of English Studies.
(2) Strengthen students’ existing research and writing skills, and introduce advanced skill sets
needed for the successful completion of a long-term independent project.
(3) Help students cultivate good habits of communication (with me, with peers, and with project
advisors) required for independent research and writing.
(4) Cultivate each student’s sense of owning her individual work, and use class workshops,
presentations, and public sharing sessions outside class to bolster each student’s
confidence and her sense of critical and/or creative authority as a researcher and writer.
(5) Cultivate a sense of a community of scholars and writers whose members all are invested in
each other’s work and success, even though everyone works “independently.”
(6) By the end of the semester, each student should have: made significant inroads in her
preliminary research for the conceptual problem addressed by the overall thesis project;
constructed a provisional prospectus outlining the structure of the project, as a whole;
developed a provisional schedule (worked out with and approved by the project’s faculty
advisor) tailored to the individual project; and completed a strong revised draft of the
project’s first chapter or creative unit.
Required Texts
In the Fall and in the Spring you are expected to search for, read, and purchase (or borrow from
the library) titles germane to your independent project, as suggested or required by me, your
advisor, and/or your second reader. The required texts listed below are handbooks for writing
and research that you will use as references and guides this semester and next semester as you
develop, write, and revise your project. These titles are available through the UAlbany Bookstore
(in the Campus Center). Inexpensive used copies of most are available online. URLs for online
sources and PDF files of other required and recommended readings are on the class’s Blackboard
site, accessible through your MyUA lbany portal. Please have relevant materials on hand for class
discussions. Electronic readings will be projected in class.
ENG 498 (Keenaghan), Fall 2016: 3
Course Description and Policies, Requirements, and Syllabus
Required Texts:
MLA Handbook, 8th edition (MLA)
Joseph Williams and Joseph Bizup, Style: Lessons in Clarity and Grace, 11" or 12"
edition (Pearson)
Recommended Texts:
Wayne Booth, Gregory Colomb, and Joseph Williams, The Craft of Research, 3" edition
(Chicago UP)
Also Required:
One old-school notebook. That is, paper. No electronic notebooks. We are using a
different part of your brain that increases cognition, reading comprehension, and
memory. (For real.) This notebook will be what creative writers usually call a
copybook, but what we will call your “reading journal.” Use this notebook for the
“Reading Journal” assignments indicated below, as well as a centralized place for
keeping reading notes about primary text/s and secondary sources, and even for
working out some rough plans and jotting random notes related to your project.
Course Policies, Requirements, and Assignments
Attendance, Participation, and Behavior
* Your active participation in class conversations is vital for a successful course and for any
research and writing community (but is especially important for Honors-level work).
Active participation includes answering questions, volunteering your insights and
readings, and active listening (i.e., listening and note-taking), as well as cooperating in all
workshop and breakout group activities.
* Only three absences are allotted, since we will be meeting less than the total number of
semester’s class times. (The rest are research/writing days and/or conferences.) Missing a
scheduled conference without 24 hours notice counts as an absence.
* More than three absences could result in receiving a “U” for the class. This would mean
dismissal from the Honors Program, disallowing you to register for 499 in the
Spring or complete your thesis. Any exception will be considered only at my discretion,
in consultation with the respective faculty member directing the student’s thesis project.
* Keep track of your own absences, just as you would keep track of the sick days you might
use at a job. I will not provide you with a report, though I keep my own records.
* The only “excused” absences include your own hospitalization, religious observance, or civic
duty (jury or military). All must be documented by the Undergraduate Dean’s Office or
by the Disability Resources Center. I do not accept doctors’ notes, work notes, etc.
Refer to the University’s medical excuse policy at the link below:
http://www.albany.edu/health_center/medicalexcuse.shtml
* College classrooms are learning environments, and my classrooms are zero tolerance zones for
disruptive behavior. The first offense will receive a verbal warning. After that, dismissal
from class will follow, and it will count as an absence. No exceptions. Disruptive
behavior includes, but is not limited to: sleeping or dozing off; chatting with neighbors;
passing notes; ringing phones; using laptops, smart phones, tablets, etc. inappropriately
(web surfing, texting, social networks, etc.); refusing to answer direct questions. Any
ENG 498 (Keenaghan), Fall 2016: 4
Course Description and Policies, Requirements, and Syllabus
threatening or hostile behavior directed against me or classmates will result in: (a) my
notifying Judicial Affairs immediately; and (b) the offender’s automatic, non-negotiable
failure of our class. The University might pursue further disciplinary action, as well.
Electronic Devices in Class
Turn off all cell phones before you sit down. If I have to tell you to turn off your phone, after the
first offense you will be dismissed from class and it will count as an absence.
Laptops, tablets, and similar devices are generally not permitted in class. Take notes on paper,
Bring in hardcopies of all materials to be workshopped. (This is for your protection, too,
so that a classmate doesn’t drop or damage your laptop or accidentally delete your work.)
You can use a laptop or tablet (never cell phones) when I announce that it is permitted.
Otherwise, use print copies of assigned texts and put all electronic devices away.
Office Hours and Email Policies
* When possible, if you have questions or concerns come to my office hours. The advice and
feedback I can give in person is more substantial than over email. If you have another
class during my regular office hours, check to see if I can arrange another meeting time.
* An email is not an informal text. So, use a salutation addressing me (or whoever you are
emailing), and always be sure to sign your message. To avoid possible confusion, clearly
state in the subject line what course you are taking with me.
* During the week, allow 24 hours for me to respond to all emails during the week.
* T do not check or respond to work email on the weekends (i.¢., Friday 5 pm—Monday 9 am).
* T do not address attendance or disciplinary issues via email exchanges. I might send you a
warning via email, but do not respond. Come to my office hours to discuss the issue.
* T do not review drafts via email, but I will be happy to discuss them during office hours.
Assigned Reading and Class Preparedness
* Come to class having completed the required reading. Some readings may be stylistically,
conceptually, and even linguistically challenging, so allot sufficient time to finish them.
* Tf you are unprepared because you have not read and/or lack assigned reading materials, I may
dismiss you. In those instances, your dismissal will count as a class absence. And, of
course, unpreparedness will count against you when I determine participation grades.
Inclement Weather and Class Cancelations
In the event that the University cancels one or more class meetings due to inclement weather, I
will email everyone and post an announcement to Blackboard with an alternative schedule for
the day’s assignments. Should the University not cancel classes but inclement weather makes my
own commute unsafe, I will notify you by email and post an announcement to Blackboard as
early as possible. If it is necessary to make up crucial canceled lectures, I may adjust the end of
the semester schedule by replacing workshops or writing days with regular lectures.
Disability Resources
When appropriate to the assignment and situation, students registered with the Disability
Resource Center may be eligible for extensions, alternative modes of examination, or adaptive
equipment. Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you
ENG 498 (Keenaghan), Fall 2016: 5
Course Description and Policies, Requirements, and Syllabus
have a disability requiring accommodation in this class, please notify the Disability Resource
Center (Campus Center 137, 442-5490). That office will provide me with verification of your
disability, and will recommend appropriate accommodations. Please present your forms from the
DRC at the start of the semester, and we will discuss alternative arrangements. For details, see
the DRC webpage: http://www.albany.edu/disability/prospective-new.shtml
Plagiarism and Violations of Academic Integrity
Violations of academic integrity include (but are not limited to): plagiarism (in any form),
illicitly signing in an absent classmate to the attendance sheet or forging another student’s name
on official documents, cheating on exams (including disseminating exam answers). All written
assignments must be your own original work. If you submit any plagiarized work (no matter how
small the assignment) or commit any other violation of academic integrity, you will
automatically fail this course and be dismissed from the English Honors Program. I also will
report the case to the Dean of Undergraduate Studies and to your department or program chair.
(Note that if you withdraw from the course after receiving notice of having failed for plagiarism,
the Dean’s Office will file a second Violation of Academic Report against you!) Two or more
reports on file can lead to academic probation, suspension, even expulsion. Plagiarism is more
than the wholesale copying of an entire document. The University’s definition of plagiarism is as
follows: “Presenting as one's own work the work of another person (for example, the words,
ideas, information, data, evidence, organizing principles, or style of presentation of someone
else). Some examples of plagiarism include copying, paraphrasing, or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase/use of
prepared research or completed papers or projects, and the unacknowledged use of research
sources gathered by someone else. Failure to indicate accurately the extent and precise nature of
one's reliance on other sources is also a form of plagiarism. Students are responsible for
understanding legitimate use of sources, the appropriate ways of acknowledging academic,
scholarly, or creative indebtedness.” Note that violations of academic integrity also include “self-
plagiarizing,” or submitting the same (or similar) work for multiple courses. Claims of supposed
ignorance about if a practice constitutes plagiarism, as well as claims that the proven plagiarism
was “unintentional,” are not adequate defenses. If you are uncertain if a practice constitutes
plagiarism, ask me or another faculty member before you submit work. See the following
webpage for the University’s definition of and policies about violations of academic integrity:
http://www.albany.edu/undergraduate_bulletin/regulations.html#plagiarism
Criteria for All Writing Assignments
* All written assignments must be your own original critical work. Summary, mere
transcription or rehashing of class notes, and socio-historical readings based on
generalizations or misrepresentations of a historical period can earn, at best, a “C.”
* Any amount of plagiarism leads to automatic failure for the course.
* All written assignments must be completed in order to pass the course.
* Late assignments will be docked one grade per day late. This includes each day of the
weekend. I do not accept any papers one week (7 days) after the due date.
* Tf you need a short extension (1 or 2 days, without penalty), request one in person or by email
at least 24 hours before the due date. Unreasonable requests may be denied.
* For assignments to be submitted via Blackboard, the name of your assignment file should be
ENG 498 (Keenaghan), Fall 2016: 6
Course Description and Policies, Requirements, and Syllabus
formatted as: your last name, class number + assignment. Example: Smith, ENG 358
Final Paper. Save as an MS Word (.doc or .docx) file or as a PDF.
* Unless they are to be done in your reading notebook, all assignments should be typed or word-
processed in an academic 12-point font (such as Times New Roman), with numbered
pages.
* Include a bibliography for all primary and secondary sources referenced or cited at the end of
your paper, not as a separate file.
* Every paper must demonstrate basic writing skills, ranging from grammar to sentence
mechanics to the organization and development of a focused critical argument.
* There are no “do overs” for papers, and in college there is no “extra credit.” Plan, pre-write,
and revise before you submit your essays. Come to office hours before the due date to
discuss any questions or problems that you might have.
* See the syllabus below for due dates for prewriting assignments for thesis development,
research, and writing. Descriptions of each will be provided as we near its due date.
Grade Breakdown
Grade Breakdown for English 498
Our class this semester is graded on an S/U basis. In order to move on to English 499 and
complete your thesis in the Spring, you must receive an “S” [satisfactory] in English 498 this
semester. If you earn a “U” [unsatisfactory], you will be dismissed from the program and not
allowed to register for English 499 or to complete your thesis in the spring. In order to graduate
with an English major, any student who withdraws from or who receives a “U” for English 498
is responsible for completing the usual English major requirements. (Consult the English
Advisement Office if this should apply to you.)
I will be determining your “S” or “U” grade for our course in consultation with the
faculty member supervising your individual project. Our joint decision will be based on your
overall performance and likelihood of completing the required independent project. Major
criteria for that evaluation include: your attendance and performance in shared class sessions (no
more than 3 absences for the entire semester; some weeks, we will be meeting as a class
only once and sometimes not all); your ability to keep scheduled conferences with both me and
your individual advisor, and your conscientious and timely notification (at least 24 hours in
advance) if you cannot keep a scheduled meeting (Don’t just disappear!); your ability to meet
deadlines, as well as to meet quality standards for research and writing at the level of an Honors
project; and your performance in public sharing sessions of your work-in-progress. A midterm
progress report will be sent to your thesis advisor, so as to ensure that you are staying on track or
to flag any issues that she or I might help you with to ensure that you succeed.
Planning Ahead: Completing the Thesis Project and Grades for English 499 (in the Spring)
A general timeline for the completion of your project during that semester can be found
toward the bottom of the online English Honors Program Handbook:
http://www.albany.edu/english/under honors handbook.php A more detailed syllabus for
English 499 will be shared with you at the start of the Spring semester.
Grades for English 499 are determined on an A-E basis. Your project’s grade will be
assigned by your thesis advisor and second reader, in consultation with me. Your thesis’s readers
will have the most input, based on the quality of your thesis and your general performance in
ENG 498 (Keenaghan), Fall 2016: 7
Course Description and Policies, Requirements, and Syllabus
your independent work with them. I will make recommendations if the readers’ suggested grade
seems unfairly or inordinately low or high, relative to your peers’ performance in their own
independent studies. My suggestions will be based on my evaluation of several qualitative
factors, including: the strengthening or weakening of your general performance during the entire
thesis year; your ability to meet deadlines; your attendance of and preparation for required
meetings for English 499 during the spring semester; your performance during conferences and
public sharing sessions of your work; your ability to check-in with me if problems arise
(especially during the independent study segment of the project); any awards or recognitions that
your project has received.
Remember that in order to graduate with Honors (on one’s transcript), one must end the
program with a minimum 3.5 GPA in the English major and a minimum 3.25 GPA overall. Any
student who does not meet the above GPA minimums, as well as anyone who voluntarily leaves
or is dismissed from the Honors Program, is responsible for completing the regular English
major requirements and course distributions.
Grading rubric for completed thesis (English 499, in the Spring):
Criteria: General performance; ability to keep deadlines; strength of public presentations;
strength of research; strength of writing and revision; ability to work on an independent basis;
any awards or recognitions received for the project prior to its final submission
A (4.0) Excellent in all criteria
A- (3.7) Very strong but needs strengthening in one or more criteria
B+ (3.3) Very good but needs strengthening in two or more criteria. Note: Students
who receive a B+ for 499/the completed thesis are on borderline
(depending on one’s GPA) of graduating with Honors or not.
B (3.0) Good effort but the final product and/or process of researching, writing,
and revising the project is not Honors-level work
B- or less (< 2.7) Substandard for Honors-level work
Students who fail to turn in the finished product by the assigned deadline risk receiving an “E”
for 499. In the rare instance that your faculty advisor and your second reader both recommend
an “I” [incomplete], you must make the necessary arrangements with those faculty members for
delivering the final product by a new date that you all agree to.
The English Honors Program Handbook
If you have any questions about the program, the sequence requirements (or possible
substitutions, especially for English 399Z), or your performance in the program, please consult
the online version of the English Honors Handbook for a detailed account of all the program’s
policies and requirements: http://www.albany.edu/english/under honors handbook.php If you
do not find the answers there, or if you just want to chat and check-in, feel free to set up an
appointment with me during any point in this thesis-writing year.
ENG 498 (Keenaghan), Fall 2016: 8
Course Description and Policies, Requirements, and Syllabus
Syllabus of Readings and Assignments
NOTE 1; We will be meeting as a class during the officially scheduled class time, except for
those dates on the syllabus that are signaled as “Canceled” (due to the suspension of
classes according to the academic calendar) or that are designated as “Research Days,”
“Writing Days,” or “Conferences” (when I will schedule individual meetings during class
time or office hours to review a research or prewriting assignment).
NOTE 2: “BB” indicates that a PDF or URL for a reading or handout available on Blackboard
Week One — Introduction to Writing an Honors Thesis:
On Creative Thinking, Ethical Modes of Critical Inquiry, and Your Ideas
Tuesday, August 30
Required reading: Craft of Research—Chapters 3 and 4 (BB)
Recommended reading: Style—Lesson 12 (“The Ethics of Research”); MLA Handbook—
“Plagiarism and Academic Dishonesty” (pp.6-10); Craft of Research—Chapters | and 2,
plus “The Ethics of Research” (pp.273-6)
Workshop: Bring to class your two write-ups (300-500 words each) about topics that interest
you and the possibilities and challenges that you see each as posing if it were to be a topic
for researching your Honors thesis. Three or four volunteers will give informal
presentations about their two ideas. After each writer presents, the class will discuss the
relative strengths and limitations of her two ideas.
Thursday, September 1
Workshop: In breakout groups, you will present on your ideas informally to one another.
The volunteers from Tuesday will be the group leaders (mostly monitoring time). Take
notes on all of your classmates’ presentations, and use those notes to give pointed
feedback. A set of evaluation criteria will be supplied at the start of class.
Week Two — Refining Your Topic
Tuesday, September 6
Required reading: Style—Lesson 7 (“Motivation”)
Reading Journal: (1) Choose one of the two topics that you brought to class last week. Start
rereading one primary text related to that topic. In your reading notebook, write one page
of critical questions that start to articulate a “conceptual problem” prompted by the text
and what you see as the significance of the text’s imagined solution (or suggestion of a
solution). If you are planning a creative or hybrid thesis, ask questions that inquire about
how that solution might help you conceptualize your own original project and/or poetics.
(2) After you complete your page of question, circle three that seem the most focused
and promising and of interest to a general audience. (3) Then, write 1-2 paragraphs
sketching out a preliminary answer to one of the questions you circled.
Workshop: You will continue working in the breakout groups from last time.
ENG 498 (Keenaghan), Fall 2016: 9
Course Description and Policies, Requirements, and Syllabus
Thursday, September 8
Assignment (typed): Continue rereading your primary text. Bring to class a three-
paragraph redraft of your write-up. This version has two objectives: (1) In two
paragraphs, articulate a stronger thesis statement—What is the problem? How does the
text approach that problem? Why is that approach interesting or significant? Be sure to
cite specifics from the text, and use one of your paragraphs to develop a strong text-
based analysis that supports your working thesis statement;
(2A: Critical theses) In your final paragraph, indicate one or two other primary literary,
filmic, or cultural texts that you intuit approaches this issue or problem in a related—but
different—way. Why would this constellation of texts be interesting in how they suggest
to you ways of treating a shared problem? Based on your familiarity with these texts thus
far, how does each offer a different angle in thinking about that problem? Why might that
difference be interesting? (Note: Your advisor might suggest a different second or third
primary text; but it is helpful for you to have some ideas to bat around with her. And a
possible second or third text might help open up the avenues for your research, in its
initial stages.
(2B: Creative or hybrid theses) Indicate how you might design a creative project to tackle
this conceptual problem. How would your approach differ from that of the primary text’s
author—in terms of form, genre, content, style, etc.? Why is that difference important
for addressing this issue? You should specify your criteria for this significance, which
might be in terms of “updating” an aesthetic approach to an issue for our current time and
place, or thinking about your own (or your subject’s social location), or your own ideas
about literature and art, or your ideas about language and style and form...Whatever
informs and drives your own writing and craft should be specified.
Week Three — Developing Research on Your General Problem
Tuesday, September 13
Required reading: MLA Handbook—Skim the rest of Part I (pp.10-58). This probably is familiar,
but take at least 30 to 60 minutes to refresh yourself on these issues.
Recommended reading: Craft of Research—Chapters 5 and 6
Reading Journal: (1) In your reading notebook, make a list of the subjects or issues you might
research and the sorts of sources that you imagine using for your project (i.e., historical,
critical, archival, theoretic), and why you think they would help you develop a strong
way of engaging your problem, your author(s), and your primary text(s). (2) Read (or,
if a longer form text, start reading) one specific source that you have in mind. Take notes
in your reading notebook about why
Workshop: On conducting database research and researching in English Studies. Review of
requirements for working bibliography (due next week). NOTE: If you have a laptop,
bring it to today’s class. Please be willing to share it with classmates so that you might
jointly review and practice some basic research methods.
[Specs available by start of class for the working bibliography. Sign up for 30-minute
conferences with me next Tuesday and next Wednesday.]
ENG 498 (Keenaghan), Fall 2016: 10
Course Description and Policies, Requirements, and Syllabus
Thursday, September 15
No Class or Office Hours: Research Day—Start working on your library research and the
working bibliography for your project.
Week Four — Preparing an Annotated Bibliography on
the General Problem and Your Primary Text
Tuesday, September 20
Reference: MLA Handbook—Part 2 Section 2 (pp.102-116) (Proof and edit your bibliography for
correct MLA format!)
Reading journal: Conduct at least three different database searches. Make PDFs and printouts
of the results of each search. Find 4-6 sources, and start reading them and take notes in
your reading journal. For your notes on each source, include an MLA bibliography
citation as a header. Your notes should entail tracking a key idea, noting the thesis,
quoting key passages or phrases, recording your own questions, and briefly noting why
(or why not) this source is useful for your thesis project.
CONFERENCES (No class): Bring to conference your in-progress bibliography, your printout
of a list of sources from your database searches, and your reading journal with all of your
notes. Be sure to correctly format of your bibliography’s entries so as to conform to MLA
format.
Thursday, September 22
Assignment (typed): Start typing up your annotated in-progress bibliography by formalizing
your reading journal notes. Print out what you have.
Reading Journal: Take detailed notes about how you see your original reading of the primary
text “responding” to the research you have conducted thus far, cumulatively. If you are
developing a critical project, this response should be a reformulation of your thesis
statement. If you are developing a creative or hybrid project, this response should be a
reformulation of your plans for your creative manuscript (style, content,
motivation/poetics).
Workshop: Two volunteers (one creative writer, one critical writer) will share from their in-
progress bibliographies, complete with annotations. (Please post on BB, for projection.)
Discussion of the upcoming researched proposal.
[Specs available by start of class for researched proposal. Sign up for 10-minute conferences
with me next Tuesday and next Thursday.]
Week Five — Writing a Researched Proposal and Annotated Bibliography on
the General Problem and Your Primary Text
Brief conferences will be held during my usual office hours and other scheduled times. The
purpose of this conference is to discuss a prospective advisor for your project.
Tuesday, September 27
Task: Before class, consult the list of faculty and their research, writing, and teaching interests on
the English Department webpage. Who do you imagine as particularly suited as an
advisor and/or second reader for your thesis, and why? Have you had those individuals as
ENG 498 (Keenaghan), Fall 2016: 11
Course Description and Policies, Requirements, and Syllabus
instructors previously (or currently)?
Reading: Style—Lesson 8 (“Global Coherence”)
Recommended Reading: Craft of Research—Chapters 7, 8, and 9
Assignment (typed): Full of researched proposal (3-4 pages), plus annotated bibliography (at
least %4 of your sources should be annotated). Creative projects also should include a brief
(2-3 pages max.) writing sample of your own work where you attempt to tackle the
conceptual problem creatively. Bring two hardcopies, one for me and one for workshop.
I will supply brief comments on my copy and return it to you in class on Thursday.
Workshop: Small group evaluation of proposal drafts and bibliographies.
Thursday, September 29
Reading: Style—Lesson | (“Understanding Style”), Lesson 3 (“Actions”), and Lesson 4
(“Characters”)
Assignment (typed): After reading from Style, revise the prose and if necessary the argument of
your draft proposal. Consider your peers’ recommendations from Tuesday’s workshop.
Week Six — Writing a Researched Proposal and Annotated Bibliography
on the General Problem and Your Primary Text (continued)
Tuesday, October 4
Classes Suspended: Academic Calendar
Assignment: Over the long weekend, complete your working bibliography’s annotations; draft
your solicitation letter to a prospective faculty advisor; and finish whatever revisions you
need to complete for your researched proposal.
(NOTE: All classes resume at 12:35 pm. I will hold office hours as usual.)
Thursday, October 6
Workshop: Bring to class electronic copies of: (1) A revised version of your thesis proposal;
(2) A revised version of your annotated bibliography that includes annotations for all of
your sources; and (3) A draft of your email to a faculty member that introduces yourself
and your project and that explains why you believe that this faculty member’s critical
and/or creative interests are particularly suited for your thesis. By the end of class today,
we will be sending out these materials to prospective faculty member, in a request to ask
them to meet with you to discuss supervising your projects!
ENG 498 (Keenaghan), Fall 2016: 12
Course Description and Policies, Requirements, and Syllabus
Week Seven - MILESTONE WEEK: Meeting Your Prospective Thesis Advisor
You should schedule your first meeting with your prospective advisor to discuss your project this
week or early next week. Make a point of asking for a direction to take your research further, in
terms of both one or two other primary texts and secondary sources...And then begin following
up on those suggestions! Borrow books from the library, start reading and taking notes on newly
suggested secondary materials, find and start reading the additional primary texts.
This weekend and week should be a research-intensive period for you!
Tuesday, October 11 (NOTE: All classes are suspended at 2:35 pm.)
Class Canceled and Usual Office Hours Canceled
Set up a meeting with your prospective advisor for Monday, Tuesday morning or early
afternoon, or Thursday afternoon. I will hold walk-in office hours during our usual class
time.
Thursday, October 13 (NOTE: All classes resume at 12:35 pm.)
Classes and Office Hours Suspended: Academic Calendar
Week Eight — Researching the Overall Project’s Problem Statement
Tuesday, October 18
Reading journal: Continue to take notes on your research. Try to find additional secondary
sources or primary texts, or look up and start reading texts suggested by your advisor (if
you have met with her). If you are working on a creative project, you might start using
your reading journal as a copybook for further developing your project’s underlying ideas
and objectives, for planning the structure of your creative project, for drafting scenes or
episodes or lines, etc. Whatever you do, keep using this notebook (or a new one, once
you fill up this one)!
Workshop: On the bigger picture. Come ready to share your experiences about: How has your
overall project started to change as you have begun working with a faculty advisor? How
are the new, additional primary text(s) helping your project evolve? Gain scope? Gain
coherence? What are your next steps?
[Sign up for 30-minute conferences with me later this week and early next week.]
Thursday, October 20
CONFERENCES (No class)
Week Nine — Developing a Prospectus and a Writing Schedule, Part 1
In addition to your meeting with me, you should schedule a meeting with your advisor for this
week to discuss your questions, your plans, and your progress on your project.
Tuesday, October 25
CONFERENCES (No class)
ENG 498 (Keenaghan), Fall 2016: 13
Course Description and Policies, Requirements, and Syllabus
Thursday, October 27
Recommended reading: Craft of Research—Prologue to Part IV (pp.173-6) and Chapter 12
Reading journal: Make a sketch of ideas that you have for developing a larger project. For
critical projects: What other primary texts would you like to look at, beyond the one
you included in your proposal? Why? Or, has your advisor made suggestions that you’re
starting to look into? For creative projects: What is the shape or arc that you envision for
your creative manuscript? How do you see the various parts as relating to and developing
the conceptual idea that piqued your interest in this project?
Workshop: On writing a prospectus and developing a provisional writing schedule. Discussion
about saving your work, often and more often...and in many forms (physical and virtual).
[Specs for the prospectus and writing schedule will be available on BB by the start of class.]
Week Ten — Developing a Prospectus and Writing Schedule, part 2
Tuesday, November 1
Assignment (typed): Draft your prospectus. Include a framing account of your general problem
and thesis statement and researched intervention (2-3 pages) and a one- to two-paragraph
plan for each chapter/unit of the thesis. For each unit, include a “First Draft Deadline”
and “Final Draft Deadline.”
Workshop: On the prospectus draft. Submit your draft to me, to receive very brief comments at
your upcoming conference. Creative writers and critical writers will workshop separately.
[Sign up for 20-minute conferences with me for Wednesday and Thursday.]
Thursday, November 3
CONFERENCES (No class)
Week Eleven — Researching and Outlining Your First Chapter
Revise your prospectus and provisional writing schedule over the weekend, and submit them to
your advisor by 5 pm on Monday. Request a meeting to discuss it, at her earliest convenience.
Once that task is done, focus on researching your first chapter (critical projects) or drafting your
first unit (creative projects).
Tuesday, November 8
Class Canceled—Research and Writing Day
I will be holding usual office hours today if you want to drop by to discuss problems, questions,
concerns, etc.
Thursday, November 10
Required reading: Style—Lesson 5 (“Cohesion and Coherence”)
Reading journal: Continue your notes on your research for your first chapter (critical projects)
or drafting your first unit (creative projects)
Assignment (typed): Make an outline or structural plan for your first chapter/unit, plus 1 to 2
working draft pages.
Workshop: Small group discussions of your in-progress work and plan. Creative writers and
critical writers will workshop separately.
ENG 498 (Keenaghan), Fall 2016: 14
Course Description and Policies, Requirements, and Syllabus
Week Twelve -MILESTONE WEEK: Draft Development and Progress Reports
Continue your independent research and planning for the first chapter. Schedule a meeting with
your thesis advisor for this week, too, to cover the following: (1) Discuss your prospectus and
proposed writing schedule; (2) Ask her to return directly to me, by Monday, your one-month
progress report; (3) Discuss who might be a good second reader for your project.
Tuesday, November 15
Required reading: Style—Lesson 6 (“Emphasis”)
Reading journal: Continue taking reading notes and/or sketching out your first chapter/unit.
Assignment (typed): 3-4 working draft pages of your first chapter or unit. Bring one hardcopy
to class.
Workshop: General discussion of breakthroughs and breakdowns. Then, small group sessions
wherein creative and critical writers workshop separately. Critical writers: On developing
your analysis and ideas in writing, keeping in mind a need for coherence and clarity. On
incorporating research (embedded quotation, block quotation, and extended footnotes).
Creative writers: On developing a thoughtful and informed craft that is
“doing”/“showing” rather than “telling.”
Thursday, November 17
Class and Office Hours Canceled — Meet with your thesis advisor this week to discuss your
first chapter.
Week Thirteen — Reconsidering Audiences: On and Off the Page
Touch base with your advisor before you (or she) head off for the holiday. Make a concrete plan
for submitting a draft at the end of the semester, pose your questions about your research or
writing, and catch up, generally.
This week, I will be contacting faculty members to invite them to serve as second readers for
your thesis projects.
Tuesday, November 22
Reading journal: Make a rough outline of your 7-minute presentations for next week. Your
outline should include your project’s overall thesis statement (the problem and your
intervention), and then an account of your primary text (critical writers) or of your
original manuscript (creative writers) and how it supplies a specific angle for approaching
that general problem. Between 3 and 4 minutes of your presentation should focus on the
specific subject matter of your first chapter/unit. Creative writers will use those 3 to 4
minutes to give a reading of their original work.
Workshop: On rethinking your relationship to audience, with your work both on and off the
page. Discussion of strategies for sharing in-progress research with a general audience,
and discussion of advantages of sharing one’s research in English Studies at the earlier
(rather than the “finished”) stages of writing, especially for longer projects.
[I will determine the order of presentations, and will announce the program in class.]
ENG 498 (Keenaghan), Fall 2016: 15
Course Description and Policies, Requirements, and Syllabus
Thursday, November 24
Class and Office Hours Canceled: Academic Calendar (Thanksgiving)
Week Fourteen — Sharing Your In-Progress Research and Writing
It is important that you continue to work on your first chapter/unit’s draft this week. Spend no
more than 2 hours (max) preparing your presentation. Draw your script from a revision of
materials that you already have prepared (such as your prospectus and your working draft pages
for your first chapter or unit.)
Tuesday, November 29 and Thursday, December 1
Public Presentations: This week, during our usual class times, you will be presenting your
research to one another and to a general audience, consisting mostly of English Honors
students who will be writing their theses next year and of English majors who are
interested in applying to the Honors program. Your thesis advisors and possible second
readers might be in attendance, if their schedules permit them to come. Everyone will
present for 6-7 minutes (timed), and the last 15-20 minutes will be reserved for questions
for all, from the audience. Room TBA.
Reading Journal: After your presentation, set aside a little time to take notes on new lines of
thought and new writing strategies that have come to light during or after your
presentation, either because something clicked in your head or because of a question an
audience member asked or because of something you noticed in a peer’s presentation.
Week Fifteen — Writing and Workshopping Your Draft
Tuesday, December 6
A successful thesis in English Studies is not just well-conceived, well-planned, well-researched,
and well-argued. It is also well-written. So your task before today’s class is to take 2 hours off
from researching and writing more pages in order to turn your attention to revision, specifically.
Consider which one item listed below under “Required Reading” best describes a chief writing
issue you, a peer, or your advisor has identified in your draft thus far. Then, read the
corresponding chapter, and tackle a revision of the first page of your working draft pages.
Required reading: Style—If your chief writing issue is:
-- wordiness or lack of clarity, then read: Lesson 9 (“Concision’)
-- sentence boundaries (fragments or run-ons), then read Lesson 10 (“Shape”)
-- the need to find your voice and add nuance, then read Lesson 11 (“Elegance”)
Assignment (typed): Working draft (5-6 pages) due. Revise your first page, but be sure to print
out the old version before you do. Bring 2 hardcopies of complete revised draft. One
copy for workshop, one copy for me. I will return my copy on Thursday with very brief
notes about argument, clarity, and/or style issues that you might want to attend to as you
complete the draft and its preliminary revisions.
Workshop: Pairs or trios on comparison of “old” and “revised” page; discussion of style and
impact on your argument. Continue with workshop of complete working draft.
ENG 498 (Keenaghan), Fall 2016: 16
Course Description and Policies, Requirements, and Syllabus
Thursday, December 8
Assignment (typed): Working draft (8-10 pages). Bring | hardcopy and the other required
materials for the workshop (to be announced).
Week Sixteen - MILESTONE WEEK: Draft Submission
Try to complete your draft in full by Friday or by Saturday, at the latest. Take one full day off.
Don’t look at the chapter; don’t think about it. (Easier said than done, I know...) Once you’ve
given yourself a mini-break, work on your final revisions over the few remaining days. Yes, this
is still a “draft” that you might yet return to and further revise. However, you still want this draft
to be a strong piece of writing. If you get in the habit of revising while you draft, it will make the
work ahead, as you work on the rest of your project, less painful...
Tuesday, December 13
No class: Reading Day
DUE: Completed and revised drafts of your first chapter (12-15 pages) are due by 12:00pm
(noon) to me and to your thesis advisor. (You can submit your essay to me via BB. Check with
your project advisor is she would prefer an emailed copy or a hardcopy.) THIS IS A HARD
DEADLINE. (If when you plotted out your prospectus and writing schedule your thesis advisor
assigned an earlier deadline for your draft, then you must aim for her deadline. Adjust your
drafting and revision schedule in the preceding weeks accordingly.) Absolutely no chapters will
not be accepted after Reading Day, unless you have made the necessary arrangements with both
your project advisor and me. If you do not submit your draft on time, you might receive a “U”
for this course and thus would be denied a CPN for 499 and dismissal from the Honors Program.
English 499 (4013), 3 Credits
Thesis Seminar II
Professor Eric Keenaghan
Mondays, 1:40 — 2:35 Spring 2017
Contact Information
Instructor: Eric Keenaghan, Associate Professor of English
Office: Humanities Building 343 (Third Floor, English Department)
londays and Wednesdays 3:00 — 4:00; other times Wed. by appt.
518) 442-4078 (Note: Email is preferred and most reliable.)
Email: ekeenaghan@albany.edu
Course Information
Course Catalog Number: AENG 499
Call Number: 4013
Location and Meeting Times: Business Building 362, Mondays 1:40-2:35
Grading Scheme: A-E; 3 credits
Requirements Fulfilled: Final course in the English Honors sequence
General Education Competencies Fulfilled: “Advanced Writing”; “Information Literacy”; “Critical Thinking”
and “Oral Discourse”
Pre-requisites: “S” in English 498 and permission of the Honors Director.
Course Description
English 499 is primarily an independent study supervised by your individual thesis advisors. You
are expected to meet with your respective advisors regularly to discuss your research and your
writing. (I recommend setting up biweekly sessions.) Establish with your advisor, and strive to
stick to, a regular calendar for research, drafts, and revisions. We will conduct full cohort
meetings at regular intervals throughout the semester to discuss concerns pertaining to the
development and completion of everyone’s project, as well as other to share information about
related issues (such as conference presentations and award opportunities).
Course Objectives
* Continue to develop and hone advanced skills and practices in independent English Studies and
Humanities research, as those skill sets and practices were introduced in English 498
(Honors Thesis I).
* Successfully complete a year-long independent Honors thesis project in English Studies.
Required Texts
No shared texts are required for our class meetings. Of course, though, you should obtain texts
pertaining to your individual thesis projects. There is a Blackboard site for our course, to which I
will be uploading documents with pertinent information. On occasion, you might be asked to
share in-progress work with one another through Blackboard, too.
Course Policies
Attendance, Participation, and Behavior
* Your active participation in class conversations is vital for a successful course, and so factors
English 499 (Keenaghan), Spring 2017: Syllabus and Course Requirements 2
into your final grade. Active participation includes answering questions, volunteering
your insights and readings, and active listening (i.e., listening and note-taking), as well
as cooperating in all workshop and breakout group activities.
* One absence without penalty. We have a limited number of meetings per semester. Attendance
is expected. Absences can factor negatively into your thesis’ final grade. Exceptions
apply only to students who have conflicts with our meeting time for required major or
minor courses or University-administered internships.
* Keep track of your own absences, just as you would keep track of the sick days you might
use at a job. I will not provide you with a report, even though I do keep my own records.
* The only “excused” absences include your own hospitalization, religious observance, or civic
duty (jury or military). All valid excuses must be documented by the Undergraduate
Dean’s Office or (in the case of hospitalizations) by Student Health Services (SHS).
Except in the case of a hospitalization, a medical note from SHS does not allow you more
absences than the allotment. For the University’s Medical Excuse Policy, consult the
following link: http://www.albany.edu/health_center/medicalexcuse.shtml
* College classrooms are learning environments, and my classrooms are zero tolerance zones.
Any disruptive behavior will receive only one verbal warning. After that, dismissal
from class will follow, and it will count as an absence. No exceptions. Disruptive
behavior includes, but is not limited to: sleeping or dozing off; chatting with neighbors;
passing notes; ringing phones; using laptops, smart phones, tablets, etc. inappropriately
(web surfing, texting, IM-ing, social networks, etc.); refusing to answer direct questions.
Any threatening or hostile behavior directed against me or classmates will result in: (a)
my notifying Judicial Affairs immediately; (b) the offender’s automatic, non-negotiable
failure of our class; and (c) possible probation, suspension, or expulsion from UAlbany.
Electronic Devices in Class
* Laptops, tablets, and similar devices are permitted only to take notes or to look at online
materials being discussed. If you make inappropriate use of these devices, it is
disruptive behavior: I may ask you to leave, and it will count as an absence.
* You cannot use smart phones to read materials in class. All phones must be turned off and put
away before class commences. If a phone rings or if you misuse yours, I may dismiss you.
Office Hours and Email Policies
* When possible, if you have questions or concerns come see me during office hours. The advice
and feedback I can give in person is more substantial than over email. If you have another
class during regular office hours, check to see if I can arrange another time to meet you.
* All emails should be signed, and put your name and course number in the subject line.
* During the week, allow 24 hours for me to respond to all emails during the week.
* I do not check or respond to email on the weekends (i.e., Friday 5 pm—Monday 9 am).
* T do not address attendance or disciplinary issues via email exchanges. I might send you a
warning via email, but do not respond. Come to my office hours to discuss the issue.
* T do not review drafts of papers or projects via email, but I will be happy to discuss them
during office hours.
* If you are having issues with your project, or if you are having communication difficulties
with your thesis advisor, request to meet with me in person. I am not likely to be
willing or able to confer about major issues virtually.
English 499 (Keenaghan), Spring 2017: Syllabus and Course Requirements 3
Class Preparedness
* Come to class having completed whatever task I might have asked everyone to complete
at the previous class session or via Blackboard. These are not going to be onerous, and
usually will be directly related to your individual projects. These tasks and the material
they generate will facilitate our collective sessions’ usefulness.
* Tf you are unprepared because you have not read and/or lack assigned reading materials, I may
dismiss you. In those instances, your dismissal will count as a class absence. And, of
course, it also will count against you when I am determining your participation grade.
Inclement Weather and Class Cancelations
In the event that the University cancels one or more class meetings due to inclement weather, I
will email everyone and post an announcement to Blackboard about an alternative schedule for
the week’s assignments. In the rare instance that inclement weather makes my own commute
unsafe but the University has not canceled classes, I will notify you by email and post an
announcement to Blackboard, at as early a time as possible. If necessary for making up any
crucial canceled lectures, I may adjust the current end of the semester schedule, replacing
workshops or writing days with lectures to make up what has been missed.
Disability Resources
When appropriate to the assignment and the situation, students registered with the Disability
Resource Center may be eligible for extensions, alternative modes of examination, or adaptive
equipment. Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you
have a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 137, 442-5490). That office will provide the course
instructor with verification of your disability, and will recommend appropriate accommodations.
Please present your forms from the Disability Resources Center at the start of the semester, and
we will discuss when alternative arrangements will be necessary for our course. For details, refer
to the Disability Resources Center webpage: http://www.albany.edu/disability/
Plagiarism and Violations of Academic Integrity
All written assignments must be your own original work. If you submit any plagiarized work (no
matter how small the assignment), you will automatically fail this course, and I will report the
case to the Dean of Undergraduate Studies and to your department or program chair. (Note that if
you withdraw from the course after receiving notice of having failed for plagiarism, the Dean’s
Office will file a second Violation of Academic Report against you!) Two or more reports on file
can lead to academic probation, suspension, even expulsion. Plagiarism is more than the
wholesale copying of an entire document. The University’s definition of plagiarism is as follows:
“Presenting as one's own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Some examples of plagiarism include copying, paraphrasing, or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase/use of
prepared research or completed papers or projects, and the unacknowledged use of research
sources gathered by someone else. Failure to indicate accurately the extent and precise nature of
one's reliance on other sources is also a form of plagiarism. Students are responsible for
understanding legitimate use of sources, the appropriate ways of acknowledging academic,
English 499 (Keenaghan), Spring 2017: Syllabus and Course Requirements 4
scholarly, or creative indebtedness.” Also note that violations of academic integrity also include
“self-plagiarizing,” or submitting the same (or similar) work for multiple courses. Claims of
supposed ignorance about if a practice constitutes plagiarism, as well as claims that the proven
plagiarism was “unintentional,” are not adequate defenses. If you are uncertain if a practice
constitutes plagiarism, ask me or another faculty member before you turn in work. Visit the
webpage below for the University’s definition of and policies about violations of academic
integrity: http://www.albany.edu/undergraduate_bulletin/regulations.html#plagiarism
Your English Honors Thesis: The Finished Product
Criteria for All Writing Assignments
* Your thesis must be your own original critical work.
* Any amount of plagiarism leads to automatic failure for the course.
* All written assignments must be completed in order to pass the course.
* Your finished, fully revised thesis must be completed and submitted to me by the date
specified on the syllabus. Failure to comply could result in a delay of your graduation!
* All assignments should be typed or word-processed in an academic 12-point font (such as
Times New Roman), with numbered pages. Your thesis should be completed with
continuous pagination (i.e., chapter 2 picks up at the page number where chapter | left
off, etc.
* Include a title page. Images are optional. However, the text on your title page must conform to
the following format, supplying the information specific to you and your project in brackets:
[Thesis Title]
[Your Name]
Submitted for Honors in English
The University at Albany, SUNY
Directed by [Your Advisor’s Name]
[Date Submitted]
* Include a table of contents and, where applicable, a table of figures or illustrations.
* Include captions for any illustrations (such as film stills, etc.)
* Include a bibliography for all primary and secondary sources referenced or cited at the end of
your thesis. Your bibliography must not be a separate file, and it should apply to your
thesis as a whole (i.e., do not include separate bibliographies for each chapter/unit).
* Every thesis must demonstrate basic writing skills, ranging from grammar to sentence
mechanics to the organization and development of a focused critical argument. And since
it is an Honors thesis, critical rigor and originality are absolutely expected.
* Submit your thesis to me, as a single PDF file titled in the following manner: “Your Name,
Your Project’s Title (Honors Thesis, May 2017).” Your thesis will be “published” by
being added to the Department of English’s online library of Honors projects, which will
become accessible through the English Honors webpage. Note that this publication is
informal, and that each of you owns full copyright to your individual project’s ideas and
language.
Grading Rubric and Criteria for the Completed Honors Thesis
English 499 is graded on an A-E basis. The base for that grade will be an evaluation of your
completed project’s quality, as determined by your advisor with input from your second reader
(to be assigned in the Spring). The base might be affected by consideration of intangible factors
English 499 (Keenaghan), Spring 2017: Syllabus and Course Requirements 5
related to the assessment of independent studies, such as your ability to keep meetings with your
advisor, your ability to meet with the rest of your cohort regularly in our periodic English 499
group sessions, how you followed up on research and writing suggestions, your general
intellectual and writing growth while developing the project, and the quality of your participation
at the annual Undergraduate Research and Writing Conference (English) and the Undergraduate
Research Conference (UAlbany). As the program director and instructor of record for English
499, I also will confer with your advisor and second reader to share my recommendation for a
just grade that considers all these factors, too.
The grading rubric is as follows:
A (4.0) = Excellent in all criteria
A- (3.7) = Very strong but needs strengthening in one or more criteria
B+ (3.3) = Very good but needs strengthening in two or more criteria. Note: Students
who receive a B+ for 499/the completed thesis are on borderline (depending on
one’s GPA) of graduating with Latin Honors or not.
B (3.0) = Good effort but the final product and/or process of researching, writing, and
revising the project is not Honors-level work
B- or less (< 2.7) Substandard for Honors-level work
Criteria for evaluation: Timely completion of project; strength of research and argumentation
about problem statement; strength of writing and revision; general performance, including ability
to keep deadlines and regular attendance of English 499 sessions; strength of public
presentations at the English Department’s Undergraduate Research and Writing Conference and
the University’s Undergraduate Research Conference; ability to work on an independent basis
and to respond positively to supervision; (bonus) any awards or recognitions received for the
project prior to its final submission
Special Note for Honors Students in the BA/MA Program
If you are in the English Department’s BA/MA Program and have elected to complete your
thesis credits as a 4-credit independent study at the graduate level (English 694: MA Directed
Reading), then your project will not receive an A-E grade. In keeping with the current criteria for
English 694, your project will be evaluated officially on an S/U basis. However, I will be
encouraging the advisors and second readers to convey to these few, applicable students also an
“informal” letter grade that registers the quality of the completed project.
Note to All Honors Students in English 499 or English 694
If you should decide to withdraw from the Honors program at the start of, or midway through,
the semester, you will discontinue working with your project advisor immediately. It also will be
your responsibility to confer with the English Advisement Office in a timely fashion, in order to
make certain that you have a workable plan for completing on schedule your BA with a non-
Honors English major.
English 499 (Keenaghan), Spring 2017: Syllabus and Course Requirements 6
Calendar of Cohort Meetings and Other Important Dates
Note: In the event that unforeseen but pressing business arises, I may call an impromptu meeting
on any of the dates that are left unscheduled below. Those unexpected meeting will be announced
via an email sent through the Blackboard “announcement” function and/or via an in-person
announcement at the last, previously scheduled meeting. So, please keep this time slot open on
Mondays, and check your UAlbany email account regularly during the week.
Monday, January 23
Monday, January 30
Monday, February 6
Monday, February 13
Monday, February 20
Week One
Meeting: Self-assessment. Before class, write down notes
answering the following three questions:
(1) What successes or breakthroughs did you have, generally, with
your project and its conceptual problem over the winter
break?
(2) What specific progress did you make on the next unit?
(3) What obstacles or setbacks did you experience while working
on that unit?
ke
Week Two
Meeting: Topic will be announced at the conclusion of the first
meeting, and it will be based on the sorts of questions and
concerns shared in relationship to question #3 (on Jan. 23).
ka
Week Three
No meeting.
wa
Week Four
Meeting: Have you experienced writer’s block or research fatigue
yet this semester? If you have, then bring some strategies
that you have used to try to overcome it—whether or not
those strategies have succeeded. If you haven’t experienced
a blockage or a moment of fatigue, then I don’t believe
you. What strategies have you used to push back and work
on through the blockage or exhaustion?
KEK
Week Five
No meeting. Second readers are likely to be assigned this week or
next.
English 499 (Keenaghan), Spring 2017: Syllabus and Course Requirements 7
Week Six
Monday, February 27 Meeting: On your experiences finishing the second (or third) unit;
on the possible roles your second reader might play as you
complete your project.
HK
Week Seven
Monday, March 6 No meeting.
ea
Week Eight
Monday, March 13 Classes Suspended (Academic Calendar: Spring Break)
KK
Week Nine
Monday, March 20 Meeting: On problems you have faced, and the strategies you
have deployed, when tackling the revision of your project
to make it cohere, as a whole. Bring to class some specific
notes about: (1) problems; and (2) strategies
eae
Week Ten
Monday, March 27 No meeting.
eK
Week Eleven
Monday, April 3 Meeting: Informational session on finishing the thesis—the
big picture and some of the finer details.
HK
Week Twelve
Monday, April 10 Classes Suspended as of 2:35 (Academic Calendar: Passover).
Although our session begins before, and finishes at, that
time, we will not be meeting. There’s no need to keep this
date free. I promise. Finish your thesis instead.
Friday, April 14 RECOMMENDED DEADLINE FOR DELIVERING THE FULL,
REVISED THESIS DUE TO YOUR ADVISOR AND
SECOND READER: Make this draft as complete as
possible, including a table of contents, your bibliography,
English 499 (Keenaghan), Spring 2017: Syllabus and Course Requirements 8
Monday, April 17
Wednesday, April 19
Week Fourteen
Monday, April 24
Friday, April 28
and illustrations (where applicable). In most cases, your
advisor’s recommended grade for your project and English
499 will be based on what you turn in today. Some advisors
may allow you to turn in the project next week; some may
require it a little earlier this week. On average, most faculty
members will want two weeks to read your full project.
Give them that time: After all, it has taken you the better
part of a year to research and write it, so it deserves a fair
amount of time to guarantee their careful reading and
consideration! Make certain that the deadline, and the mode
of delivery to both of your readers (either via email or as
hardcopies) is absolutely clear. Once you_have submitted
your project to your advisor and second reader, also send it
to me via email so that I can vouch for its completion.
KK
Week Thirteen
Meeting: On turning your lengthy thesis into a 10- to 15-minute
presentation; strategies for excerpting from the finished
product to generate a presentation, quickly and painlessly.
The Department of English’s UNDERGRADUATE RESEARCH
AND WRITING CONFERENCE: Y our attendance and
participation as presenters are mandatory.
HK
No meeting. You should be meeting this week or next with your
advisor and second reader to discuss your finished project
and any edits or revisions they may recommend or require.
You might take some time to polish your presentation from
last week, in preparation for Friday’s University-wide
conference. Work on whatever formatting issues that you
might need to complete for your thesis (such as continuous
pagination, title page, table of contents, captions for
images, etc.). Those details are often small but time-
consuming.
UAlbany’s UNDERGRADUATE RESEARCH CONFERENCE:
Your attendance and participation as presenters are
mandatory.
HK
English 499 (Keenaghan), Spring 2017: Syllabus and Course Requirements 9
Monday, May 1
Monday, May 8
Wednesday, May 10
Thursday, May 11
Saturday, May 20
Week Fifteen
Meeting: Discussion about wrapping up your project and
completing your final revision and edits. Some of you
might be meeting with your advisor and second reader this
week; if so, try to schedule the meeting by Wednesday to
ensure that you have a full week to complete your edits.
HK
Week Sixteen
What are you doing? Finish your final revisions. No meeting.
COMPLETE, FULLY REVISED THESIS DUE by 11:59 pm:
Upload your finished project to Blackboard as a single PDF
file. Late thesis projects may result in your ineligibility to
graduate. I highly recommend giving your advisor a bound
copy of your thesis, as a gift and memento for all the work
and attention s/he has devoted to your project. You can
print and bind your thesis at office stores, such as Staples,
or other businesses that offer copying services.
Year-end HONORS GATHERING (time and place TBA): You will
be done and can share your feelings of relief with each
other, future cohorts of English Honors students, and any
faculty (hopefully, your advisors and second readers) who
might attend. Food and soft drinks.
HK
Commencement Weekend
Department of English RECOGNITION CEREMONY (time and
place TBA): Everyone is strongly encouraged to attend, to
celebrate your accomplishment with family and friends.
Following the ceremony, there will be an informal
reception for all graduating English majors. Honors
students who have completed their thesis projects will
receive a special acknowledgement at the ceremony and the
reception.
T ENG 102Z Introduction to Creative Writing (3 credits) Fall 2019
Prerequisite(s): open to freshmen, sophomores, Creative Writing minors, and
Honors College students only.
Instructor: Dr. Jil Hanifan
Office /Hours, Hu 140 (Writing Center)/MWF 10:30-11:30 and by appointment.
Phone/Email, 2-4061 jhanifan@albany.edu
Catalogue Description
Introductory course in creative writing. Practice in the writing of multiple genres and
forms, such as poetry, fiction, creative nonfiction, memoir, drama, and other literary forms.
T ENG 1022Z is the honors version of A ENG 102Z. Only one version may be taken for credit.
Prerequisite(s): open to freshmen, sophomores, Creative Writing minors, and Honors
College students only.
Overview: Since creative writing is an art, this course is built ona "studio" model, like
classes in drawing, sculpture or dance. In a studio-type class, the student is responsible for
daily practice, while the class time is used to study and discuss models and to share and
respond to student work. Students are expected to actively practice imaginative writing,
and to share their work with their classmates both in class and in online workshop groups.
By the end of the term, students will have collected a substantive notebook of
observations, exercises and creative experiments, have composed and posted drafts and
responded to the drafts of others, and as a final project, will produce a small “chapbook”
publication of their very best original work.
Course Objectives
1. Practice writing asa process, drafting, rewriting, revising and editing pieces over
time.
2. Develop confidence, fluency and originality in written self-expression.
3. Read arange of exemplary works with special attention to creative and poetic
strategies.
4. Learn to distinguish a variety of styles, genres and forms of creative media - prose,
poetry and performance.
Required Equipment: A standard “Composition” notebook (100 pp., marbled cover) anda
working pen or pencil. (Bring these with you to every class meeting - no kidding!)
Required Text: The Practice of Creative Writing 24 Edition, Heather Sellers. (Bring this
with you to every class meeting, unless otherwise indicated on the Schedule of Readings
and Assignments.)
Graded Course Elements:
Composition Book 20%
Reader’s Journal 20%
Drafts and Feedback 20%
Workshops 20%
Chapbook 20%
Grade Scale: A (93-100) A - (90-92) B+ (87 -89) B (83-86) B - (80-82) C+ (77-79) C
(73-76) C - (70-72) D+ (67 -69) D (63-66) D - (60-62) E<60
Composition Book: Students will fill a composition book with their writing practice. By
the end of the term, the notebookshould be entirely filled with in-class writing, your notes
and drafts and jots and drawings and....stuff. The Composition Book will be scored
“Weak/Satisfactory/Strong” based on how much of the book has been filled, with a Strong
score reserved for a completely full notebook. (20% of overall grade.)
Reader’s Journals: In a 300 word journal post, select 2 readings from the assigned pages
to explore and discuss in depth. After your initial reading of the pieces, make note of your
first impressions and/or confusions, then re-read. After rereading each piece several times,
start to question your first impression, and play “devil’s advocate” with yourself, and make
note of any second thoughts or “on the other hand” ideas you discover. Then offer a final
“take away” lesson you learned from the pieces and/or from writing about them. Readers
Journals will be scored Weak/Satisfactory /Strong based on the following Grade Rubric
(20% of overall grade.)
Readers Journal Scoring Rubric
Not Done - 0 Points: Journal is not done.
Weak - 3 Points: Journal is late, or on time but too short, undeveloped or fails to
respond to all parts of the instructions. Journal is so carelessly written so as to
signify a lack of good faith effort.
Satisfactory- 7 Points Journal is posted on time, and follows all instructions fully
and completely. The Journal post has been carefully proofread and is generally free
from error.
Strong- 10 Points: Journal not only fully responds to the assignment but goes
beyond a simple answer, making connections to other discussions or readings,
adding concepts from other courses or conversations, or raising questions.
Drafts and Feedback. This course element has two linked parts, equally weighed. After
reading and discussing a specific creative form, students working in small online groups
will experiment and post their own version of the form as a Draft, according to the
Schedule of Assignments. Then, in order to complete the assignment, student peers will
post substantive and specific feedback to each other. (Several “checklists” for feedback are
included in the course textbook, and we'll be talking about how to give useful and
productive comments on writing.) The Drafts/Feedback element will be scored “Done/Not
Done,” based on the Grade Rubric for Drafts and Feedback. (20% of overall grade.)
Drafts
Not Done- 0 Points: Draft wasn't posted
Late/Incomplete - 3 Points: Draftis late, or fails to follow the instructions fully.
Done - 5 Points: Draft represents an effort to completely
respond to the instructions. Draft can be rough and full of questions, but it must be
an engaged attempt to work out a full response to the assigned "recipe."
Feedback
Not Done- 0 Points: Feedback was entirely missing.
Late /Incomplete- 3 Points: Feedback was late, or some was missing, or
so hasty and incomplete as to represent a lack of good faith effort.
Done- 5 Points: Feedback is posted for each group member, at least 150 wds each, is
thoughtful and detailed, and represents a sincere attempt to answer some of the
"Questions for Readers."
Intensive Workshops: Near the end of the term, the class will spend several weeks in
intensive workshopping. Students will select a piece to workshop on their assigned day.
This element will be graded based on attendance and participation. (20% of overall grade)
Chapbook: Select revisions of your best original work from this semester, and collect them into
a 12-15 page Chapbook of your own creative writing. The chapbook must have a title, and a
table of contents, and the arrangement and sequencing of the different pieces should strive
toward a sense of coherence around a theme or concept. The fonts, formatting, and other graphic
elements should be carefully designed to further express the theme or concept, and the chapbook
must be paginated, polished, and error-free. The chapbook will be graded based on the following
Grade Rubric.
Chapbook Scoring Rubric
Imagery: “My task is to make you hear, feel and see. That and no more, and that is
everything.” Joseph Conrad
= Strong: (10 pts.) The images are pictures in action, are concrete, and engage
multiple senses. Fresh, original and specific images are integral to each individual
piece, between pieces, and to the overall sense and effect of the chapbookas a
whole.
= Satisfactory: (7 pts.) Most of the pieces in the collection contain at least one or two
vivid and memorable images, although they might be mixed or out of sync with the
overall pattern or sense of the chapbookas a whole.
= Weak: (3 pts.) Work has few images, and the images that are present are cliched
and undeveloped.
Energy: “I merely took the energy it takes to pout and wrote some blues.” Duke Ellington
= Strong: (10 pts.) The writing is passionate and/or personal and often ambivalent.
Subjects are unusual, particular, and individually relevant, and facts and information
are interesting, and woven into the writing for effect. The writing moves, creating
depth and resonance with shifts, leaps and unexpected juxtapositions, and language
and word choice is fresh, active and evocative.
= Satisfactory: (7 pts.) Much of the writing is passionate and/or personal, butsome
subjects might seem cliché, too typical, or too familiar. There are few leaps or
unexpected juxtapositions, but vocabulary and word choice are expressive of the
writer’s voice.
= Weak: (3 pts.) The writing is indifferent, impersonal, or uninterested in its own
subject or voice.
Tension: “One must still have chaos in oneself to be able to give birth to a dancing star.”
Friedrich Nietzsche
= Strong: (10 pts.) The writing sustains interest and engagement with an artful sense
of external and internal conflicts, presenting complex dramatic arcs. Characters and
perspectives are layered and dynamic, and the four elements of tension - person,
desire, stakes, and obstacles - are balanced, active, and layered within individual
pieces of writing and throughout the chapbookas a whole.
= Satisfactory: (7 pts.) Desire +Danger = Tension. Tension is expressed in most of the
writing through external conflicts or situational threats, and occasionally through a
parallel internal conflict that indicates a dynamic character and a dramatic arc.
= Weak: (3 pts.) There is little awareness of tension, conflict, or depth of character in
the situations or subjects presented in the writing, and no sense of a dramatic arc.
Patterns: “Form is like asbestos gloves that allow you to pick up material too hot to handle
otherwise.” Adrienne Rich
= Strong: (10 pts.) The writing in the collection layers sounds and rhythms with
narrative and visual patterns, and elements such as framing and point of view are
purposeful and contribute to the effect of the larger whole. Sections, stanzas, line -
breaks, and paragraphs demonstrate a sense of shape, balance and intentionality,
and aural and visual patterns and structures work together to create complex levels
of effect.
= Satisfactory: (7 pts.) Most pieces demonstrate an awareness of patterns of sound,
such as rhymes, echoes or alliteration, patterns of narrative, such as point of view,
or spacial or visual patterning, such as framing and repetition of objects, actions or
gestures. Sections and paragraphs demonstrate intentionality and a sense of form.
= Weak: (3 pts.) The writing appears without conscious or intentional structures or
patterns. Sound patterns are weak, infrequent or accidental, narrative patterns are
inconsistent, and sections, stanzas and paragraphs appear accidental or inadvertent.
Insight: “The role of the writer is not to say what we can all say, but what we are unable to
say.” Anais Nin
= Strong: (10 pts.) The chapbook, both in individual pieces and asa collection, conveys
a sense of wonder, self-reflection and discovery. Observations are detailed, accurate,
and revealing, and lines of inquiry are fearless and complete. Even when critical of
subject or character, the writing aspires to wisdom, demonstrates a generous and
empathic understanding of the human condition and a willingness to question
assumptions or comfortable perspectives.
= Satisfactory: (7 pts.) The writing represents a sincere and generous effort to share
important experiences and life lessons, and reveal their deeper significance.
= Weak: (3 pts.) Writing reinforces simplistic or cliché sentiments, and refrains from
asking anything important or deep.
Formatting:
= Strong: (10 pts.) The formatting is crisp, clear, and represents a close attention to
the graphic appearance of the chapbookas a professional digital manuscript. Fonts,
margins, spacing, and other visual aspects, even if they are experimental or
alternative, are harmonized for an overall effect. All requirements are met, and the
manuscript as a whole is polished and error-free.
= Satisfactory: (7 pts.) The chapbook meets the assignment requirements, and
consists of 12-15 pages of original creative work in a single document, and includes
atitle page, table of contents, and paginations. Fonts, margins and spacing are
consistent and/or intentional, and the manuscript as a whole is error-free.
= Weak: (3 pts.) Chapbookis late, short, or fails to meet one or more of the formatting
requirements. Unintended or accidental surface errors suggest an absence of
proofreading.
Overall:
= Strong: (10 pts.) Individual pieces are each strong and taken together, create a
complex, coherent and sophisticated collection. Every piece in the collection shows
evidence of thoughtful editing and some pieces may be ready for publication.
= Satisfactory: (7 pts.) Chapbook represents a collection of the student’s best work
over the semester, and shows evidence of careful revision and editing in response to
feedback, readings and the discussion of literary models. Some consideration was
given to unifying elements or themes in the collection, and as a whole, the chapbook
is significant, expressive, and sincere.
= Weak: (3 pts.) Chapbook is little more than assignment drafts or class exercises
copied into a document.
Course Policies: Attendance and Participation
Creative Writing is a studio course, nota lecture course. For students, this means more
expressive freedom, but it also means that you share more responsibility for your own
learning and for the success of the course. Each student is expected to be well-prepared for
class and to participate in every class discussion, Students with perfect attendance, or with
asingle absence, will earn a bonus.
Other Policies:
- Do not discard any assignments, drafts, or notes you produce during the semester until
you receive a final grade for the course.
- In order to receive full credit, all work must be posted before the beginning of the class on
the date scheduled. Work that is late, for any reason, will be scored “late.” If you are aware
of aconflict in advance, contact the me so that J can explain your options.
- Scholastic Honesty: From the University’s Undergraduate Bulletin, Academic Regulations:
Presenting as one’s own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone
else). Plagiarism includes paraphrasing or summarizing without acknowledgment,
submission of another student's work as one's own, the purchase of prepared research or
completed papers or projects, and the unacknowledged use of research sources gathered
by someone else. Failure to indicate accurately the extent and precise nature of one's
reliance on other sources is also a form of plagiarism. The student is responsible for
understanding the legitimate use of sources, the appr opriate ways of acknowledging
academic, scholarly, or creative indebtedness, and the consequences for violating
University regulations.
Examples of plagiarism include: failure to acknowledge the source(s) of even a few phrases,
sentences, or paragraphs; failure to acknowledge a quotation or paraphrase of paragraph -
length sections of a paper; failure to acknowledge the source(s) of a major idea or the
source(s) for an ordering principle central to the paper's or project's structure; failure to
acknowledge the source (quoted, paraphrased, or summarized) of major sections or
passages in the paper or project; the unacknowledged use of several major ideas or
extensive reliance on another person's data, evidence, or critical method; submitting as
one's own work, work borrowed, stolen, or purchased from someone else.
If you have any questions about the use you are making of sources for your writing, see me
before you hand in your work.
Schedule of Readings and Assignments
Week One
8/27 Introduction to the course
8/29 Reading: Chapter 2 “Reading to Write” pp. 35-62.
8/31 Draft#1 Anaphora, p. 413
Week Two
9/3 Class Suspended: Labor Day
9/5 Reading: “Introduction,” pp. 1-8, and Chapter #1, “The Neighbor,” pp. 27-34
Reader’s Journal #1.
9/7 Readings: Chapter #1, “Finding Focus,” pp. 11-26
Week Three
9/10 Rosh Hashana
9/12 Readings: Chapter 8, pp. 335-356. Reader’s Journal #2
9/14 Reading: “Insight,” pp. 311-334.
Week Four
9/17 Reading: in Forms, “Braid” pp. - 416-420. (Make sure you bring your notebook anda
pen!)
9/19 Yom Kippur
9/21 Draft #2 Braid
Week Five
9/24 Readings, Chapter 3, “Building Blocks,” pp. 110-130. Reader’s Journal #3
9/26 No Class: Rosh Hashanah
9/28 Readings, Chapter 3 “Building Blocks,” pp. 84-111
Week Six
10/1 Draft #3 - “Journey”
10/3 Readings, Chapter 4 “Images,” pp. 158-182. Reader’s Journal #4
10/5 Readings, Chapter 4, Images, pp. 133-157
Week Seven
10/8 Readings: in “Forms.” Ghazal pp. 430-432
10/10 Draft #4 Ghazal
10/12 Readings, Chapter 5, Energy, pp. 212-221. Reader’s Journal #5
Week Eight
10/15 Readings, Chapter 5, Energy, pp. 183-211
10/17 Readings: in “Forms”- Flash, pp. 426-430
10/19 Draft #5, Flash Fiction or Micro Memoir
Week Nine
10/22 Readings, Chapter 6, Tension pp. 250-279. Readers’ Journal #6
10/24 Readings, Chapter 6, Tension, pp. 222-250
10/26 Readings: in “Forms,” Play/Screenplay, pp. 442-446
Week Ten
10/29 Draft #6, One Act Play, “It’s Never About the Toothpaste”
10/31 In-class staged readings
11/2 Readings, Chapter 7, Patterns, pp. 302-310. Reader’s Journal #7
Week Eleven
11/5 Readings, Chapter 7, Patterns, pp. 280-291
11/7 Readings, Chapter 7, Patterns, pp, 292-301
11/9 Readings, in “Forms” Abecedaria, pp. 409-412, Sonnet, pp. 453 - 458, Taylor Mali,
BLS.
Week Twelve
11/12 Draft #7, Abacedaria or Spoken Word
11/14 Draft #8, Sonnet
11/16 In-class Workshops
Week Thirteen
11/19 In-class Workshops
11/21 Thanksgiving
11/23 Thanksgiving
Week Fourteen
11/26 In-class Workshops
11/28 In-class Workshops
11/30 In-class Workshops -
Week Fifteen
12/3 Individual Instructor Conferences.
12/5 Individual Instructor Conferences
12/7 Student Readings
Week Sixteen
12/10 Student Readings, Composition NoteBook Due.
12/14 Chapbookdue
p.l
University at Albany
Honors College
TENG 226W—Focus on a Literary Theme, Form, or Mode: “The Art of War”
BA Building 215, Tuesdays and Thursdays, 2:45 — 4:05 pm
Fall 2019 (Class #9511)
INSTRUCTOR
Eric Keenaghan, Associate Professor of English
Humanities Building 343 (Third Floor, English Department)
Office Phone: (518) 442-4078 (Note: Email is preferred.)
Email: ekeenaghan@albany.edu
OFFICE HOURS
Tuesdays 12:30-2:30 (walk-in); Wednesdays appt. only; Thursdays 9:00-10:00 (walk-in)
COURSE CREDIT HOURS
3 credits.
COURSE PREREQUISITES
Open only to Honors College students and English Honors students.
COURSE DESCRIPTION
Catalogue description: TENG 226 is the Honors College version of AENG 226. Exploration of
a single common theme, form, or mode using varied texts to promote fresh inquiry by
unexpected juxtapositions of subject matter and ways of treating it. May be repeated once for
credit when content varies.
Section/topic description: This course takes a multidisciplinary and cultural studies approach to
the question of the relationship between art and war during the present century and the previous
one. How has the U.S. state and American society conceived of the roles of artists in a time of
war? How have activists and political dissidents conceived of art’s ability to resist wartime
politics and to be critical of cultural and social trends during periods of war? How have public
intellectuals and philosophers intervened in articulations of that relationship? How have
American artists themselves conveyed ideas of art as having political bearing, either as forms of
direct action or as entities semi-detached from state politics? We will study aesthetic and cultural
texts from a variety of genres—film, visual arts (painting and photography), theater (dance and
drama), music (avant-garde and popular), journalism, literature (fiction and poetry, including
soldiers’ verse), even comic books—produced during and as “responses” to three major U.S.
wars: World War II, the Vietnam War, and the current so-called “War on Terror.” We will
examine these works in light of commentary about the role of art in a time of war drawn from a
variety of discourses (history, sociology, governmental publications, philosophy). The politics of
the studied literary and artistic figures will range from the conservative to the radical, the militant
to the pacifist, even the apolitical or ambivalently political. Special emphasis will be placed how
artists and their work challenge our assumptions about the relationship between art and war—
studying a range of works. Requirements will include frequent class participation, a midterm
essay, and a longer, researched final essay or creative project (witha critical write-up) that is
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developed in stages and shared with a presentation at the end of the semester.
STUDENT LEARNING OBJECTIVES
Upon completion of this course, students will be able to:
(1) Critically read various literary forms, both formally and in conversation with critical
articles, historical accounts, and discourses and artifacts from the literary period
(2) Write critical analyses of literature using secondary sources (literary criticism, social
history, artists’ craft statements)
(3) Conduct research of peer-reviewed journal articles and academic monographs about a
literary author and/or the cultural issue studied
(4) Develop a researched oral presentation on an assigned author and text
(5) Share their critical insights in classroom conversation and workshops, as members of
a community of learners and researchers
UALBANY GENERAL EDUCATION COMPETENCIES:
General education competencies fulfilled: Disciplinary Perspectives-Humanities, Intensive
Writing, Oral Discourse. See: http://www.albany.edu/generaleducation/
COURSE MATERIALS
Books are available through the UAlbany Bookstore (in the Campus Center) and at Mary Jane’s
(214 Western Avenue, at the corner of Western and Quail). Inexpensive used copies of most of
these titles are available through online retailers (such as Amazon or ABE Books). Some are also
on reserve at the Library for 3-hour loan; they are marked by asterisk (*). To save money, you
can check them out and scan or photocopy required selections. URLs to online sources and PDF
files of other required and recommended readings that are not listed below are on the class’s
Blackboard site, accessible through your MyUAlbany portal. Please have relevant materials on
hand—either electronically or as hardcopies—for class discussions. Most films are to be viewed
before class, just like reading a book, and are on reserve at the Library. Only if the syllabus
indicates an “in-class screening,” the film will be shown in class and is not on reserve.
Required textbooks for purchase:
* Howard Zinn, The Twentieth Century (Updated edition) (Harper Collins) 0060530340
* Chester Himes, /f He Hollers Let Him Go (Da Capo) 1560254459
Miné Okubo, Citizen 13660 (University of Washington) 0295959894
* Charles Reznikoff, Holocaust (Black Sparrow) 1574232088
* Tim O’Brien, The Things They Carried (Houghton Mifflin) 0618706410
* Denise Levertov, Poems 1968-1972 (New Directions) 0811210057 -- also on reserve under
the title To Stay Alive
* Mohsin Hamid, The Reluctant Fundamentalist (Harper Collins) 0156034026
** Jena Osman, Public Figures (Wesleyan) 0819573116 --- NOTE: free electronic version
available to UAlbany students through Minerva/Library card catalogue
Brian Wood, DMZ: Body of a Journalist (Volume 2) (Vertigo) 1401212476
Brian Wood, DMZ: Friendly Fire (Volume 4) (Vertigo) 1401216625
Required films for rental or library loan:
* Charlie Chaplin (dir.), The Great Dictator (Library Multimedia Reserve/Downstairs: VHS)
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** Emile de Antonio (dir.), Jn the Year of the Pig (available in its entirety on Youtube:
http://www.youtube.com/watch?v=5xdMiK YnCSQ)
Kathryn Bigelow (dir.), Zero Dark Thirty
COURSE REQUIREMENTS
Students are required to attend class, and are expected to come prepared with the assigned
materials for the day and ready to engage in seminar-style discussion about the readings after my
brief introductory lecture. See the attendance policy below.
Assignments and Examination Descriptions:
(1) Class Attendance and Participation (4 absences before penalty; automatic failure for
course after 7 absences) (20% of course grade): Seminars depend on regular class
participation and active discussion, so attendance is required. Active participation, in
the form of contributions to discussion, is required forthe Oral Discourse competency.
(2) Research Skills Worksheet (10% of course grade): Early in the semester, prior to the first
presentations, you will complete a short assignment that will provide the basics of
database research for finding academic secondary sources. That skill will be required for
both the presentation and the final project.
(3) Class Leader Presentation (5-10 minutes, based on 2- to 4-page paper, plus handout
and/or projection; 2 secondary sources) (Ungraded, but mandatory): This
assignment fulfills your first Oral Discourse requirement. Over the course of the
semester, each student will give a brief presentation that will set up the discussion of the
shared primary text by providing contextual information about a social issue addressed in
the reading, critical reception of the author, or the author’s other writings about a related
issue treated in the primary text. (You might reference an author’s biography, but you
want to do more than just give biographical information.) To provide this background
narrative, you are required to find and read two outside sources. Your presentation should
be a focused narrative, as in any critical paper. Write a short essay (2-4 pages) that will
be your script, from which you will read at a measured pace and making eye contact
occasionally with your audience. (You will not be turning in your essay/script, but it will
serve as the “first draft” for part of the essay due one week after your presentation,
described below.) Your script should synthesize your sources into a critical narrative that
will frame our collective discussion. Avoid simply reporting on your individual sources
and their narratives or arguments. Instead, use your sources to fashion your own original
narrative that supplies us a stronger sense of the primary text’s context. In your
presentation, you are not required to provide us an argument about your individual
reading of the primary text. However, you might pose a key question or draw our
attention to one scene or section of the primary text that you think is especially
interesting in light of what you have discovered about the literary text’s context. Note.
We will try to avoid having more than one presentation per class. However, in the event
that two people are presenting on the same day, they should meet and figure out
different focuses and sources for each of their presentations, so as to avoid overlap.
(4) Short Essay Based on Class Leader Presentation (5- to 6-pages, 2-3 secondary
sources at least one of which must be external) (10% of course grade): One week
after you deliver your class leader presentation, you will tur in a paper that revises and
expands your presentation. Whereas the presentation was primarily about context, you
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will want to use that context to provide a frame for your own thesis-driven critical
reading of the primary text. Given what you have discovered about the issues informing
the writing or reception of the cultural text, why is the text especially significant for its
unique spin that it puts on, or the intervention that the text makes into, that issue or
contextual concern? Focus your original critical analysis of the text on two key scenes.
Be sure to connect your discussion of each scene (i.e., don’t leave them “floating” apart).
Together, they inform your focused reading of the text.
(5) Mid-Term Essay Exam (5-7 pages, take-home) (20% of course grade): The midterm
exam will be a take-home essay, in which you develop an original, thesis-driven, and
text-based discussion about one of the assigned texts from the first six weeks of class.
You will choose from three topics, posted on Blackboard the week before the exam.
(6) Proposal for the Final Project (1-2 pages, plus an annotated bibliography and one-on-
one conference) (10% of course grade): Three-quarters into the semester, you will start
developing your final project—either a critical reading of one of the assigned texts or a
creative project plus a critical write up in dialogue with one of the assigned texts. Either
format requires a small amount of secondary research (2-3 library or journal sources in
addition to whatever you use from the syllabus). For the proposal, choose a topic. Then,
you will begin vetting sources. Compile an annotated bibliography of approximately 5
external sources (more than you need), and after a preliminary review of those sources
write a short proposal of 1-2 pages in which you detail your working thesis and (for
creative projects) the provisional plan you hope to use to execute your project. One week
after you tum in your proposals and bibliographies, you will meet individually with me to
discuss your plans and working theses in a 30-minute conference.
(7) Presentation on Your In-Progress Research (5- to 7-minute presentation, based on
2- to 3-page script, with a handout or projections; 5 minutes Q&A) (10% of course
grade): The final classes will be devoted to individual presentations of your in-progress
work. Use feedback and questions from me and your classmates about these presentations
to revise and rethink the argument of your in-progress paper or critical write up. I will
email each student her presentation grade, but my comments and suggestions will be
given orally during Q&A.
(8) Final Project (researched, 2-3 off-syllabus sources) (for critical essays, 10-12 pages
incorporating research; for creative verbal arts, 6-8 pages, plus 3-4 page critical
write-up incorporating research; for other media, project plus 3-4 page critical
write-up incorporating research) (30% of course grade): The finished product.
GRADING
Grading Scheme: graded A-E
Grading Scale:
Course Average Final Grade
93-100 A
90-92 A-
87-89 Bt
83-86 B
80-82 B-
77-19 C+
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73-76 Cc
70-72 C-
67-69 D+
63-66 D
60-62 D-
<60 E
Evaluation rubrics for graded components and assignments:
(1) Class Attendance and Participation (20% of course grade)
Attendance: There are no penalties for absences 1 through 4, each of which is
automatically excused. Between 5 and 7 absences, you lose 10 points per
excessive day from your Attendance and Participation Grade (e.g., from “B” to
“C” for 5 absences, to “D” for 6 absences to “E” for 7 absences). If you miss
more than 7 classes, you automatically fail this course. If you arrive more than
10 minutes for class, it will count as an absence. Keep track of your own
absences, as you would sick days used at a job.
Participation criteria: Active participation includes answering questions, volunteering
your insights and readings, and active listening (i.e., listening and note-taking),
and cooperating in all workshop and breakout group activities.
Note on disruptive behavior: College classrooms are learning environments, and my
classrooms are zero tolerance zones. Any disruptive behavior will receive only
one verbal warning. After that, dismissal from class will follow, and it will count
as an absence. Disruptive behavior includes, but is not limited to: sleeping;
chatting with neighbors; passing notes; using electronic devices inappropriately;
refusing to answer direct questions. Any threatening or hostile behavior directed
against me or classmates will result in: (1) my immediate notification of Judicial
Affairs; (2) the offender’s automatic failure of the course; and, depending on
one’s record, (3) possible probation, suspension, or expulsion from UAlbany.
Participation grade rubric:
A- to A = strong, active participation in discussion, workshop, & breakout groups
B- to B+ = good and active listener, but tends to speak less in general class
discussion though may be more verbal in workshop and breakout groups
C- to C+ = average to minimal participation in workshop and disciplinary issues
in class
D- to D+ = often withdrawn and not participatory in both workshop and class
E (for course) = more than 7 absences and/or other disciplinary issues
(2) Research Skills Worksheet (10% of course grade)
Evaluation criteria and grading rubric:
A- to A: Complete and excellent engagement with the materials, with strong
summaries of thesis statements, good judgment about selection of suitable
sources for the research topic, and consistently good use of MLA format
B- to B+: Generally good, but needs to strengthen account of sources’ thesis
statements and/or needs to use correct MLA format and/or needs to make
more consistently discerning judgments about sources most suitable for
your research topic
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C- to C+: Average, possibly missing information for one or more items, seems to
be a rushed job without adequate detail, needs to significantly strengthen
account of sources’ thesis statements, needs to use better judgment about
the suitability of particular sources for the research topic, and/or needs to
use correct MLA format
D- to D+: Failed to follow instructions, and/or incomplete work, and/or generally
poor quality
E: Failed to submit by due date or exceptionally poor effort
(3 and 4) Short Essay Based on Class Leader Presentation (10% of course grade) and Midterm
Exam Essay (20% of course grade)
Criteria for evaluation: basic writing mechanics, grammar, syntax; original thesis;
focused discussion; clear articulation of your original reading of a literary text, set
up in relationship to a frame narrative using sources to discuss the issue indicated
by the prompt; support for your claims with quotes from properly cited primary
and secondary texts; language from quotes are “unpacked” (i.e., explained and
interpreted to further your analysis)
Grading rubric:
A- to A: Excellent in all aspects—and an excellent and original thesis
B- to B+: Good in all aspects but needs improvement in 1 or more—and/or thesis
needs strengthening—and or/ close reading needs to be more fully
developed
C- to C+: Average for college-level writing and critical analysis, but needing
substantial improvement in 2 or more aspects—and/or no original thesis—
and/or not a strong close reading—and/or questionable choice of
secondary sources
D- to D+: Poor and substandard in most or all aspects, possibly including missing
sources
E: Plagiarized, failed to turn in assignment, or egregiously poor in all aspects
(5) Proposal for the Final Project (10% of course grade)
Criteria for evaluation: Working thesis statement in your proposal about analysis of
literary or film text (for critical projects) or about how your original work is in a
critical dialogue that extends an assigned text’s objectives (for creative projects);
research of academic sources; use of MLA format in annotated bibliography;
strong annotations of each sources’ main argument and thesis in annotated
bibliography
Grading rubric:
A-to A: Excellent in all aspects—and an excellent and original thesis
B- to B+: Good in all aspects but needs improvement in | or more—and/or
working thesis for proposal needs strengthening—and/or annotations
of sources need strengthening—and/or MLA citation generally good
but needs some corrections
C- to C+: Average for college-level writing and critical analysis, but needing
substantial improvement in 2 or more aspects—and/or no original thesis—
and/or research needs to be substantially strengthened—and/or missing
1 to 2 researched sources for bibliography—and/or irregular formatting of
bibliography entries
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D- to D+: Poor and substandard in most or all aspects, possibly including missing
3 or more sources for the annotated bibliography
E: Plagiarized, failed to turn in assignment, or egregiously poor in all aspects
(6) Presentation on Your In-Progress Research (10% of course grade)
Criteria for presentation: Presentational style (eye contact, audibility, clarity, etc.),
preparedness (working from a good script that you know well), research (strong
incorporation of at least one researched source), original thesis statement, and
discussion of at least one support from the primary text.
Grading rubric:
A to A- = Strong presentation: Organized, well-researched and focused, scripted,
strong delivery, strong thesis statement.
B+ to B- = Good presentation, but could be strengthened substantially in one or
more areas: delivery, organization, research, clarity of summary, and/or
thesis statement.
C+ to C- = Average presentation. Needs substantial work on delivery, focus,
and/or preparation. Weak critical summary and/or thesis statement.
D+ or less = Poor presentation in all aspects open to evaluation.
(7) Final Project (30% of course grade)
Criteria for evaluation for critical papers and creative project’s researched write-ups):
Basic writing mechanics, grammar, syntax; original thesis and critical focus;
focused contextual framework for analysis of primary text; focused analysis of
primary text; support with quotes from texts that are properly cited; language
from quotes are “unpacked” (i.e., explained and interpreted); appropriate number
of sources used
Additional criteria for evaluation for creative projects: Thoughtful execution of crafted
and composed project in the student’s selected medium
Grading rubric:
A- to A: Excellent overall—including an excellent original and well-supported
and well-developed thesis; excellent research that goes beyond just using
author studies and studies about the specific primary text
B- to B+: Good overall but needs crucial improvement in | or more of the
following—thesis needs strengthening (more “why this matters” argument
needed); strengthen transitions to fully realize the through-line focusing
argument; fully realize promise of critical reading by working even more
with details and language from primary text; use secondary sources to
establish context and/or critical intervention for overall argument rather
than use only for “local” supports of a reading or only to supply specific
information/statistics; some craft elements need to be better executed to
align with stated critical objective (for creative projects). NOTE: Projects
that receive less than a B are not Honors quality.
C- to C+: Average for general college population overall, and needing substantial
improvement in 2 or more of the following—no original or strong thesis;
lacking a critical focus for the analysis; mostly plot summary or character
analysis that fails to develop an argument through sustained analysis of the
primary text (working through language, images, etc.); average to poor
critical frame; sloppy or rushed execution of craft elements (for creative
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projects)
D- to D+: Poor and substandard performance in relation to most or all criteria;
and/or fails to use the required number of secondary sources
E: Plagiarized, failed to turn in assignment, or egregiously poor in all aspects.
UNIVERSITY POLICIES
Policy on Academic Integrity
All written assignments must be your own original work. If you submit any plagiarized work (no
matter how small the assignment), you will automatically fail this course, and I will report the
case to the Dean of Undergraduate Studies and to your department or program chair. (Note that if
you withdraw from the course after receiving notice of having failed for plagiarism, the Dean’s
Office will file a second Violation of Academic Report against you.) Two or more reports on file
can lead to academic probation, suspension, even expulsion. Plagiarism is more than the
wholesale copying of an entire document. The University’s definition of plagiarism is as follows:
“Presenting as one's own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Some examples of plagiarism include copying, paraphrasing, or summarizing without
acknowledgment, submission of another student's work as one's own, the purchase/use of
prepared research or completed papers or projects, and the unacknowledged use of research
sources gathered by someone else. Failure to indicate accurately the extent and precise nature of
one's reliance on other sources is also a form of plagiarism. Students are responsible for
understanding legitimate use of sources, the appropriate ways of acknowledging academic,
scholarly, or creative indebtedness.” Also note that violations of academic integrity also include
“self-plagiarizing,” or submitting the same (or similar) work for multiple courses. Claims of
supposed ignorance about if a practice constitutes plagiarism, as well as claims that the proven
plagiarism was “unintentional,” are not adequate defenses. If you are uncertain if a practice
constitutes plagiarism, ask me or another faculty member before you turn in work. Visit the
following webpage for the University’s statement about, and policies regarding, violations of
academic integrity: https://www.albany.edu/undergraduate_bulletin/regulations.html
Reasonable Accommodations
When appropriate to the assignment and the situation, students registered with the Disability
Resource Center may be eligible for extensions, alternative modes of examination, or adaptive
equipment. Reasonable accommodations will be provided for students with documented
physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you believe you
have a disability requiring accommodation in this class, please notify the Director of the
Disability Resource Center (Campus Center 137, 442-5490). That office will provide me with
verification of your disability, and will recommend appropriate accommodations. Please present
your forms from the Disability Resources Center to me at the start of the semester, and we will
discuss when alternative arrangements will be necessary for our course. For details, refer to the
Disability Resources Center webpage: http://www.albany.edu/disability/
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OTHER CLASS POLICIES:
Attendance
Please adhere to the allotted number of excused absences indicated above, in the description
above regarding the course attendance and participation grade criteria. Additional absences will
be excused only if they include your own hospitalization, religious observance, or civic duty (i.e.,
jury or military duty). All valid excuses must be documented by the Undergraduate Dean’s
Office or, in the case of hospitalizations, by Student Health Services (SHS). Except in the case of
a hospitalization, a medical note from SHS does not allow you more absences than the allotment.
For the University’s Medical Excuse Policy, consult the following link:
http://www.albany.edu/health center/medicalexcuse.shtml
Assigned Reading and Class Preparedness
* Come to class having completed the required reading. Some readings may be stylistically,
conceptually, and even linguistically challenging, so allot sufficient time to finish them.
* If you are unprepared because you have not read and/or lack assigned reading materials, I may
dismiss you. In those instances, your dismissal will count as a class absence.
Policies on Electronic Devices in Class
* Only laptops and tablets are permitted to take notes or to read the online materials being
discussed. If you use these devices inappropriately (i.e., messaging, surfing the web, etc.),
I may dismiss you for disruptive behavior.
* Smart phones are not permitted in class, either to read materials or to take notes. Silence them
and put them away upon entering the classroom, as you would when boarding a plane or
a theater. Do not put your phones on your lap or on your desk. Do not check your phone.
If your phone rings, if you look at it during class, or if you refuse to put it away, I can and
will dismiss you for disruptive behavior.
Office Hours and Email Policies
* When possible, if you have questions or concerns come see me during office hours. The advice
and feedback I can give in person is more substantial than over email. If you have another
class during regular office hours, check to see if I can arrange another time to meet you.
* All emails should be signed, and put your name and course number in the subject line.
* During the week, allow 24 hours for me to respond to all emails during the week.
* T donot check or respond to email on the weekends (i.e., Friday 5 pn—Monday 9 am).
* T do not address attendance or disciplinary issues via email exchanges. I might send you a
warning via email, but do not respond. Come to my office hours to discuss the issue.
* I do not review drafts of papers or projects via email, but I will be happy to discuss them
during office hours.
Policies for All Written Assignments
* All written assignments must feature your own original ideas and critical prose. Summary,
rehashing of class notes, and readings based on historical generalizations or inaccuracies,
will earn a “C,” at best.
* Any amount of plagiarism in an assignment leads to automatic failure for the course.
* All written assignments must be completed in order to pass the course.
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* Late assignments will be docked one full grade (“B” to “C,” etc.) per day late. This includes
each day of the weekend. J do not accept any papers one week (7 days) after the due date.
* If you require a short extension on an assignment, request it in person or by email at least 24
hours before the due date. Not all requests will be granted.
* For assignments to be submitted via Blackboard, the name of your file should be formatted as:
your last name, assignment (class number, semester). Example: “Smith, Final Paper
(ENG 358, Fall 2018).”
* All assignments should be typed or word-processed in an academic 12-point font (such as
Times New Roman), with numbered pages.
* Include a bibliography for all primary and secondary sources referenced or cited at the end of
your paper (not as a separate file).
* Every paper must demonstrate basic writing skills, ranging from grammar to sentence
mechanics to the organization and development of a focused critical argument.
* As in life, there are no “do overs” or “extra credit.” Plan, pre-write, and do your strongest
work the first time around. Come speak to me during office hours about problems or
issues with the assignment before the due date.
Inclement Weather and Class Cancelations
In the event that the University cancels one or more class meetings due to inclement weather, I
will email everyone and post an announcement to Blackboard about an alternative schedule for
the day’s assignments. In the rare instance that inclement weather makes my own commute
unsafe but the University has not canceled classes, I will notify you by email and post a
Blackboard announcement, as soon as I am able. If necessary for making up any crucial canceled
lectures, I may adjust the syllabus by replacing workshops or writing days with lectures.
COURSE SCHEDULE
Note: All readings marked “BB” are on the course’s Blackboard site. “Reserve” denotes a
reading only on 3-hour reserve at the library. “Recommended” readings are not required but will
be referenced in class. Any articles marked “Project Muse,” “MLA,” “EBSCO,” “The Nation,”
“New Republic,” etc., can be downloaded directly from the indicated database. If “BB,”
“Reserve,” or a specific database is not indicated then the reading is from a required text.
UNIT I: The Second World War (1936-1944; U.S. 1941-1944)
Week One _ Introduction to the Course: America’s “Irresponsibles” and Inaction Against
the Rise of Fascism in Europe
Tuesday, August 27
Introduction
Thursday, August 29
Howard Zinn, The Twentieth Century, from Chap. 4 (pp. 111-136)
Archibald MacLeish, “The Irresponsibles” (essay, BB)
Archibald MacLeish, The Fall of the City: A Verse Play for Radio (poetic drama, BB)
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Recommended (after reading MacLeish’s play): Listen to the original radio broadcast
of The Fall of the City, starring Orson Welles (BB)
In-class workshop (30 minutes): On the class leader presentations—Review strategies for
writing critical responses to, and critical essays about, texts in the Humanities; review
strategies for finding secondary sources for the presentation; presentation sign-up sheet;
Research Skills Worksheet handed out.
Week Two A Popular Anti-Fascist Protest of American Isolationism
Tuesday, September 3
Howard Zinn, The Twentieth Century from Chap. 5 (pp. 137-160)
Charlie Chaplin, The Great Dictator (film, Reserve or BB)
Robert Payne, from The Great God Pan (essay, BB)
Due (in class): Research Skills Worksheet
Thursday, September 5
No class (academic calendar)
Week Three Propaganda or Art?: Dispatches from the Office of War Information
Class Leader Presentations begin this week.
Tuesday, September 10
Archibald MacLeish, “Words Are Not Enough” (essay, The Nation)
National Archives, Powers of Persuasion, online exhibit of WWII propaganda posters
(various U.S. Government agencies): Browse freely but be sure to study Four
Freedoms (by Norman Rockwell) and at least three other posters from other
categories. (posters, BB)
Thursday, September 12
Muriel Rukeyser, from The Life of Poetry (poetics book, BB) and “Words and Images”
(essay, The Nation)
Muriel Rukeyser, “Wake Island,” “Ajanta,” “A Translation (from To the Unborn Child
by Hans Carossa),” and “Letter to the Front” (poems, BB)
Week Four Racism in Wartime, Part I: Nissei & Issei Internment Camps
Tuesday, September 17
Anti-Japanese representations from WWII (BB)
United States Government/Federal Delano Roosevelt, Executive Order 9066 (BB)
Miné Okubo, “An Evacuee’s Hopes and Memories” (newspaper article, BB) and
“Statement before the Commission on Wartime Relocation and Internment of
Civilians” (testimony, BB)
Miné Okubo, Citizen 13660: entire book (graphic novel)
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Thursday, September 19
We'll continue discussion of Okubo, but start reading the next text:
Chester Himes, Jf He Hollers Let Him Go: Chapters 1-5 (novel)
Week Five Racism in Wartime, Part II: African Americans & the War Industry
Tuesday, September 24
Chester Himes, Jf He Hollers Let Him Go: Chapters 6-16 (novel)
Thursday, September 26
Chester Himes, Jf He Hollers Let Him Go: Chapters 17-end (novel)
In-class workshop (20 minutes): Review midterm exam.
Week Six Imagining Atrocities: Reminding Americans of the Holocaust, As It Was
No Class Leader Presentations this week because of midterm exam.
Tuesday, October 1
Charles Reznikoff, Holocaust (poem): entire book
Robert Franciosi, from “Detailing the Facts: Charles Reznikoff’s Response to the
Holocaust” on the Modern American Poetry website (criticism, BB)
Listen to at least one sound file of Reznikoff’s reading from Holocaust (BB)
Thursday, October 3
Class does not meet: Start your exam.
Midterm “take-home” electronic exam: One essay on two texts (5-6 pages). The exam
will be available on BB Thurs. Sept. 26 at 12:00 noon (before class) and is due_
by 2:30 pm on Friday October 4.
Extra office hours Wednesday (2:30-5:00 pm) for questions.
UNIT II: The Vietnam War (1959 — 1975)
Week Seven In the Spirit of Protest, Part I: Rogue Media
Tuesday, October 8
Howard Zinn, The Twentieth Century, Chapter 7
Emile de Antonio, /n the Year of the Pig (documentary film, Reserve or Youtube)
Recommended: Rhodri Jeffreys-Jones, from Peace Now! (history, BB)
Thursday, October 10
Allen Ginsberg, “Statement Written for Authors Take Sides on Vietnam” and “Public
Solitude” (essays, BB)
Allen Ginsberg, “Wichita Vortex Sutra” (poem, BB)
Recommended: TV footage of Allen Ginsberg on Firing Line (BB)
p.13
Week Eight In the Spirit of Protest, Part II: Raising Their Voices
Tuesday, October 15
Philip Metres, from Behind the Lines (literary criticism) (BB)
Anti-war protest song anthology (Listen to any three, and take notes): Odetta (“Masters
of War’), Bob Dylan (“The Times They Are A-Changin’”), Nina Simone
(“Revolution”), Country Joe & the Fish (“I-Feel-Like-I’m-Fixin’-To-Die-Rag”),
BarryMcGuire (“Eve of Destruction”), Phil Ochs (“I Ain’t Marching Anymore”),
Buffalo Springfield (“For What’s It Worth’) (access the songs on Youtube or
Spotify)
Denise Levertov, “Politics and the Poet” and “The Poet in the World” (essays, BB)
Denise Levertov, To Stay Alive (in Poems 1968-1972): pp.103-126
Recommended: Terry H. Anderson, from The Movement and the Sixties (BB)
Thursday, October 17
Denise Levertov, finish To Stay Alive (in Poems 1968-1972)
Week Nine In Retrospect, 15 Years Later, From a Soldier’s Perspective
Tuesday, October 22
Howard Zinn, The Twentieth Century: Chapter 11
Tim O’Brien, The Things They Carried: “The Things They Carried,” “Love,” “Spin,”
“On the Rainy River,” “How to Tell a True War Story,” “The Dentist” (short
fiction)
Thursday, October 24
Tim O’Brien, The Things They Carried: “Sweetheart of the Song Tra Bong,” “The Man I
Killed,” “Ambush” “Speaking of Courage,” “Notes,” “Good Form,” “The Lives
of the Dead” (short fiction)
Week Ten Developing the Final Project
Tuesday, October 29
In-class workshop (whole class): On researching in the Humanities—How to develop the
final project and how to choose a primary text and topic; why research is important for
deepening critical studies; more about how to conduct database and library research for
critical work in English Studies. Come prepared with questions. Specifics for the Final
Project Proposal available on BB today.
Thursday, October 31
Class will not meet: Library Day. Use our usual class time to find sources and to write
your proposals. Extra office hours will be held during class time for optional, short drop-
in meetings about your individual projects.
***Final Project Proposal due by Spm Friday Nov. 1 (via BB)***
p.14
UNIT II: “The War on Terror” (2001 — Today)
Week Eleven “Realism” and the “War on Terror”:
Historical Memory, Information, and Our Surveillance Society
NOTE: Conferences about final project start this week.
Tuesday, November 5
Howard Zinn, The Twentieth Century: Chapter 14
Kathryn Bigelow, Zero Dark Thirty (film, Reserve)
Thursday, November 7
Jena Osman, Public Figures: entire book (documentarian poetry)
Week Twelve In an Alternate Universe: Bringing the War Home
NOTE: Conferences about the final project continue this week.
Tuesday, November 12
Joanna Russ, “Speculations: The Subjunctivity of Science Fiction” (essay, BB)
Brian Wood, DMZ: Body of a Journalist (Volume 2): entire graphic novel
Thursday, November 14
Brian Wood, DMZ: Friendly Fire (Volume 4): entire graphic novel
NOTE: If you have time, start reading Mohsin Hamid’s The Reluctant Fundamentalist
Week Thirteen Another Perspective on the “War on Terror”:
A Failed Dialogue on History and Difference
Tuesday, November 19
Mohsin Hamid, “My Reluctant Fundamentalist” (essay, BB)
Mohsin Hamid, The Reluctant Fundamentalist: Chapters 1-7
Thursday, November 21
Mohsin Hamid, The Reluctant Fundamentalist: finish novel
UNIT IV: The Final Project
Week Fourteen Preparing the Final Project
Tuesday, November 26
No Class: Library Day. Use our usual class time to work on your final projects and next
week’s presentation. NOTE: No office hours today.
p.15
Thursday, November 28
No Class (academic calendar)
Week Fifteen Final Presentations
Tuesday, December 3
Final Project Presentations: First third of class members
Course evaluations (15-20 minutes)
Thursday, December 5
Final Project Presentations: Second third of class members
Week Sixteen Final Presentations
Tuesday, December 10
Final Project Presentations: Last third of class members
Final Projects are due by Friday, December 13 at 12:00 noon. (I will accept projects earlier,
too, of course.) Submit all texts via Blackboard as a PDF file. (For final projects that are
visual or in other media, make arrangements with me to submit the creative portion of
your project to me in person on or before Reading Day, Wednesday December 11. You can
submit the write up electronically by the due date.) I will email comments about your final
project.
Literature and Film: The Cinema of Disaster
TENG 243 (class number: 8845) Prof. Richard Barney
Fall 2017 Office: HU 319
LC3A Office Hours: TTh 1:15-2:30 p.m.
11:45 a.m.-1:05 p.m. Office phone: 442-4062
Credit hours: 3 rbamey@albany.edu
Required Texts (at the University Bookstore):
Corrigan & White, The Film Experience, 4" ed. (2014)
Please note: be sure to purchase the 4th edition of Film Experience.
Hacker & Sommers, A Pocket Style Manual, 7 ed. (2016)
A packet of secondary readings (available at Rapid Copy; Business Administration B26; 442-3245)
Films for the course: On Reserve
Fritz Lang, Metropolis (1927) See the database Kanopy
Don Siegel, Invasion of the Body Snatchers (1956) PS2556.152.B64V.1956B
Alfred Hitchcock, The Birds (1963) PR6007.U47.B57V.1963A
Stanley Kubrick, Dr. Strangelove (1964) PR6057.E54.R4V.1963B
Gillo Pontecorvo, Battle of Algiers (1966) See Kanopy
George Romero, Night of the Living Dead (1968) PS3568.0564.N668V.1968A
Alfonso Cuaron, The Children of Men (2006) PR6060.A467.C48V.2006A
Stephen Soderbergh, Contagion (2011) PS3569.0447.C66V.2011A
Lars von Trier, Melancholia (2011) PT8176.3.R54.M45V.2011A.
Bong Joon Ho, Snowpiercer (2013) PL991.C586.S66V.2013A
University Bulletin Description for the Course:
Both films and literary works as outgrowths of their culture. From term to term the course
focuses on different periods or themes. May be repeated once for credit when content varies. T
ENG 243 is the Honors College version of A ENG 243; only one version may be taken for credit.
Description for this Semester:
This course offers an introduction to the study of film by focusing on the theme of
widespread disaster—whether political, socio-economic, biomedical, ecological, or nuclear—in
international cinema from 1927 until the present. While studying the traditional roots for a popular
interest in disaster, including Christian accounts of the end of days, students will consider
particularly how the history of the 20" and 215 centuries has informed both the dread and the fantasy
of disastrous end-making. The course will offer students a history of film in miniature regarding
relevant themes in fictional accounts that will range from the local and national devastation captured
in Gillo Pontecorvo’s Battle of Algiers (1966) to the planetary and interplanetary stakes portrayed in
Lars von Trier’s Melancholia (2011). The films will include directors from Italy, Britain, Denmark,
Germany, South Korea, and the United States. A substantial part of this course will examine the
visual and critical vocabulary by which to analyze the representation of disaster. The assignments
this semester will stress the ability to write cogent essays that effectively apply the elements of
ENG 243 / 2
cinematic form in making arguments about film.
Student Learning Objectives:
> Learn the basic building blocks of cinematic form—including mise-en-scéne, shot
construction, editing, and sound;
> Acquire an introductory grasp of historical, sociological, and psychological concepts useful
in film analysis;
> Participate in class discussions and workshops to cultivate your ability to unpack the details
of a film’s construction;
> strengthen your ability to make effective, well-organized arguments;
> improve your skills in writing clear, well-articulated prose
This course also fulfills General Education requirements by: offering an introduction to the practices
of film studies; providing multiple perspectives on approaches to the field; engaging in active
learning; and promoting critical inquiry.
This course follows the grade scale of A-E, unless students arrange for an S-U evaluation setup.
Course Requirements and Evaluation:
Quizzes 10%
Preparation and participation 10%
Papers 60%
Final Exam 20%
Papers. You will write three typed, double-spaced papers, between 5 and 7 pages. Your aim
will be both to explore and to apply the concepts and terminology we develop during class
discussion about the readings in order to write self-developed, original essays. For each assignment,
I will give you a sheet with guidelines. Should you be unsure of your topic or thesis, please consult
me. Paper deadlines are firm, and late essays will suffer a letter grade for each day they are tardy.
Papers count 60% of your final grade.
Quizzes. There will be occasional and unannounced quizzes (about ten); some may be take-
home, while others will occur at the beginning of class. If you have done the required reading, and
understand the basic plot and/or ideas, you should pass them easily. There will be no makeup
quizzes. Quizzes count 10%.
Preparation and Participation include:
= Demonstrating careful reading of all materials on schedule by asking relevant questions or
otherwise contributing to class discussions. This does not mean acquiring “mastery” of
material before coming to class. Often, good questions prove just as important as good
answers.
= Attending class regularly. Consistent attendance is a must, because the quality of the class
depends on your contribution to discussion. Be sure you are here: each absence beyond two
unexcused instances will detract from your final average by one-third (example: B > B-). I
expect you to consult with your classmates or me concerning any material you may have
missed because of absence, so that you are fully prepared when you arrive for the next class.
= Contributing actively to class discussions, group work, and workshops. Since this course is
not lecture-based, these activities cannot be successful without everyone’s involvement.
= Preparation and participation count 10%.
ENG 243 / 3
Final Exam. There will be a take-home final examination, oriented mainly around essay
questions. It will be due Saturday, December 16, at 10:30 a.m. The final counts 20%.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C
(73-76) C- (70-72) D+ (67-69) D (63-66) D- (60-62) E<60
Plagiarism: Plagiarism is a serious offense with harsh consequences. Depending on the
severity of the offense, it may result in suspension, expulsion, or a failing grade for the course. The
Undergraduate Bulletin defines plagiarism as
presenting as one’s own work the work of another person (for example, the words, ideas,
information, data, evidence, organizing principles, or style of presentation of someone else).
Plagiarism includes paraphrasing or summarizing without acknowledgement, submission of
another student’s work as one’s own, the purchase of prepared research or completed papers
or projects, and the unacknowledged use of research sources gather by someone else. Failure
to indicate accurately the extent and precise nature of one’s reliance other sources is also a
form of plagiarism. The student is responsible for understanding the legitimate use of
sources, the appropriate ways of acknowledging academic, scholarly, or creative
indebtedness, and the consequences for violating University regulations.
For details, including examples, see the Bulletin:
http:/$www.albany.edu/undergraduate_bulletin/regulations.html.
The University Library also has an internet tutorial on avoiding plagiarism:
http://library .albany.edu/usered/tutorials.html.
See also Hacker & Sommers, A Pocket Style Manual, 102-5, 110-13.
Electronic Devices. You are allowed to use laptops or tablets in class so long as they are
exclusively for the purposes of accessing course texts (e.g., via Kindle) or otherwise contributing
directly to class discussion. This is a provisional privilege, subject to being immediately revoked.
should it be abused by using such devices for other purposes (checking email, etc.); it will also incur
the additional penalty of 25% deducted from your highest quiz grade. Cell phones should be
silenced and completely out of sight during class time; any time I may see them in view other than
before class begins or after it ends will incur the penalty of 25% deducted from your highest quiz
grade, a penalty that can be applied multiple times.
Accommodation for Coursework: any students who need accommodation for learning or
other disabilities should bring this to my attention as soon as possible by providing me with
documentation of their disability from the campus Disability Resource Center (CC 137). Contact
information: 442-5490. Website: http:/Avww.albany.edu/disability/index.shtml.
Class Schedule:
Aug. 29 Introduction
Aug. 31 Packet: Sontag, “The Imagination of Disaster” (also available on Blackboard under
“Course Content”)
Nov.
Nov.
14
16
ENG 243 / 4
Metropolis (Note: for viewing, go to university library database Kanopy); packet:
production notes for Metropolis (toward back of packet); Film Experience, “Mise-
Scéne,” 63-79
Metropolis (cont.); Film Experience, “Mise-en-Scéne,” 79-93; packet: Giannetti,
“Mise en Scéne”
Invasion of the Body Snatchers; Film Experience, “Cinematography,” 95-119
Invasion of the Body Snatchers (cont.); Film Experience, “Cinematography,” 119-30
Dr. Strangelove; packet: Abrams, selection from Natural Supernaturalism, and
“Sample Shot-by-Shot Sketches” (see packet appendix)
No class
Dr. Strangelove (cont.);
Paper #1 due
No class
The Battle of Algiers (Note: for viewing, go to university library database Kanopy);
The Battle of Algiers (cont.); reading: Harrison, “Pontecorvo’s ‘Documentary’
Aesthetic”
The Birds; Film Experience, “Editing,” 133-72
The Birds (cont.); packet: Sharff, “Cinematic Structures”
Packet: Berger, selections from After the End
Essay Workshop: read “Grading Criteria” and “Directions” and mark, comment on,
and grade workshop essays #1-3 (see packet appendix)
Night of the Living Dead
Night of the Living Dead (cont.); packet: Lowenstein, “Living Dead: Fearful
Attractions of Film”
The Children of Men; packet: LaRose, “The Already Dead and the Posthuman Baby”
The Children of Men (cont.)
Paper #2 due
Contagion; Film Experience, “Film Sound,” 175-89
Contagion (cont.); packet: Wald, “Introduction” to Contagious
Melancholia; Film Experience, “Film Sound,” 189-208
Melancholia (cont.); packet: Matts and Tynan, “The Melancholy of Extinction”
ENG 243 / 5
Nov. 21 Melancholia (cont.); packet: Sinnerbrink, “Anatomy of Melancholia”
Nov. 23 THANKSGIVING BREAK
Nov. 28 Snowpiercer; packet: Nixon, selection from Slow Violence
Nov. 30 Snowpiercer (cont.)
Paper #3 due
Dec. 5-7 Review workshop for final exam
Dec. 16 Final Exam due by 10:30 a.m. (submitted digitally on Blackboard or in hard copy at
HU 319)
TENG 270 (10182) Fall 2017 ProfessorScheck, HU 322
TTH 2:45-4:15, HU027 A-E hscheck@albany.edu; 442-4070
Grading; 3 credits Office Hour: TTH 1-2 pm or by appt.
Honors Living Literature: Challenges in the 21st Century: Heroes, Thrones, and Vikings in the 21st Century
COURSE OVERVIEW AND OBJECTIVES TENG 270 is
the Honors College Version of Living
Literature: Challenges inthe
21s Century (3), which, according to the
Undergraduate Bulletin, entails thinking
critically about the relationship between the
past and the present through literary texts. This
course explores the persistence of the past in
contemporary literature or the relevance of
literary traditions to contemporary challenges.
T ENG 270 is the Honors College version of A
ENG 270; only one version may be taken for
credit. Open to Honors College students only.
This particular version of the course considers
the relationship between past and present by
exploring Vikings in their historical context and
representations of them (however fantastical) in our own time and looking forward to the future. From HBO's
Game of Thrones and the History Channel's Vikings to the US 2016 presidential election, traces of the medieval past
remain a vital part of our present as we shape our future. Why are Vikings so beloved in our era? Is George R.R.
Martin critiquing medieval power or modern in his popular Game of Thrones? Can Arthur be a king for our age, too?
What is it that the Middle Ages reveals about our ultra-modern selves? Taking up those questions and more as we
texts from early medieval literature and their adaptations in our own time, students willdevelop an understanding
of the uses of the medieval, the relationship of the present to the past and the future and consider how those
perceptions and relationships enable us to express our deepest hopes and fears and to shape--and face the
challenges of--our present and future worlds. Students will also strengthen analytical and critical thinking skills in
the process. We willread medieval texts in translation and engage a range of modern adaptations and
manifestations of them in literature, film,news, social media, and contemporary material culture to explore the
persistence of the medieval from a variety of perspectives: urban to urbane, feminist to fascist, humorous to
horrific. Assignments will include a reading journal, a creative midterm project, and a final paper. End-of-semester
projects will give students an opportunity to perform in-depth analysis of the transformation of one medieval text
in the modern age. This course meets the General Education “Challenges for the 21st Century” category.
HOW TOSUCCEED IN THISCOURSE: Recognizing that
you have many course options, I assume that you
registered for this particular course because you
are interested in the topic; I expect, therefore, that
you are intellectually committed to this course.
Assignments are structured carefully to instruct
and to challenge in different registers: literary,
historical, analytical, interpretive/critical. I hope
you will find the readings and assignments
interesting, enjoyable, and rewarding, if
challenging. If you have any difficulty
understanding or following the parameters or logic
ofan assignment, or any of the reading material,
please don't hesitate to ask in class or in private.
Course policies are meant to ensure steady
progress in completing assignments and fairness to all. Above all, courtesy and freedom of expression are
the key principles of the course and are meant to foster an open exchange of ideas. Come prepared to
engage the material and each other. Challenge yourself and the ideas promoted by the various texts, your
peers, and, yes, even (especially?) me. If you have any problems meeting these policies and expectations,
please speak with me in private so that we can devise a plan to ensure your success.
TEXTS (AVAILABLE AT THE CAMPUS BOOKSTORE)
Required
Beowulf:A Verse Translation, Ed. Daniel O'Donaghue; Tr. Seamus Heaney. A Norton Critical Edition. 2001. ISBN:
9780393975802.
Neil Gaiman. Norse Mythology.W.W. Norton, 2017. ISBN: 9780393609097 (hardcover); also available in Kindle,
Nook, and PDF formats.
John Gardner. Grendel. Knopf.
Susan Signe Morrison. Grendel's Mother: The Saga ofthe Wyrd- Wife. 2016. ISBN: 9781785350092
(paperback); 9781785350108 (eBook).
Anders Winroth. The Age of the Vikings. Princeton University Press, 2016. ISBN: 9780691169293
(paperback); 9781400851904 (eBook).
Michael Crichton. Eaters of the Dead. HarperCollins. ISBN: 9780062428882 (paperback).
NB: This text is currently out of print, but it is available new or used through various distributors except
our bookstore (!), including Amazon and Barnes & Noble. Also available as an eBook in iBook,
Google/Android, Kindle, and Nook formats. I've posted a PDF of the novel to Blackboardas well, though I
recommend one of the other options forthe sake of readability.
Some required texts will be posted on Blackboard, including but not limited to the following:
The Battle of Maldon
The Chronicle of Ibn Fadlan
Egil's Saga
Ragnar's Saga
Recommended
All college students should own (and use) a good dictionary, and a good reference grammar (writing/style guide).
If you do not have a reference grammar, | think the Broadview Pocket Guide to Writing, by Doug Babington, Don
LePan, and Maureen Okun, is a good choice. Be sure to purchase the latest edition.
Note: Students must have relevant text(s) in class. I will dismiss any student not having the relevant texts
and will mark that student absent for that day.
REQUIREMENTS AND GRADING BREAKDOWN
Course work will be evaluated on an A-E grading scale and will be weighted as follows:
Active participation (or, in the event of low participation, worksheets or quizzes) 10%
Creative midterm project 20%
Weekly reading journals 30%
Final essay 30%
Brief presentations of midterm and final projects 10%
All Assignments (Graded or Not) Must Be Completed in Order to Pass this Course.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72) D+
(67-69) D (63-66) D- (60-62) E<60
ASSIGNMENTS
Assignments will range from creative to personal reflection to critical. Guidelines will be distributed in
class in advance of each assignment and also posted to Blackboard. If you miss a class, be sure to check
blackboard for any new materials. Better yet, adjust your Blackboard settings so that you receive e-mail
notifications when content has been added.
POLICIES AND PRACTICAL MATTERS
Take detailed (and useful) notes on your reading and research as well as in class. Make good use of your
reading journal, and it should serve you well. Develop a system to organize all of the information you will
be accumulating. And SAVE everything!
Keep up! All assignments in this course, from the reading assignments to the drafts for the final paper,
build upon one another and are intricately interrelated. To neglect one aspect of the course, therefore, will
negatively affect your performance in other aspects of the course. If youare having difficulty balancing
your workload, please come see me to discuss strategies for relieving the pressure, keeping youon track, or
getting you back on track.
Attendance Policy
Perfect attendance is expected and will be rewarded. Three absences are allowed without penalty. Students
missing more than 8 classes (the equivalent of 4 weeks of classes) will not pass the course. Excused
absences are still absences, though in certain, extenuating circumstances | may offer an alternate
assignment to make up the missed work and any graded assignments due that day. Students willbe
expected to notify meas soon as possible in the event of serious illness or other extenuating circumstances
and to discuss the possibility of make-up work with me directly upon return (not two weeks or two months
later).
Lateness
Please be promptto our class meetings. Lateness is disruptive; habitual lateness displays a lack of interest
in the course as wellas a general lack courtesy. Students may be excused from the class if lateness becomes
excessive and/or disruptive or, at the very least, will receive a lowered grade.
Late Assignments
Late papers/projects, if accepted, will be heavily penalized: 1/3 ofa letter grade for each day late (i.e. from
B+ to B, forexample). Be sure to budget your time realistically in order to get all papers in on time. Since
these are mostly short essays, timely submissions should not be a problem. Late journal entries will receive
no more than 1/2 credit.
Disability Accommodation
Any student having a disability is entitled to reasonable accommodation once the condition has been
documented and the student is registered with the Disability Resource Center. If you believe youhave a
disability requiring accommodation in this class, please notify the Director of the Disability Resource
Center (Campus Center 137, 442-5490). That office will provide me with verification of your disability, and
will recommend appropriate accommodations.
Disruptive Behavior
This course is based on the active and open exchange of ideas, and therefore the classroom environment
must be such that all feel comfortable voicing their opinions, sharing their work, challenging (politely)
perspectives or statements, critiquing a classmate’s work, etc. Rudeness will not be tolerated. Other forms
of disruptive behavior include inappropriate comments, dozing, texting, other forms of disengaged
behavior or resisting instruction, arriving late, leaving early, leaving during the class session (particularly
during collaborative work), even for a short time. Obviously there are times when one may need to leave
the classroom to tend to an emergency, or someone may unwittingly blurt out something inappropriate,
but those should be rare exceptions. And just because one person needs to leave the room does not give
license to others to follow suit. Disruptive behavior may result in dismissal from the class session and/or
referral to the Office of Conflict Resolution and possibly dismissal from the course.
Notes on Technology
Use of electronic devices is permitted in class ONLY for the purposes of accessing the relevant course
text(s) forthe day unless otherwise instructed. Students using e-texts will need to show meat the
beginning of class, Inappropriate use of laptops, smart phones, tablets, etc., will result in dismissal from the
class for that day, in which case I will also mark you absent (whether the offense occurs at the beginning or
end of class).
Technology Failure
Computers are wonderful innovations, but they are not flawless. Hard drives crash, flash drives/CDs can
become unreadable, printers can run out of ink or toner, etc.,and we all know how easy it is to lose or
misplace a flash drive or CD. These things happen routinely; they seem to happen especially when there is a
lot at stake (i.e.,a paper due). I regret that | cannot waive penalties in these instances. Sometips for
computer use: be sure to back up your work frequently and regularly, always save to morethan one place
(flash drive/S drive/CD if you cannot save to a hard disk, for example), protect your media (don’t just
throw them in your bag), do not wait until the last day to complete your paper, especially if youare relying
on shared computer equipment, always bring your own paper and memory device (CDs, disks, thumb drive,
etc.) for use on campus, keep an extra toner or ink cartridge available. The Help Desk is a wonderful
resource, but they cannot work miracles.
Academic Integrity
Plagiarism and other forms of academic dishonesty will not be tolerated. Unless otherwise stated, all work
is to be conducted and produced individually and all work submitted must be the student’s own, unless the
assignment specifically calls for collaboration and/or external sources; external sources must be properly
credited. Students should familiarize themselves with the University's policies on academic dishonesty (see
the Undergraduate Bulletin: https://www.albany.edu/undergraduate_bulletin/regulations.html). Such
acts will result in a failing grade for the assignment and, quite possibly, the course. ALL incidents of
academic dishonesty will be referred to the Office of Judicial Affairs. To learn more about plagiarism and
how to avoid it, view the “Plagiarism 101” informational website and tutorial at
http://library.albany.edu/usered/plagiarism /index.html,
TENTATIVE COURSE SCHEDULE
(Assignments are due on the day indicated. Reading schedule may be adjusted according to our pace.)
AUGUST
31
SEPTEMBER
OCTOBER
29 Course Introduction
Explorations: 1. Read/view/listen to items in the folders within the Vikings in Pop
Culture content folder. I'd like you to read the articles carefully and view/listen to at
least one song and one commercial fully and then sample the rest. 2. On your own,
find some examples of medieval objects, events, rituals, and/or myths in our
culture, whether in the news, in controversial debates or protests, on the shelves at
the grocery store, on TV commercials and billboards, etc. Let's see how many we can
collectively come up with. Think kings, queens, thrones, crusades, as well as figures
like King Arthur, vikings, and Robin Hood, 3. Complete your first journal entry
reflecting on vikings and medievalism in popular culture. (This entry will not
follow the guidelines. Just write about what you've found. At least 300 words.)
5 Winroth, Age of Vikings
7 Age of Vikings
12 Gaiman, Norse Mythology
14 Norse Mythology
19 Battle of Maldon; Risala of Ibn Fadlan; Essay on adaptation theory (all on BB)
21 No Class. Rosh Hashanah.
26 Beowulf
28 Beowulf
3 Gardner, Grendel
5 Grendel
10 Morrison, Grendel's Mother
12 Grendel's Mother
17 Discussion of Beowulf and Grendel (to be viewed independently)
19 Discussion of Zemeckis's Beowulf (2006)
24 Crichton, Eaters of the Dead
26 Creative midterm project due. Brief Presentations (3-5 minutes).
31 Eaters of the Dead (ctd.)
NOVEMBER 2
Discussion of Thirteenth Warrior (to be viewed independently). Special Journal
Entry (and basis of class discussion): Consider the terrain we've traversed thus far.
What aspect(s) do you find most interesting, and why? Think about the surprises (or
disappointments?) our readings and discussions have revealed. 600-900 words.
7
)
14
16
21
23
28
The Legends of Ragnar Lothbrok
Discussion of Vikings, Season One (to be viewed independently)
Discussion of Vikings, Season One (to be viewed independently)
Discussion of Vikings, Season One (to be viewed independently)
Discussion of Vikings, Season One (to be viewed independently)
No Class. Thanksgiving.
Final paper proposal workshop. Post final paper topic to BB by 11:59 pm.
30 Final paper proposals due; workshop on argumentation and structure. Bring
all relevant books and notes.
DECEMBER 5
7
Course wrap-up. Course Evaluations.
Last Class. Final paper overview and progress reports. 3 minutes each.
Bring print copy of presentation script to submit (about 450 words)
Final Paper due Thursday, December 14, by 5 pm.
Instructor: Dr. Ineke Murakami Course section: 9790
Semester: Fall 2018 Meeting:T, R 11:45-1:05, BB 133
imurakami@albany.edu Office: HU 328
Hours: T 1:10-2:10 and by appointment Phone: 518-442-4072
British Literary Traditions I: From the Anglo-Saxon Period through Milton:
Honors College
TENG 291
Course Description:
T ENG 291 British Literary Traditions I: From the Anglo-Saxon Period through Milton (3)
Representative works from the Anglo-Saxon period through the 17th century, with attention to
necessary historical and intellectual background information as well as reflection upon the
concepts of literary history, period and canons. TENG 291 is the Honors College version of A
ENG 291. Only one version may be taken for credit. Open to Honors College students only.
This course is a survey of major works in the English literary tradition, from the Anglo-Saxon
period to the late Renaissance. As the word “survey”—from the Latin super (over) and videre (to
view)—suggests, this course involves moving swiftly through a select overview of a recognized
literary tradition, from Beowulf to Paradise Lost. While we will try not to entirely overlook some
of the writers who tend to slip from such surveys—women and non-elite writers—you should
regard this course as an introduction to what is, in fact, a much richer, more heterogeneous field
than we can possibly cover in the span of a single semester. While exploring some of the artistic,
historical, and philosophical issues that preoccupied writers in the British Isles for centuries, we
shall sample diverse genres and characters who have influenced writers and filmmakers from
Tolkein to Benioff and Wiess (“Game of Thrones”). Expect to read two premodern epics, plenty
of lyric poetry, drama, and some prose.
A note on types of English courses:
c English Seminars (300-400-level classes) are usually organized around one particular
author, school of writers, or topic in what is often a single temporal period (i.e. the
Harlem Renaissance of North America’s 1920s). Asa result, seminars focus in depth on
a small amount of primary texts and some key criticism. Seminars also explore
theoretical approaches that illuminate particular texts, to give students a deeper
understanding of the texts and topic of the course.
ce Surveys like English 291 offer an opportunity to gain breadth of knowledge as a
complement to the depth gained in seminars. British Literature I covers many historical
periods and is organized in a rough chronology to give you a sense of the changes in
form, literary style, and sociopolitical landscapes in relation to the particular culture in
which a text was produced. Surveys contribute to:
¢ literary knowledge—a.k.a. the sense of being “well read.”
¢ historical knowledge.
¢ greater clarity about what you enjoy and don’t enjoy in literature. Surveys are like
a quick tour of a large region (in this case, about 900 years of English writing):
you take in a few highlights, meet some interesting characters, and these may
convince you to return to places you liked for a more extended stay.
ce The large number of texts covered in 291 means that theoretical and critical readings
have been kept to a minimum. To save time and keep your homework focused on
literature, my discussions will add to and/or point out landmarks in the short historical
readings of our primary reader, The Norton Anthology. This information reflects the
critical consensus of centuries of critical scholarship (i.e., peer-reviewed books, articles,
and conversations at conferences and elsewhere with premodem studies communities).
Objectives:
© To deepen knowledge of literary history
« To clarify historical trends in the development of English as a literary language
© To stimulate thinking about how writers in historically remote cultures used writing and
oral forms to promote, challenge or come to grips with their culture’s beliefs, values, and
habits
©% To develop skills of literary interpretation based on close textual analysis
«% To strengthen analytical and argumentative writing
«© To introduce some fundamental literary forms, terms, and concepts
Satisfies the following Gen. Ed. Reqs.: Humanities and International Perspectives
Required Texts: (available at UAlbany Bookstore unless otherwise indicated). Use ISBN
numbers to assure that you have the correct editions:
¢ Liuzza, R.M., Beowulf, 2"4 edition, ISBN: 978-1554810642
¢ The Norton Anthology of English Literature: The Middle Ages, Volume A. 10" edition.
ISBN: 978-0393912494 (literature and all short introductions)
¢ The Norton Anthology of English Literature: The Sixteenth Century/Early Seventeenth
Century. Volume B. 10* edition. ISBN: 978-0393912500 (literature and all short
introductions)
¢ ERes (electronic reserve) material, including YouTube or audio clips and web pages
assigned on schedule. Available through Blackboard dropdown menu.
¢ Norton Topics Online. See ERes on Blackboard for links to these very short articles
¢ Shakespeare, William. Macbeth. Eds. Mowat and Werstine. Folger Shakespeare Library,
ISBN: 978-0743477109
* Coursepack at Rapidcopy: $5.40. Trailer in parking lot across from Social Science Bldg.
You may opt to print everything out yourself, instead of buying the pack, but remember:
the library charges $ .10/page, whereas the coursepack breaks down to $ .5/pg.
Requirements and Evaluation: graded A-E, S/U
1. Preparation and participation 15%
2. Middle English Pronunciation quiz 5%
3. Four short papers 45%
4. Midterm and Final exams 35%
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) € (73-76) C-
(70-72) D+ (67-69) D (63-66) D- (60-62) E<60.
1. Preparation and participation consist of the following:
M Demonstrated reading. Excellent students may find a text baffling but they try to work
through it by marking up the text with questions for later discussion or to provide
evidence to support in-class comments. Marking up a text is a standard active reading
practice in English studies (for a quick refresher, see Princeton’s active reading
strategies at https:/Amcgraw princeton.edu/active-reading-strategies).
Tip: if you want to sell your books back, use Post-It Notes to write in your text.
You are responsible for ALL of the texts assigned, whether we cover them in class or
not; they may show up on quizzes.
ALWAYS BRING YOUR BOOKS AND/OR ANY OTHER TEXTS IN
HARDCOPY TO CLASS! If you are unprepared because you have not read and/or
lack your book or other materials, you may be dismissed from class and marked
“absent” for the day.
M Class Discussion and group work. We learn by asking questions and working things out
through the intellectual labor of discussion (with your classmates as well as with me).
Even small assignments, like the “Middle English Pronunciation Quiz,” will contribute to
your sense of the period’s literature. I strive to make the classroom an environment that
facilitates active learning; in return, I expect to see you engaged.
- Any disruptive behavior will receive One verbal warning. After that, dismissal
from class will follow, and it will count as an absence. No exceptions. Disruptive
behavior includes but is not limited to: sleeping or dozing off; using electronic
devices; excessive bathroom breaks when not ill; working on things other than
work for our class.
M Regular class attendance. Attendance is mandatory. This is a fast-paced course, so
missing even a day will put you behind. You may miss three classes—no excuses
necessary—before your grade drops by 1/3" letter grade (and 1/3" letter grade with
each subsequent absence). If extenuating circumstances arise (illness, etc.) please
contact me as soon as possible to discuss make-up work. You are responsible for
keeping track of your own absences. Lateness is disruptive, so three late arrivals or
early departures will be the equivalent of one absence. If you arrive late, see me after
class to make sure I mark you present for the class.
M Daily Check of UAlbany e-mail. University policy requires students to check their
UA\lbany e-mail account every day. I use e-mail regularly to communicate important
changes to the schedule, clarify assignments, and occasionally add something to in-class
conversations.
M Electronic devices. Turn them off and keep them off in class. Take “old school” notes.
Studies show handwritten notes improve understanding and retention (see ERes articles
“Why No Electronics in Class” I and II for evidence). If you text, make or receive a call,
etc., it is disruptive behavior. I will ask you to leave, and it will count as an absence.
Middle English Pronunciation Quiz: Due: October 2 and 4
Early in the semester, you will sign up to recite 4-5 lines of a Middle English lyric poem for
the class. The assignment (see “Assignments” on Bb Contents pg.), also requires you to come
prepared to answer questions about your poem (for this, see steps 1-5 of Krier’s “Elements of
Poetry” ERes). Middle English poetry, like Chaucer’s, neither scans nor rhymes well without
the correct pronunciation. To bungle it, or read only a modernized version, is to deprive
yourself of the poem’s charming musicality and often its wit.
3.
Four short papers. See “Assignments” on Bb Contents pg. Paper length: one page each,
single spaced. All students must complete the Word Definition Essay. After this first
essay, you may choose an additional three essays to write from the options listed
below. Two choices (in bold) are creative assignments.
1. The Word Definition Essay, due: Sept. 28
2. The Poetic Conceit Essay OR A Sonnet, due: Oct. 12
3. The Poetic Stanza Essay OR Two Spenserian stanzas, due: Oct. 30
4. The Dramatic Monologue Essay, due: Nov. 5
5. The Epic Speech Essay, due: Dec. 5
Late paper policy: I do NOT accept late papers. If you need an extension on an
assignment, please contact me as soon as possible--at least 24 hours before the paper is
due.
Paper grading criteria: See general “Grading Criteria” and “Grading Pyramid” on ERes.
Turning in Procedure: On or before the due date/time, please upload your polished paper
to the assigned link created for each assignment on Blackboard, “Contents” page. You will
receive comments and grades on these papers through Blackboard.
Two exams. There will be two exams: October 16'* and December 13". The first exam
covers the first half of the course, and the final exam covers the second half. Both exams
share the same basic structure: each exam has three sections. The first two sections ask
for identification of passages and the definition of literary and/or cultural terms. The
third section asks you to write on a short excerpt of your choice. You are responsible
for all assigned readings, even if we have not discussed them in class. This includes
historical “background” material, although the exams put somewhat less emphasis on this
(but knowing that an excerpt from a poem was performed by a scop near a fire in the sixth
century, and not, say, passed around in manuscript between witty, university-educated
friends in the sixteenth century will help).
Students with a Documented Disability, and Athletes:
Please provide me with a copy of the memo listing any accommodations you require as soon as
possible. I am happy to accomodate. If you require exams at the Disabilities Resource Center
(DRC), we will make sure your quizzes are as close to the regularly scheduled time as the DRC
can manage. You are responsible for scheduling with the DRC, and for letting me know when
you are scheduled so I can send them the quiz. All deadlines apply unless you require an
accommodation. I can only provide these with the above-mentioned form. If you are an
athlete, traveling for competition, please give me a copy of your schedule; I will work with you
to turn in your work earlier rather than later to keep you from falling behind.
Tips for Success:
* Plan ahead. Assign yourself due dates for each paper that will allow you time to draft,
revise and polish a paper before turning it in fora grade. You may turn papers in early, if
it makes your workload more manageable—just let me know in advance. Also, I have
tried to make Tuesdays heavier reading days than Thursdays, so please plan accordingly.
* Your margin notes in your books can be seeds for papers (and this is a good habit to get
into for upper level classes, anyway). Stay alert to the odd detail (like the Wife of Bath’s
“gat toothed” smile), contradictions in the text, or to alienating concepts. These may lead
to interesting papers.
»* Read the sample essays. These are successful essays from past 291 students. See our Bb
EReserve page if you’re looking for a model.
* Take plenty of notes in class. You can always recycle what you don’t use, and
experience confirms that those who take excellent notes do the best in this course.
* Use my office hours to get extra help with your reading (Middle English and Early
Modern English can be challenging) or to get questions answered. I am also easy to reach
through email, and am happy to clarify course materials or answer questions by email, as
well.
Academic Integrity a.k.a. do not plagiarize. Depending on the severity of the offense, it may
result in suspension, expulsion, or a failing grade for the course.
See full text in Undergraduate Bulletin:
http://www.albany.edu/undergraduate_bulletin/regulations. html.
“Every student has the responsibility to become familiar with the standards of academic integrity
at the University. Faculty members must specify in their syllabi information about academic
integrity, and may refer students to this policy for more information. Nonetheless, student claims
of ignorance, unintentional error, or personal or academic pressures cannot be excuses for
violation of academic integrity. Students are responsible for familiarizing themselves with the
standards and behaving accordingly, and UAlbany faculty are responsible for teaching,
modeling and upholding them. Anything less undermines the worth and value of our intellectual
work, and the reputation and credibility of the University at Albany degree.”
Reproduction of this material is prohibited without the author’s consent.
© 2018, Ineke Murakami
British Literary Traditions I: Honors
Fall 2018
Schedule (subject to change)
BL = Beowulf, Liuzza translation; CP = Course packet; E= ERerves; Mac = Macbeth; NAA = Norton Anthology
A; NAB = Norton Anthology B; NTO = Norton Topics Online (Bb), SV = short video linked to ERes
Week | Date In-class Activity Reading due
1 Aug. 28 | = Introductions Class syllabus and schedule
+ Englishes via email: Deutscheraug, NYT article: "Does
Language Shape How You Think?"
Aug. 30 | Early Middle Ages NAA: "The Middle Ages," 3-8, "Old
S he Dream of the Rood" and "The English Poetry," 8-11; "Dream of the
Wife's Lament" Rood," 33-37; "Wife's Lament,"123-5; BL:
+ Context and beginning of Beowulf Prologue + Fitt 1 only
2 Sept. 4 Beowulfand its cultures NAA: "Beowulf intro.," 37-42, BL: Fitts 3-
= Discuss Conditions of production 23; SV: Beowulf, Bagby
Sept.6 | "A great high barrow-” themonumentsofmen | BL: Beowulf, Fitts 24-43
= Finish Beowulf
3 Sept. 11 High Middle Ages NAA: "Romance," 158-9; "Marie de
= Discuss "Lanval," lais, and legends France," 159-60; "Lanval," 171-185; and to
prep for Thurs. start "Medieval English,"
20-25; NTO:4Middle Agesaread "King
Arthur: Romancing"
Sept.13 | = Discuss Chaucer's General Prologue NAA: "Geoffrey Chaucer,"256-61;
= Practice reading Chaucer's Middle English "Canterbury Tales, Gen. Prologue, 261-282;
aloud SV: Cant. Tales-Luminarium and rap
versions
4 Sept.18 | Late Middle Ages NAA: "Miller's Prologue + Tale," 282-298;
= Discuss "Miller's Tale" and estates satire NTO: "Medieval Estates and Orders aTexts
& Contextsaread "Estates Satire"
Sept.20 | "Wife of Bath's Prologue” and catch up day NAA: Middle English Literature in 14th-
= Discuss the Wife's Prologue 15th century, 14-20; Chaucer, "The Wife of
Bath's Prologue," 300-319.
5 Sept.25 | Women in the Middle Ages NAA: Chaucer, "The Wife of Bath's Tale,"
* Discuss "The Wife of Bath"
* Sign up to read 4-5 lines of Middle English
lyric aloud (sheet will circulate)
* Discuss ME oral quiz
319-328; skim Middle English lyrics
assigned for Oct. 2 to get sense of what you
want to read; Bb: read "ME oral quiz"
assignment in Assignments
Sept.27 | = Discuss "The Nun's Priest's Tale" NAA: Chaucer, "The Nun's Priest's Tale,"
* Finish "Wife of Bath" 344-360; CP: Krier, Elements of Poetry";
Word Essay due 9/28- upload to BB ~-Keep practicing Middle Eng.
pronunciation aloud! Middle English oral
quiz next class--
6 Oct. 2 = Discuss Middle English lyrics + musicality CP: Hope,"Medieval Graffiti"; NAA: ME
= the commons lyrics, 531-534; Incamation lyrics 428-9;
Middle English Lyric Pronunciation Quiz SV: all "Middle English Lyrics" clips; Terry
Jones's "Medieval Peasants," see Contents
Week | Date In-class Activity Reading due
6 Oct. 4 Early Modernity NAB: “English Language in 16th.” xcvi;
16th Century Petrarch + Wyatt, Rima190+ Whoso List,"
= sonnetas thinking machine "They Flee," 118-126; Surrey "Assyrian's
= Continental influences, English Petrarchism King," 136-7; Shakespeare #18.#20,#116,
#129,#130; Anne V. Locke, "Meditation,"
505; Spenser #67 E: "Mary Q ofS to
Elizabeth"; CP: "English Petrarchism"
7 Oct. 9 Encounter literature and World Trade NAB: Eden "Equitorial Africa" 622-626 E:
= England and the Wide World Frobisher's Voyages to Arctic; CP: Habib,
Shakespeare's Colors." E: Interactive Pre-
Columbian Food Origin Map. Come to class
with the name of ONE food or ingredient
you like in a Euro-American dish whose
origin surprised you
https://blog.ciat.cgiar.org/origin-of-crops/
Oct. 11 | Theatrum mundi, language and the purpose- NAB: Marlowe, Doctor Faustus, Scene 1-4,
built theater 679-91; SV: Globe Theatre, Virtual Tour;
* Marlowe's mighty line
- A word about the Midterm
Essay 2 due 10/12 - upload to BB
MT Oct. 16 = Discuss Doctor Faustus NAB: Marlowe, Doctor Faustus, Scene 5-8,
8 = Midterm Exam 691-704; NTO:16th C read "Magician,
Heretic, and Playwright"
Oct. 18 = Discuss Doctor Faustus NAB: Marlowe, Doctor Faustus, Chorus 3
until end, 704-715
9 Oct.23 | The Faerie Queene, formsand purposes CP: Tips forreading the FQ; NAB:
= neomedievalism/fan fiction? Spenser, Intro to FQ, 247-49; FQ, Proem,
Book 1, canto 1-3, 253-289
Oct. 25 = Discuss The Faerie Queene NAB: Spenser, FQ Book 1, canto 4-6,289-
327; SV: Portraits & Propaganda, Elizabeth
I
10 Oct.30 | = Discuss The Faerie Queene NAB: Spenser, FQ, Book 1, canto 7-9, 327-
365; Sidney's "Defense of Poesy," Poet as
Essay 3 due - upload to BB Prophet, 550-552
Nov. | = Finish The Faerie Queene NAB: Spenser, FQ, Book I, canto 10-12,
365-406
11 Nov. 6 17th Century: Poetic Reactions to Petrarchism | NAB: The Early Seventeenth Century,
= Discuss "Metaphysical" lyrics, and Cavalier 1603-1660, 891-893; John Donne "The
poetry Sunne Rising," "The Canonization," Holy
Sonnet #14; Andrew Marvell, "To His Coy
Mistress"; George Herbert; "Redemption";
Ben Jonson,"On My First Son"; Robert
Herrick,"To the Virgins"; Katherine Philips
"A Married State" (look up poets in Table
of Contents for pg #s)
Week | Date In-class Activity Reading due
11 Nov. 8 Original practices and Globes, Old and New Mace: Acts 1-2; + intro. material"The
= Discuss Macbeth Theatrical World" ix-xv; SV: "17th
Century, a Virtual Reconstruction"and
“Original Pronunciation of Shakespeare"
12 Nov. 13 | = Discuss Macbeth Mae: Acts 3-5; CP: Scott," Discovery of
Witchcraft," Gifford, "Subtle Practices"
Nov. 15 | Milton, Paradise Lost NAB: John Milton, Paradise Lost, Book I,
ssay 4 due - upload to BB 11/16 1495-1514; CP: Paradise Lost Outline
13 Nov. 20 | * Discuss Paradise Lost NAB: Milton, PL, Book 2 and Book 3, lines
1-56 + 571-689; NTO: Early 17th
c.4Paradise Lost in Context, read Civil
Wars of Ideas
Nov. 22 | Class suspended -Thanksgiving break
14 Nov. 27 | * Discuss Paradise Lost NAB: Milton, PL Book 4, lines 1-540;Book
= Gender norms and subversion 5 entire; NTO: Early 17the. read Gender,
Family, Household and aTexts and
contextsa excerpts, Petition of Women;
read M. Fell, "Women's Speaking Justified"
Nov. 29 | = Discuss Paradise Lost, heavenly or carnal NAB: Milton, PL, Book 6, lines 1-406;
love; the felix culpa Book 7 argument only; Book 8, lines 521-
653; Book 9 entire
15 Dec. 4 Out of Eden "with wand'ring steps and slow" NAB: Milton, PL, Book 10 entire; Book 11
Finish Paradise Lost argument only; Book 12, lines 606-649
ay 5 due - Dec. Sth upload to BB
Dec. 6 Review Day - bring notes + questions
Dee. 13
Final Exam: 10:30-12:30
usual room
College/School: College of Arts and Sciences
Department: English
Course: TENG 295 #9380 — Classics of Western Literature (3 credits) Fall 2018
TTH 11:45 — 1:05 - SS 116
Instructor: Helen Elam
Office: HU 342 Office Hours: 1:15 — 2:15 & by appt.
Email: helam@albany.edu
Course: Classics of Western Literature: Introduction to classics of westem literature from
Antiquity through the Renaissance, with attention to necessary historical and intellectual
background information.
Course description: Classics of Western literature: Ancient Epic to Modern Drama
This course will focus on the movement from epic to drama in the Western tradition. Starting
with the epic (Homer, The Iliad) we will read classical drama (Aeschylus, Sophocles, Euripides),
17th century drama (Shakespeare, Moliére, Racine), and four modern dramatists (Ibsen,
Chekhov, Brecht, Beckett). The course will address the sweep of literary history with attention
to historical context, with emphasis of the transformations of genre — from epic to drama.
** This course fulfills International Perspectives requirement.**
Pre — requisites: TENG 295 is the Honors College version of A ENG 295; only one version may
be taken for credit.
Objectives:
1. Give students an idea of the sweep of narrative tradition in the West, from ancient epic to
modern drama.
2. Give students a grasp of literary form by tracing its transformations from an oral epic (Homer)
to ancient drama (Aeschylus, Sophocles, Euripides), to 17" century drama (Shakespeare,
Moliére, Racine), to modern drama (Ibsen, Chekhov, Brecht, Beckett).
3. Give students a sense of the historical context of each, as well as the sweep of history in 23
centuries.
4. Help students write concise and lucid essays on topics relating to the above.
Assignments aiming at those objectives:
1. Lectures opening up to general class discussions — where participation is part of the grade.
2. Workshops and presentations — on specific issues arising from close readings of texts on
syllabus.
3. Writing practices — three papers, one of the first two possibly leading to term paper, all geared
to close reading as well as culturaV/historical analysis. Topics will be offered for each writing
assignment, but students will also be encouraged to generate their own topics in relation to the
readings.
Please see attachments: a) syllabus b) paper topics
Student Learning Assessment:
Attendance (assumed perfect)
Class participation 10%
Midterm 20%
18‘ paper 20%
In-class essay 20%
Final paper 30%
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C- (70-72) D+
(67-69) D (63-66) D- (60-62) E<60
Requirements:
1. Absolutely faithful attendance. (By the third cut the grade goes down. By the fifth cut you
will have failed the entire course, regardless of work completed, and should take the
requisite paths to drop the course.)
Weekly responses, due every Tuesday at start of class.
Class participation. (I may call on you and expect you to be prepared.)
Paper #1 (3 pp.) due Thurs. Feb. 21
Midterm Thurs. March 14
Paper #2 (5 pp) due Thurs, April 11
Paper #3 (7 pp) due Tues. May 7
ENC AND ara d
8. Essays # 2 and 3 (final paper) must use two or more critical sources (as below or
from your library or JSTOR or other research).
9. Please note: Please note: all written work must credit sources appropriately and use quotation
marks where necessary. Additional information about academic integrity:
http://www.albany.edu/undergraduate_bulletin/regulations.html
Plagiarism requires a report to the Dean of Undergraduate Education and will entail all of the
following: a) E for paper b) E for course c) judicial review. For further information on what
constitutes plagiarism, see http://library.albany.edu/usered/plagiarism/
10. Re proper classroom behavior, you will be expected to turn off ALL tech devices for class
duration.
Schedule of readings:
Jan. 24-29: Introduction
Jan. 31-Feb. 14: The Iliad
Feb. 19-21: The Oresteia
Feb. 26-28: Oedipus the King & Colonus
March 5-7: The Bacchae
March 12: review of ancient world
March 14: Midterm
March 19-21: no classes
March 26-28: Hamlet
April 2-4: 12 Night
April 9-11: The Misanthrope
April 16-18: Phaedra
April 23: Hedda Habler
April 25: The Cherry Orchard
April30: The Caucasian Chalk Circle
May 2: Waiting for Godot
May 7: last class--rethinkings
Brief bibliography
Homer
Richard P. Martin: The Language of Heroes: Speech & Performance in the Iliad
Cornell, 1989
Mihoko Suzuki: Metamorphoses of Helen: Authority, Difference and the Epic
Cornell, 1989
Mark W. Edwards: Homer, Poet of The Iliad. Johns Hopkins, 1990.
E.R. Dodds: The Greeks and the Irrational
Hugh Lloyd Jones: The Justice of Zeus
Cedric Whitman: Homer and the Heroic Tradition
Franco Ferucci: The Poetics of Disguise
Robert Garland: The Greek Way of Death. Cornell, 1988
Laura M. Slatkin: The Power of Thetis: Allusion and Interpretation in the Iliad
U of Calif, 1992.
Keith Stanley: The Shield of Homer: Narrative Structure in the Iliad. Princeton,
1993.
James M. Redfield: Nature and Culture in the Iliad: The Tragedy of Hector.
Duke, 1993.
Jean Pierre Vernant & Vidal Naquet: Myth and Tragedy in Ancient Greece.
MIT, 1988.
Aeschylus
Nicole Loraux: Tragic Ways of Killing a Woman. Harvard, 1987.
Jean-Pierre Vernant & Pierre Vidal-Naquet: Myth and Tragedy in Ancient
Greece. MIT, 1988.
Bernhard Zimmaermann: Greek Tragedy: An Introduction. Johns Hopkins, 1989
Richard Kuhns: The House, the City, and the Judge
Martin Bernal: Black Athena
Sophocles
Cedric Whitman: Sophocles: A Study of Heroic Humanism
Lowell Edmunds: Oedipus: The Ancient Legend and its Later Analogues.
Johns Hopkins, 1990
Pietro Pucci: Oedipus and the Fabrication of the Father. Johns Hopkins, 1992
Rebecca Bushnell: Prophesying Tragedy: Sign and Voice in Sophocles! Theban
Plays. Cornell, 1988.
Euripides
Gilbert Murray: Euripides and his Age
Philip Vellacot: Ironic Drama
Cedric Whitman: Euripides and the Full Circle of Myth
Shakespeare
Northrop Frye: Fools of Time (on tragedy)
A Natural Perspective (on comedy)
Robert Heilman: This Great Stage
John Drakakis, ed: Alternative Shakespeares
Parker & Quint, eds: Shakespeare and the Question of Theory
Moliére
Lionel Gossman: Men and Masks
Jacques Guicharnaud: Moliére: A Collection of Critical Essays
Racine
Roland Barthes: On Racine
Lucien Goldmann: Racine
The Hidden God
Roy Knight, ed: Racine
Beckett
Martin Eslin, ed: Sameul Beckett: A Collection of Critical Essays
Samuel Hoffman: Samuel Beckett: The Language of the Self
Thab Hassan: The Literature of Silence
Hugh Kenner: Samuel Beckett
James Knowlson: Damned to Fate (biography)
Simon Critchley: Very Little, Almost Nothing
Basic critical text: Homer to Brecht, ed. Seidel & Mendelson
TENG 295 - Classics of Western Lit - Ancient Epic to Modern Drama
Helen R. Elam
Topics for first paper, 3 pp., due Thurs. Feb. 25, on email to helam@albany.edu
Choose one of the following:
Li
The Iliad is at times surprising for the insults one character may level against another.
Sometimes it is a matter of warrior vs. king; sometimes an argument between friends.
Discuss the role that insults play in this text, keeping in mind a) the way they fuel the action
b) the way they outline the depiction of human relations in that era and outline both the range
of what is permissible and a boundary that is/is not crossed.
This topic asks you to dwell on the relations between deities and humans, but to do so ina
very narrow way. Choose one scene in The Iliad that brings to the foreground something
interesting and problematic, and outline (discuss) what is at stake.
Choose one character in The Iliad (other than the obvious Achilleus) who in your view
exemplifies the problem of honor in this text. Outline what the problem is and how it is
deployed by this character.
The Iliad is for the most part a war front, where violence and brutality seem to be part of
daily life. Yet also in this text are human relationships that spell out intimacy between one
human being and another. Without going for the obvious—Achilleus and Patroklos—discuss
what shapes intimacy takes in this text.
The Iliad, in terms of its plot, knows little other than war scenes. Yet it also gives spaces to
imaginings of a more peaceful life. Discuss the effect of such imaginings on this text.
If you are into action scenes, take up one description of a battle and focus not on ‘blow by
blow’ account but on what it tells you about the nature of confrontation in the ancient Greek
world.
This topic follows upon the preceding, but is at some distance from it. Discuss the role—the
weight—of description in Homer. To be more precise: assume that description does not
merely render what the action is, but is itself “action.” How would you go about making
such an argument’?
As you may have read in all major newspapers over the past two days, the impact of Anthony
Scalia’s death brings to the foreground, yet once more, the question of “how to read” the
Constitution. Should there be a strict (I think the recent word is ‘originalist’) reading, or
should its words be read between the lines, ‘interpreted.’ Political careers advance, retreat,
rise, fall, over this question. Choose one or two scenes in The Iliad where ‘reading’—in a
pre-literate culture—concerns itself with the impossibility of literal meanings: with having to
‘read between the lines.” Perhaps a more precise articulation of this topic might be: discuss
the difference between sign and meaning in this text.
10.
Its
13:
This is another version of #8 above. The poet, in an ancient word in which he is the purveyor
of culture, the one who conveys culture from one generation to the next because his stories
will be remembered, fusses over two concepts in The Iliad: ‘truth,’ and ‘rumor.’ Youcan
ask me where a couple of those references occur if you wish. This topic asks you to think
about the variances of this conflict between truth and rumor in The Iliad, and how they
are/are not resolved.
The Trojan War begins with the theft ofa woman. The Iliad begins with the theft of yet
another. These ironies punctuate the text, but the idea of ‘theft’ is much broader than any
specific ‘object.’ This topic asks you think of what is ‘given,’ what is ‘taken,’ what
constitutes ‘balance,’ what constitutes the disruption of it.
It could be said that all action in The Iliad revolves around a corpse. And so does it in
Aeschylus’ Oresteia. Discuss. [This argument could be furthered as the main issue in a play
outside our scope this term—Sophocles’ Antigone. ]
. Though the gods intervene in The Iliad to prevent the mutilation of Hektor’s body,
mutilation of a corpse is not unusual in this text. This question asks you to think of several
intersecting concepts: the body in this ancient Greek world; the notion that in Hades “there is
left something, a soul and an image, but no real heart of life in it”; the tremendous
investment, personal as well as tribal, in a lifeless body; and the way in which that body-no-
longer-body signals a space repeated elsewhere through The Iliad in which it is no longer
possible to tell the difference between the living and the dead. Be careful—keep it focused.
Inthe Agamemnon, Cassandra remarks at one point that “there is no god of healing in this
story.” This is an unexpected statement, since Apollo is the presiding deity, and he is at once
the god of contamination and purification. Discuss the notion of healing in the Oresteia
(what does healing mean? Is it an individual thing? A social issue? The closure or resolution
of a problem?) and analyze the ending of the trilogy in relation to this notion.
. Though the gods intervene in The Iliad to prevent the mutilation of Hektor’s body,
mutilation of a corpse is not unusual in this text. This question asks you to think of several
intersecting concepts: the body in this ancient Greek world; the notion that in Hades “there is
left something, a soul and an image, but no real heart of life in it”; the tremendous
investment, personal as well as tribal, in a lifeless body; and the way in which that body-no-
longer-body signals a space repeated elsewhere through The Iliad in which it is no longer
possible to tell the difference between the living and the dead.
. We expect a name to identify a character, but often in The Iliad gods and men carry two
names. There may be cultural explanations for this (family name, etc.), but the effect goes
beyond the explanation. Consider this quotation, from Abel, in an essay by Freud entitled
“The Antithetical Sense of Primal Words”: “If everything that we can know is viewed as a
transition from something else, every experience must have two sides; and either every name
must have a double meaning, or else for every meaning there must be two names.”
. Homer’s style is known for its similes. They are extended comparisons which
comprise within themselves a little story. The typical structure is the opening of “as
when,” and the progression of the simile layers the main story, extends it, thickens it.
Take for instance the opening of Book 16—the comparison of Patroklos to a little girl
crying to its mother. Or Book 3, 1. 250—“as cicadas who through the forest...” by way
of describing the old men watching Helen’s progress approaching along the tower. This
question asks you think about style as more than a vehicle for the story, but as
constitutive of what is being said.
17. The question of justice appears crucial in tragedy, yet it is difficult to arrive at a clear
definition of it in the context of any of the plays. Discuss a problem in the conception,
definition, articulation of justice in The Oresteia, Oedipus the King/Colonus, and/or The
liad. If you have read ahead to The Bacchae, you may use it too. Oneline of questioning
you might pursue is whether there is any relationship between the gods and justice. Another
line of inquiry might be the various “resolutions” arrived at in different texts.
==Alternative: discuss the notion of healing in the Oedipus cycle, and read the ending of
Colonus in terms of healing or the impossibility of healing. You may address both plays if you
wish.
==Or, you may cut across Homer, Aeschylus, and Sophocles on the question of healing. If you
work with Homer, make sure you deal with the scene between Achilleus and Priam in the last
book.
18. In both Aeschylus and Sophocles, there is a certain idealizing of wisdom: wisdom as that
which comes from experience, from suffering, from being able to look at the world without
flinching, and so on. Toward the end of The Bacchae, a different version of wisdom is
articulated: “What is wisdom? What gift of the gods / is held in honor like this: / to hold
your hand victorious / over the heads of those you hate?” This is a difficult passage and you
may make a close reading of it the focus of your answer. Is the Chorus who utters it simply
way off? Does the passage suggest that wisdom is no longer linked to justice but to revenge?
19. One of the marks of a tragic character is his or her isolation from the family, the group, the
society. Unlike Jocaste, who can conceive of suicide as a solution, Oedipus moves alone and
bears his knowledge alone. It is thus unusual to find, in the context of tragic form, strong
friendships that tend to diminish this essential solitude. Take as your topic for this question
the notion —and the possibility—of friendship in the texts that we have read. What does it
involve, where can it be found, what are the consequences for tragic or epic form.
20. It could be argued that the problem Oedipus the King raises is wholly a question of
“reading” or “interpreting.” The prophecy that guides Oedipus’ actions functions as a text
with a riddled meaning: the plague brought on years later by Apollo functions as a text
which the community cannot understand; the words of Teiresias are difficult for Oedipus to
penetrate. When Teiresias says that his words “miss the mark” (and thus can be understood
as hamartia, as tragic error, he is making a specific point and also raising a general problem
of interpretation. Discuss the notion of error (and its twin notion of “wandering”) in the
Oedipus cycle: is error the very definition of life and thus unavoidable: synonymous with
21
22.
23.
24
25:
26.
27.
mistake and thus to be avoided? A wondering of the soul in which one is never oneself and
always “beside oneself”? Does does Oedipus Colonus address, resolve, put aside, or
highlight the question of error, of interpretation, of reading?
. Spaces are important both in narrative and in dramatic terms. Take one of the texts that we
have read and focus on the use of space (either dramatic space, on stage, or images of that
space, such as the crossroads in Oedipus). Then discuss how space is more than just a place
where things happen: how it activates or advances dramatic action.
In texts, as in life, we are often confronted with a set of signs or directions that are not easy to
“read” or to “interpret.” For the sake of efficiency, we decide meaning and we move on. Yet
every one of the texts we have read so far can be said to do the very opposite: to halt, and to
dwell on a problem that is in some sense insoluble. Take as your topic one or two scenes
from the texts that we have read so far where there is a problem in understanding, where
understanding is not easily arrived at, or not at all, and discuss the importance and the effect
of such scenes on the text(s).
Mythic characters return in different texts. Take one character who returns (Agamemnon in
iad and Oresteia, Helen in Iliad and Oresteia, Teiresias in Sophocles and in Euripides, etc)
and discuss how the characters operate in different texts and in different literary forms.
Please do not limit yourselves to “compare and contrast”; rather, once you have done that, as
yourselves—‘so what’?
. As long as the human world moves in prescribed or at least intelligible ways, prophecy is
possible. Prophecy depends on the future being a little like the past, that is, on rules or
modes of behavior in time, and space, and human beings remaining somewhat constant. Yet
we see between Sophocles and Euripides a historical and a dramatic shift in modes of
behavior, in the theatrical representation of those modes, and in the possibility of foretelling
the future. Everything appears more uncertain, and the gods seem to have nothing to do with
it. Discuss this tension between prophecy and uncertainty and the ways it operates in any of
the texts that we have read.
When Achilleus says that he des not need the kind of honor Agamemnon offers, because he
has honor “by the ordinance of Zeus” or “at the disposal of Zeus,” he is making a far
reaching statement about honor and about human and community relations. Discuss this
perception of honor and its consequences. Careful here—this question is too broad right
now. Find a wedge, give it boundaries.
So far in this course, we have encountered three cities: Troy, Argos, and Athens. Cities are
more than clusters of human communities. They are organizations with certain ideals, and as
such they beckon to their citizenry, or to the enemy. Discuss the way at least two of these
cities function in some of the texts that we have read.
One of the most persistent and critical issues that frames these texts is death—how characters
deal with it, how it enables or disables their reactions to life, how it affects or even
determines their values. Take two characters from different texts and discuss.
28.
29.
30.
31s
32.
33.
Nature seems to be a sort of forgotten text in what we have read this term, yet nature is active
and often with huge consequences. The most obvious instance of its devastating activity
might be in The Bacchae, but we also find specific uses or instances or forces of nature at
work in Oedipus Colonus and perhaps also in The Iliad. Discuss nature in some of the texts
that we have read. One line of argument might be the tension between city and nature (as in
Bacchae), but then again the borderlines between them might not be all that clearcut.
In both The Bacchae and Midsummer Night’s Dream there is a play of forest and city.
Characters move from one to the other, but the passage is not exactly the same, and the
consequences are certainly different. Take as a your subject the way the forest functions in
each of these plays, taking care to understand the purpose the forest serves from the point of
view of the city and the position of the forest at the end of each play.
Cross-dressing is more than just putting on the dress of another, or diminishing the distance
between the sexes, or expressing friendship. Cross-dressing is a critical factor that forces us
to rethink the borderlines that we are used to and that appear to us as normal and universal.
Cross-dressing attacks such borderlines, so it is more than a passage between two different
things: it is a critique of those borders or limits, of the classifications which we accept as
normal. Discuss TWO episodes of cross-dressing in the texts that we have read, and be
careful to outline whether they constitute such a trespass of borders, and with what
consequences. Think, for example, of Achilleus’ armor; of Bottom “translated” into
something he both is and is not; of Pentheus in woman’s dress.
Though the gods intervene in The Iliad to prevent the mutilation of Hektor’s body,
mutilation of a corpse is not unusual in this text. This question asks you to think of
several intersecting concepts: the body in this ancient Greek world; the notion
that in Hades “there is left something, a soul and an image, but no real heart of
life in it”; the tremendous investment, personal as well as tribal, in a lifeless body;
and the way in which that body-no-longer-body signals a space repeated elsewhere
through The Iliad in which it is no longer possible to tell the difference between the
living and the dead.
We expect a name to identify a character, but often in The Iliad gods and men carry
twonames. There may be cultural explanations for this (family name, etc.), but the
effect goes beyond the explanation. Consider this quotation, from Abel, in an essay
by Freud entitled “The Antithetical Sense of Primal Words”: “If everything that we
can know is viewed as a transition from something else, every experience must have
two sides; and either every name must have a double meaning, or else for every
meaning there must be two names.”
Homer’s style is known for its similes. They are extended comparisons which
comprise within themselves a little story. The typical structure is the opening of “as
when,” and the progression of the simile layers the main story, extends it, thickens it.
Take for instance the opening of Book 16—the comparison of Patroklos to a little girl
crying to its mother. Or Book 3, 1. 250—“as cicadas who through the forest...” by
way of describing the old men watching Helen’s progress approaching along the
tower. This question asks you think about style as more than a vehicle for the story,
but as constitutive of what is being said.
10
TENG 295 — Midterm
H. Elam
Choose ONE of the following:
1. The ancient Greeks (not unlike political observers today) were intent on reading the portents
of the gods. These came to them as signs, usually deployed in nature, and the task of the witness
was to connect sign and meaning (or, as we saw in Agamben, signifier and signified). Choose
one or two “scenes of reading” in any of the texts we have read, and articulate the process of
reading and, perhaps, the problem or the difficulty with it.
2. One way the Greeks had to ascertain meaning was through prophecy. Yet prophecy
(articulated in words) was no clearer than natural signs. In one scene in the Agamemnon the
chorus comments to Cassandra that they know Greek and yet her words are hard to read. Choose
one prophecy in any of the text that we have read and discuss the almost inevitable mis-reading
or mis-hearing, and the consequences of that failure.
3. Choose a line from any one of the texts that we have read and argue why that line constitutes
for you the very center of the story.
4. The Oresteia proposes a connection between crime and punishment that might come under the
heading of “justice.” Yet it does not do so without residue. Discuss the resolution offered by the
third play: purification (or absolution) and its remainder.
5. Electra in_Libation Bearers is at times a shadowy figure, because she appears hesitant in her
desire for action. She asks, can I ask this and not be wrong in the gods’ eyes. Yet she may be as
powerful a figure as Cassandra in the first play. Discuss.
6. Take up your least favorite character in all the texts that we have read, and discuss why.
7. As we move from epic to drama, conflict plays itself out within the family—usually in terms
of a violent break of a relationship. No relationship appears more intense than that between
mother and child. Discuss.
11
TENG 295
Second and third paper topics
Helen Elam
1. In The Bacchae, the crucial scene (or rather, the crucial act) is not witnessed directly by the
audience by recounted by a messenger. Discuss the role of messenger in Bacchae, but also you
might consider expanding to consider the messenger in the Oedipus cycle.
One way to go at this issue might be While you are at it, do not neglect the problem of
“signification” posed in the Agamben essay in relation to Oedipus and the Sphinx. That issue
cuts across most of the texts we are reading this semester.
2. The chorus is an important feature in ancient Greek plays, and it evolves even within the
period of one generation. Discuss either or both of the following: how the chorus changes from
Aeschylus to Sophocles to Euripides, and/or how it disappears in later centuries, or is picked up
by some other character in some other function. In other words, who offers commentary on the
action, if that is the role of the chorus, and how does the site of that commentary shift, if at all, in
later centuries.
3. Ophelia: it may be that her main action is her song, which is both an acceptance of her
marginalization and a refusal of it. Discuss the function of her song.
4. In Twelfth Night, the action and the thinking focus of the play comes down to “the letter”:
both in the sense of Maria’s/not Maria’s letter and in the sense ofa single letter, or a single not
necessarily connected series of letters, as in M, O, V, etc. The problem the play poses, in this
sense, is the meaninglessness of “the letter” and yet the importance of its authentication. That is
not an issue this play resolves. Discuss. (And once again, I refer you to Agamben’s essay on the
problem of signification.)
5. And, you might discuss #5 above in terms of how Feste’s end song responds to the problem
of the letter, with a song, with repetition, with weather. Be inventive, but not as inventive as
Malvolio...
6. In Moliére’s Misanthrope, one character (Alceste) aims to distinguish himself from the rest.
Relate this aim to the aim that fuels Achilleus’ actions in The Iliad. You might consider here the
problem of a) authenticity and b) the problem of whose ultimate judgment is invoked. Don’t
forget to discuss the ending of each text and the way that ending might relate to this issue: the
isolation of Achilleus and the metaphorical desert of The Misanthrope.
7. Philinte comments to Alceste that Alceste and Céliméne could hardly be more mismatched.
This is a dangerous topic if you just want to play and don’t know what you’re doing, so be
careful. Play soap opera and match the characters, explaining, in the psychology of Moliére’s
play, what fuels your decisions.
12
8. The sonnet and the folk song in The Misanthrope collect many of the debates and tensions of
the play. Discuss these two texts, highlighting in particular the issues of nature vs. commerce,
speaking from the heart vs. convention, and so on.
9. In The Misanthrope, Moliére makes a sustained description or critique of society and the
effect that “the world” has on the various characters. Take one character—such as Celiméne—
and explain just what effect society has on her, on the way she perceived herself, on the relation
between how she sees herself and the way others see her. Does society draw her towards self-
definition? Away from it? Can you think of characters in other texts who are under similar
pressures? How do they react, and they react differently, what does the difference suggest?
10. One could read Phaedra in terms of a tug of war between the demands of the world, typified
by the nurse (Oenone), and absolute demands, typified by Phaedra. The nurse wants it possible
for love, etc., to be normal. But Phaedra, and tragic characters in general, are marked by excess.
Discuss this tension between the logic of tragedy and the logic of everyday life. Be careful—DO
NOT DRIFT.
Or-- Racine’s Phaedra puts into evidence the disparity between the tragic and the
everyday. Discuss how this is achieved.
11. Racine’s Phaedra is based on gesture, or rather, on the almost total absence of it. Think
through the texts we have read, and choose a gesture (I do not mean an action, I mean a gesture
towards an action) that is so fraught with significance that it directs the focus of the work. Be
thorough, be inventive, go read through the works, find an important spot. First, find what
“gesture” means (from the Latin, “gestation.”)
12. Racine’s Phaedra addresses the fateful and riveting importance of the gaze. Especially
because characters hardly look at one another, the gaze that might occur between them holds
them in thrall—a “fateful” look. Discuss, and connect to other gazes we may have met in the
texts that we have read.
13. Theseus in Racine’s Phaedra is the one character who crosses boundaries, who can move
between the living and the dead. If one were to assume that by definition a tragic character has
to be bound by time, that is, bound by that boundary, how would you create a play focusing on
Theseus that might be tragic in its action despite the fact that its main character could not be by
definition “tragic.” Be careful with this one: don’t indulge in creativity unless you are sure
where you are going.
14. So far in this course we have encountered several cities: Troy, Argos, Athens, Thebes,
Paris, and so on. Cities are more than clusters of human communities. They are organizations
with certain ideals, and as such they beckon to their citizenry, or to the enemy. Discuss the way
at least two of these cities function in some of the texts that we have read.
15. One of the more forgettable elements in reading a play that was meant to be performed is the
fact of an actor playing a role. Some plays account for, that is, consider at some level, the fact of
the actor, and make acting a critical issue in the plot. While the most obvious and well known of
13
such plays is Hamlet, some other plays that we have read point in the direction of the actor and
highlight the fact that this meant to be hidden of go unperceived. Take this theatrical self-
consciousness as your subject, and discuss the context and the consequences.
16. And while you think of a certain consciousness of performance (as in #5 above), do not
forget Twelfth Night, where a male actor plays the part of a woman who dresses as and plays the
part of a male. Think of crossdressing in terms of a certain theatricality, a certain performative
act by which one person inhabits the space of another. And connect to the play you are choosing
to read.
17. We expect plays to be performed, on stage, with not only language but visual displays. This
question asks you to think differently about a play: to discuss which of the plays we have read
would suffer least from not being performed on stage.
18. Inthis course we have seen a few judges and judgments: Judge Brack in Hedda Gabler, the
jury in The Oresteia, the trial in The Misanthrope. All these cases, either directly or tangentially,
take up the question of what is right or proper, ethical or just. Discuss the concept of the trial in
two of these plays, focusing on the function of the trial, on what it is supposed to bring out, and
what it does bring out.
19. Hedda Gabler and Phaedra appear opposite when it comes to stage directions. Ibsen is
prolific and detailed, whereas Racine gives almost none. Discuss stage directions as an active
principle in drama, focusing on the difference they make on the way they participate in and
become part of the text. Focus on one or two plays, but you can invoke others if you wish.
20. When Juliana’s sister dies in Hedda Gabler, Juliana talks about getting herself another
invalid to care for. Nothing could be as explicit about parasitical relations as Juliana’s attitude
and her way of defining herself. Take up the issue of parasitical relations and focus on one or
two texts where the parasite/host relation is highlighted and problematic. While you are thinking
of Juliana, don’t forget Pentheus/Dionysius, etc. Hedda too.
21. Beckett’s Waiting for Godot and Shakespeare’s Hamlet are a likely pair in terms of the
problem of action. Hamlet cannot act because he knows how to “act,” and Vladimir, Estragon,
etc promise themselves action that they grow too weak to perform. In both plays characters
address time as a problem—time is out of joint in Hamlet, and the stopping of a clock causes
panic in Godot. This is a difficult question conceptually, so make sure you do not let it get too
broad and run from you.
22. In many of the texts that we have read, characters wrestle with the problem of originality—
whether they can lay claim to an authentic being, or whether they are copying somebody else,
something else. Achilleus wants authentic honor, Alceste wants to be distinguished from the
crowd, Arsinoe prophesies that Celimene will be a carbon copy of her as she gets older, Hamlet
refuses to repeat the character of a revenge player, Georg is jealous of Lovborg’s manuscript,
and Twelfth Night keeps the problem of the copy active and stirring throughout the play. Focus
on no more than one or two segments where the tension between copy and original, between
what is authentic and what is not, fuel the play.
14
23. Referencing the previous question, how does Beckett respond to this trope of change in
Waiting for Godot—a play where it has been argued that nothing happens? What is the
significance of a lack of events in Godot? Incorporate discussion of other plays in your
discussion.
24. Examine the trope of "madness" as it occurs in the plays that we have read. A word of
caution: do not simply stick to Hamlet! Madness is a pronounced theme in many of the other
plays as well—for instance the Bacchae, Hedda Gabler, Twefth Night, and even (it can be
argued) The Misanthrope. How does madness function in these examples? How does it enable or
disable characters (in action and in speech)? What is madness anyway? DO NOT GO
HAZY/FUZZY on this question.
25. Brecht. A judge who takes bribes but will not be swayed by them, and creates a golden age
from which he swiftly disappears. What to make of this play, which Brecht defines as “epic
theater,” seamless action, no curtain, in relation to the kind of “epic narrative we have seen in
The Iliad and which later drama both continues and transforms. It may be that the “messenger”
question (question #1) is active and stirring in Brecht.
15
Paul Stasi pstasi@albany.edu
English T 297/9786 3 units Office: HUM 338
T Th: 2:45—4:05 PM HU 123 OH: T Th 1:30-2:30
Fall 2018: Postcolonial Literary Traditions
Course Description (from the course bulletin): Representative works of the formerly
colonized world, with attention to necessary historical and intellectual background information.
Works to be chosen from at least three regions beyond Europe. Pre-requisites: TENG 297 is the
Honors College version of A ENG 297. Only one version may be taken for credit.
And more specifically: The phrase “postcolonial literature” has become a kind of catch-all,
designating works written by countries that have been colonized, which is to say, most of the
earth. But the word “postcolonial” is itself confusing. Does it designate a historical period? If so,
does that period encompass all the time since the initial colonial encounter, or only those years
after the end of formal political rule? Or is the term, rather, an ontological one, describing the
culture(s) produced by colonialism? And if this is the case, how is it possible to construct a
single story out of the disparate histories of colonial countries? In this course we will attempt to
answer some of these questions by reading texts from India, Africa and the Middle East. Our aim
will be to understand both what such texts have in common with each other, but also to attend to
the different situations out of which they emerge.
Required Texts: Chinua Achebe, Things Fall Apart; Tayeb Salih, Season of Migration to the
North; Assia Djebar, Children of the New World; Salman Rushdie, Midnight's Children;
Arundhati Roy, Ministry of Utmost Happiness; Rabih Alameddine, J the Divine. Books are
available at the Campus bookstore. Short course reader available at Rapid Copy.
Course Policies: The grade breakdown is as follows: 20% participation + presentations; 40%
paper #1 (5-7 pages); 40% paper #2 (6-8 pages) and must include research (discussed in more
detail in class). Participation is discussed in more detail below. Presentations: at the beginning of
each class a student will be responsible for connecting the current day’s reading to what has
come before. (Every student will do this twice during the semester). You will also have the
opportunity to revise your first paper should you wish.
Participation: Class participation does not, simply, mean coming to class, nor does it mean
logging in one superficial comment per day. It means, instead, that you are engaged in the
course and making your best attempt to come to terms with the material. This can be
demonstrated in class or in office hours. You are allowed 4 excused absences for whatever
reason. After that your participation grade will suffer. I will take an automatic 1/3 grade off for
each day you miss after the first four (meaning the highest possible grade you can get for
participation if you miss five classes is an A-, six a B+, etc.) If you miss ten or more classes
you automatically fail the course. If you attend class regularly but never speak or come to
office hours, the best you will get for participation is a B. If I catch you text-messaging I will
throw you out and mark you absent. I will also mark you late if you come to class afterI take
attendance (and absent if you come to class partway through). Two lates equals an absence.
Grade Scale: A (93-100) A- (90-92) B+ (87-89) B (83-86) B- (80-82) C+ (77-79) C (73-76) C-
(70-72) D+ (67-69) D (63-66) D- (60-62) E<60
English 297 2
General Education: This course fulfills the International Perspectives General Education
Requirement. As such, it will enable you to demonstrate:
« aknowledge and understanding of the history, cultures and/or traditions of any region,
nation, or society beyond the United States; and how that region, nation, or society relates
to other regions of the world
¢ anunderstanding of a region or culture from the perspective of its people(s)
* an understanding of the reciprocal interactions between individuals and global systems
« an ability to use the analytic tools of a specific discipline to engage in comparative and/or
historical analyses of cultures, nations, and regions
* an understanding of the economic, political, historical, and cultural relationships between
different world regions resulting from contact, interaction, and/or influence
Student Learning Objectives:
« students will be able to compare and contrast the experience of colonialism in the Middle
East, South Asia and Africa
« students will demonstrate the ability to integrate secondary material into a paper of their
own devising
¢ students will be able to think both conceptually and historically about the experience of
colonialism
« students will learn to reflect on the complex relationship between colonized and
colonizing cultures
Electronic Devices: You must have all electronic devices turned off and stowed away during
class. Even the most attentive of us can not resist the internet when it is directly in front of us.
You must read — and bring — actual books to class, so that we can look at them, cite them and
discuss them. You will not get very far in Midnight's Children if you try to read it on an iPhone.
Email: I am happy to answer questions through email, but I would ask that you hold to the bare
minimum of communicational etiquette. Recall that Iam an English professor and try to include
grammar and actual English words in your email. Salutations are welcome.
Academic Integrity: It should go without saying that all work must be your own. Any use of
outside sources, including general information taken from the internet, must be appropriately
cited. Here is the University’s definition of plagiarism: ‘Presenting as one's own work the work
of another person (for example, the words, ideas, information, data, evidence, organizing
principles, or style of presentation of someone else). Some examples of plagiarism include
copying, paraphrasing, or summarizing without acknowledgment, submission of another
student's work as one's own, the purchase/use of prepared research or completed papers or
projects, and the unacknowledged use of research sources gathered by someone else. Failure to
indicate accurately the extent and precise nature of one's reliance on other sources is also a form
of plagiarism. Students are responsible for understanding legitimate use of sources, the
appropriate ways of acknowledging academic, scholarly, or creative indebtedness.” Should you
be caught plagiarizing, you will fail the course and your violation will be reported to the
University. Quite simply, there is no purpose to higher education if you wish me to rubber stamp
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someone else’s work. I spend all my time reading student work and published papers. Do not
test me. Every semester I catch someone plagiarizing. Don’t let it be you.
Disability Resources: Reasonable accommodations will be provided for students with
documented physical, sensory, systemic, cognitive, learning and psychiatric disabilities. If you
believe you have a disability requiring accommodation in this class, please notify the Director of
the Disability Resource Center (Campus Center 137, 442-5490). That office will provide the
course instructor with verification of your disability, and will recommend appropriate
accommodations. See http://www.albany.edw/disability/prospective-new.shtml
Websites:
Additional information about academic integrity:
http://www.albany.edu/undergraduate_bulletin/regulations.html
About the general education program:
https://www.albany.edu/generaleducation/general-education-categories.php
About the DRC:
http://www.albany.edu/disability/prospective-new.shtml
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Schedule of Readings:
Week 1: 8.28; 8.30
Day 1: Introduction
Day 2: Nancy Armstrong, “How Novels Think”; Franco Moretti, “Conjectures on
World Literature”
Week 2: 9.4; 9.6
Day 1: Dipesh Chakrabarty, “Postcoloniality and the Artifice of History”
Day 2: Chinua Achebe, Things Fall Apart (Part One, chapters 1-6; pgs 3-51)
Week 3: 9.11; 9.13
Day 1: Things Fall Apart (finish Part One, pg. 125)
Day 2: Things Fall Apart (Parts Two and Three)
Week 4: 9.18
Day 1: Tayeb Salih, Season of Migration to the North, (up to page 73)
Week 5: 9.25; 9.27
Day 1: Season of Migration (finish the novel)
Day 2: Frantz Fanon, “Algeria Unveiled”
Week 6: 10.2; 10.4
Day 1: Assia Djebar, Children of the New World, (1-116)
Day 2: Djebar, Children, (117-end)
Week 7: 10.9; 10.11
Day |: Battle of Algiers
Day 2: Battle of Algiers
Week 8: 10.16; 10.18
Day 1: Salman Rushdie, Midnight’s Children, (Book One, through end of “Under the
Carpet”; Paper #1 due
Day 2: Midnight's Children (finish Book One)
Week 9: 10.23; 10.25
Day 1: Midnight's Children (Book Two, through “My Tenth Birthday”)
Day 2: Midnight's Children (Book Two, through “Movements Performed by Pepperpots”’)
Week 10: 10.30; 11.1
Day 1: Midnight's Children (finish Book Two, Book Three through “Sam and the Tiger’)
Day 2: Midnight's Children (finish Book Three)
Week 11: 11.6; 11.8
Day 1: Arundhati Roy, Ministry of Utmost Happiness, chapters 1-2
Day 2: Ministry of Utmost Happiness, chapter 3
English 297
Week 12: 11.13; 11.15
Day 1: Ministry of Utmost Happiness, chapters 4-7
Day 2: Ministry of Utmost Happiness, chapter 8
Week 13: THANKSGIVING
Week 14: 11.27; 11.29
Day 1: Ministry of Utmost Happiness, chapters 9-12
Day 2: Rabih Alameddine, / the Divine, pgs. 1-99
Week 15: 12.4; 12.6
Day 1: Alameddine, / the Divine, pgs. 100-201
Day 2: Alameddine, J the Divine, pgs. 205-end
FINAL PAPER DUE 12.11 AT 5:00 PM
