ENG 206-MA: Modern British Literature from 1800 to 1950, Fall 2021
CRN 11076
Monday and Wednesday 2:00-3:15 pm, Room G-109

 

Mary Shelley, Frankenstein

Brian T. Murphy

Bradley Hall, Y-16
516-572-7718

e-mail: brian.murphy@ncc.edu

Schedule and Office Hours
 


 

 

Creative Commons License

This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.

 

Description

Objectives

Texts

Policies

Assignments

 Grading

Schedule

Links

Important Announcements and Updates: Click HERE
 

Print-friendly syllabus (Microsoft Word) here.

Other printable documents:
Model for Evaluation of Student Writing
 Works Cited page (Instructions & Sample)
Cover Page for Research Essays (Sample)
Standard MLA Format for Essays
Revision and Editing Checklist
Incorporating Sources
Paragraph Outline
Essay Outline

 

DESCRIPTION:
Students are introduced to major British writers from the late 18th century to the mid Twentieth century, roughly 1950. Writers such as Wordsworth, Arnold, Dickens, Woolf, Eliot, Yeats, and Du Maurier are studied. Each work is read both for understanding of its aesthetic form and for its relationship to the events and ideas of its historical time. Writing is an integral component of the course.
SUNY GEN ED-GHUM; NCC GEN ED-HUM, LIT, WESH

Prerequisite: ENG 102 or ENG 103 or ENG 109.

This is an introductory course in British literature from the Romantic and Victorian periods to contemporary time. Students do not need to have taken ENG 205 (Early British Literature)  before taking this course; however, it is assumed that students have successfully completed the prerequisites for this course or their equivalent. Therefore, students are expected to have the necessary background and experience in analyzing, discussing, and responding to written works, as well as the ability to conduct independent research and to write correctly documented research essays using MLA format. Students are cautioned that this course requires extensive reading, writing, and discussions; students not prepared to read and to write on a regular basis and to take an active part in class discussions should not consider taking this course.

COURSE GOALS AND LEARNING OUTCOMES:
 


Course Goals

Learning Outcomes

Writing Literacy: to produce precise, clear,   grammatically-correct, well-developed, and well-organized writing appropriate   to academic, social, and occupational fields;

Students will produce coherent texts within common college level forms and revise and improve such texts.

Critical Thinking: to be able to question information and to use reason to determine what to believe or what to do;

Students will identify, analyze, and evaluate arguments as they occur in their own and others’ work and develop well-reasoned arguments.

Informational Literacy: to locate, evaluate, and incorporate relevant source materials into the construction and   expression of an informed point of view;

Students will access and utilize basic computer and internet functions, demonstrating appropriate and effective utilization of programs and functions; use basic research techniques, demonstrating appropriate, effective research skills; locate, evaluate, organize, and synthesize information from a variety of sources, demonstrating the ability to implement an effective search strategy to obtain reliable information; and apply ethical and legal standards for use of source information, demonstrating the application of accepted ethical and legal restrictions on the use of published works.

Humanities Competency: to understand the conventions and practices of English Studies.

Students are able to analyze or interpret texts, ideas, discourse systems, and the human values they reflect.

 

Students will:

  Discuss the works of major British writers in the following contexts:
     ~  Literary periods (Romantic, Victorian, and Modern)
     ~  Social movements
     ~  Intellectual movements
  Trace the development of themes and genres within their historical contexts;
  Analyze literary works for their aesthetic features and thematic patterns;
  Identify styles, themes, and works of major writers;
  Examine a variety of critical approaches to literature.

TEXTS AND MATERIALS:
Required:
Robinson, Bonnie J. British Literature: Romantic Era to the Twentieth Century and Beyond. Dahlonega, GA:   U of North Georgia P, 2018. ISBN: 978-1-940771-11-3
(Free online text available here as .pdf:
 https://oer.galileo.usg.edu/cgi/viewcontent.cgi?article=1016&context=english-textbooks)

Dickens, Charles. Hard Times. Any edition.

Shelley, Mary. Frankenstein. Any edition. (However, those editions of Frankenstein based on the 1818 text, not the 1831, are preferred by most contemporary scholars.)

Note: Although our primary text contains substantial excerpts from both Hard Times and Frankenstein, you must have some complete version, preferably in hardcopy. Any editions of Hard Times and Frankenstein are acceptable. However, those editions of Frankenstein based on the 1818 text, not the 1831, are preferred by most contemporary scholars.

Additional readings to be provided by instructor.

Recommended:
English majors—or anyone considering pursuing further literary studies—should consider purchasing the following, which contain authoritative texts, historical backgrounds and contexts, and a selection of useful criticism.

Greenblatt, Stephen, et. al., eds. The Norton Anthology of English Literature, 9 ed. New York: W. W. Norton, 2012, ISBN 978-0-393-91301-9.

Dickens, Charles. Hard Times (Norton Critical Edition).

Shelley, Mary. Frankenstein (Norton Critical Edition)

A current college-level handbook including MLA updates.

A good college-level dictionary

 

Recommended additional texts:**
Ackroyd, Peter. Albion: The Origins of the English Imagination. New York: Nan A. Talese, 2002. (***)†

---. The Casebook of Victor Frankenstein. New York: Nan A. Talese, 2010. (Available starting at $14.85 at Amazon.com***)†

Baugh, Albert C. and Thomas Cable. A History of the English Language, 3 ed. Englewood Cliffs, NJ: Prentice-Hall, 1978.

Bloom, Harold. How to Read and Why. New York: Scribner, 2000. (Available starting at $1.00 at Amazon.com***)

---., ed. Romanticism and Consciousness: Essays in Criticism. New York: W. W. Norton, 1970.

Casagrande, June. Grammar Snobs are Great Big Meanies: A Guide to Language for Fun and Spite. New York: Penguin, 2006. (Available starting at $4.27 at Amazon.com***)

Chandler, Alice K. A Dream of Order: The Medieval Ideal in Nineteenth-Century Literature. London: Routledge & Kegan Paul, 1971. (Available starting at $0.01 at Amazon.com***)

Chevalier, Tracy. Burning Bright. New York: Dutton, 2007.

Crystal, David. The Stories of English. New York: Overlook Press, 2004.

---. Words, Words, Words. New York: Oxford U P, 2006. (Available used starting at $9.28 at Amazon.com***)

Denby, David. Great Books: My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World. New York: Simon & Schuster, 1996. (Available used, starting at $1.37, at Amazon.com***).

Dirda, Michael. Classics for Pleasure. Orlando, FL: Harcourt, 2007.

Fraser, Rebecca. The Story of Britain: From the Romans to the Present: A Narrative History. New York: W. W. Norton, 2005.

Fulghum, W. B. A Dictionary of Biblical Allusions in English Literature. New York: Holt, Rinehart & Winston, 1965. (Available used, starting at $3.99, at Amazon.com ***).

Gaul, Marilyn. English Romanticism: The Human Context. New York: W. W. Norton, 1988.

Glut, Donald. F. The Frankenstein Archive: Essays on the Monster, the Myth, the Movies, and More. Jefferson, NC and London: McFarland, 2002. (Available used starting at $24.95 at Amazon.com).

Gould, Stephen Jay. “The Monster’s Human Nature.” Dinosaur in a Haystack: Reflections in Natural History. New York: Harmony, 1995. 53-62. (Available starting at $1.70 at Amazon.com***)

Haining, Peter, ed. The Frankenstein Omnibus. Edison, NJ: Chartwell, 1994. (Available used starting at $2.94 at Amazon.com).

Hoobler, Dorothy and Thomas Hoobler. The Monsters: Mary Shelley and the Curse of Frankenstein. New York: Little, Brown, 2006. (Available starting at $0.99 at Amazon.com)

Houghton, Walter E. The Victorian Frame of Mind, 1837-1870. New Haven and London: Yale U. P., 1985.

Judge, Lita. Mary's Monster: Love, Madness, and How Mary Shelley Created Frankenstein.  New York: Roaring Brook P, 2018. (Available used starting at $10.99 at Amazon.com).

LaValley, Albert J. “The Stage and Film Children of Frankenstein: A Survey.” The Endurance of Frankenstein: Essays on Mary Shelley’s Novel. Eds. George Levine and U. C. Knoepflmacher. Berkeley: U of California P, 1979. 243-248. (Available starting at $39.95 at Amazon.com***)

Levine, George and U. C. Knoepflmacher, eds. The Endurance of Frankenstein. Berkeley: U of California P, 1979. 243-248. (Available starting at $39.95 at Amazon.com***)

Marcus, Stephen. The Other Victorians: A Study of Sexuality and Pornography in Mid-Nineteenth-Century England. London: Weidenfeld and Nicolson, 1966. ( Available used starting at $18.53 at Amazon.com  ***)

Shelley, Mary. Frankenstein: Classics Illustrated Deluxe Graphic Novels. Adapted by Marion Mousse. New York: Papercutz, 2009. (Available used starting at $3.19 at Amazon.com***).

Sisman, Adam. The Friendship: Wordsworth and Coleridge. New York: Viking, 2007.†

Sweet, Matthew. Inventing the Victorians: What We Think We Know About Them and Why We're Wrong. New York: St. Martin’s, 2001. (Available used starting at $4.47 at Amazon.com***)

Tropp, Martin. Mary Shelley’s Monster: The Story of Frankenstein. Boston: Houghton Mifflin, 1976. ( Available used starting at $2.97 at Amazon.com)

Utley, Stephen and Howard Waldrop. “Black as the Pit, from Pole to Pole.” New Dimensions 7, ed. Robert Silverberg. 1977. Republished in Eternal Lovecraft: The Persistence of HPL in Popular Culture. Ed. Jim Turner. Collinsville, IL: Golden Gryphon P, 1998. 243-278. (Available used starting at $10.14 at Amazon.com***).

*Note that most  major reading selections for the semester are available online, as indicated by links (see Schedule, below). However, students must have a copy of the appropriate text(s) with them for each class session, whether they have purchased the textbook or printed out hardcopy from the Internet; no excuses about computer or printer problems will be accepted. In addition,  although the three longer works (Frankenstein- the 1818 ed., Hard Times, and The Importance of Being Earnest) are also available online, students who do not purchase The Norton Anthology of English Literature should  obtain paperback versions or library copies.

** Recommended additional texts are not required purchases, and have not been ordered for the course; however, they provide—depending on the course— alternative readings, historical and cultural backgrounds, criticism, personal literary responses, or entertaining revisions. Students who find themselves becoming deeply interested in one or more of the required readings may find these interesting and/or useful. Texts indicated with a dagger (†) are only provisionally recommended, as I have not read these works yet, although they have received excellent reviews or recommendations.

*** Prices listed at Amazon.com do not include shipping, and are accurate as of original posting date only; no guarantees of prices or availability are express or implied§.

 

 

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CLASS POLICIES:

Attendance: As per the Nassau Community College Attendance Regulation, “Students are expected to attend all classes. Absences due to illness or for other serious reasons may be excused at the discretion of the instructor. Students are advised that excessive absences may have a negative impact on their academic performance and/or outcome.” Excessive absences will adversely affect your grade; students missing more than three classes will have their grade reduced and/or may fail the course. Students should contact the instructor regarding their absence; in addition, students are responsible for submitting all work on time regardless of absences. https://collegecatalog.ncc.edu/current/policiesandprocedures/records_registration/attendance.html

Classroom Behavior:  According to the Nassau Community College Classroom Disruption Policy, “Disruptive conduct in the classroom that interferes with the instructor's performance of his/her professional functions or that undermines the integrity of student learning will not be tolerated.” As such, any distracting or inappropriate behavior or unauthorized use of electronic devices* is strictly prohibited. Students who wish to use a laptop for note-taking may be allowed to do so at the instructor’s discretion, but will be required to sit in the front row and to submit a copy of their notes to the professor at the end of each class; failure to do so will result in being recorded as absent. Eating, sleeping, texting, or other inappropriate behavior may result in your being asked to leave the class and will adversely affect your final grade. See the Nassau Community College Classroom Disruption Policy and Student Code of Conduct in the college catalog for further details.

Note: Students are required to comply with all college policies regarding vaccination, masking, social distancing, and screening or testing. See the college’s health and safety guidelines at NCC Next (https://ncc.edu/nccnext/) and the full guidance document available through the MyNCC Portal (https://myncc.ncc.edu/). See also NCC Return to Campus Expectations & Guidelines (https://ncc.sln.suny.edu/bbcswebdav/pid-3094107-dt-content-rid-16383599_1/xid-16383599_1).

Academic Honesty: Plagiarism includes but is not limited to copying or paraphrasing another’s words, ideas, or facts without crediting the source or submitting a paper written by someone else, either in whole or in part, as one’s own work. Plagiarism, cheating, or other forms of academic dishonesty on any assignment will result in failure (a grade of zero) for that assignment and may result in further disciplinary action, including but not limited to failure for the course and dismissal from the college. See the Nassau Community College policy on Academic Dishonesty & Plagiarism: https://collegecatalog.ncc.edu/current/policiesandprocedures/academic_info/ac_dishonesty.html.

Essay Submission: All work must be submitted through Blackboard and to Turnitin and received by the instructor on or before the due date as indicated on the schedule, below. Late work will not be accepted, nor will essays be accepted via email. Failure to submit a required essay will result in a zero for the assignment.

All must be in 12-point Times New Roman, double-spaced, with one-inch margins, and submitted as a Word document or compatible format (.doc, .docx, or .rtf, not .pdf or .pages). Remember that these are formal essays: they must include a proper heading, including Word Count; have an appropriate, original title; contain a clear, explicit, assertive, objectively worded thesis statement (thesis statements must be underlined); and (unless otherwise indicated) avoid use of I or you throughout. Finally, all work should be grammatically correct, free of errors in mechanics, grammar, usage, spelling, and documentation, and will be evaluated according to the Model for Evaluation of Student Writing.

Make-up Exams/Late Work: All assignment deadlines and scheduled exam dates are provided at the beginning of the semester; therefore, late papers will not be accepted, nor will make-up opportunities be offered, except under extraordinary circumstances with appropriate documentation. “Crashed computers,” “lost flash drives,” or not having access to the Internet from home (or work) will not be considered an acceptable excuse for not logging into and participating in class discussions or submitting materials in a timely manner.  Therefore, be sure you have consistent access to a working, up-to-date desktop or laptop computer with a reliable internet connection and save your work in multiple forms (computer’s hard drive, flash drive, and cloud), and keep backup copies of all work submitted. In the case of a medical, personal, or professional emergency, students must contact the instructor in advance whenever possible and approval is on a case-by-case basis. Further, it is the student's responsibility to monitor announcements, check their NCC email account, and notify me in advance (not after the fact) should problems arise for accessing course material.

 

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COLLEGE RESOURCES:

The Writing Center: Students should avail themselves of tutoring in the writing process available through the Writing Center. The Writing Center offers one-on-one tutoring, as well as workshops covering grammar and MLA and APA research and documentation styles. These services should be considered an integral part of the coursework and will help students master the necessary knowledge and skills for this class. Students may contact the Writing Center at 572-7195 or 516-572-3595 or through email wcenter@ncc.edu. Tutoring is available in three modalities: Traditional face-to-face tutorials, remote synchronous meetings through Zoom, and asynchronous email tutorials. To request traditional tutorials held at the Writing Center locations in Bradley Hall and the NCC Library, call either number above. To request a Zoom tutorial, use this Google form: Zoom Tutoring Request Form. To submit an email tutorial, use this link: Email Tutoring.

The Center for Students With Disabilities: If you have a physical, psychological, medical, or learning disability that may have an impact on your ability to carry out the assigned coursework, I urge you to contact the Center for Students with Disabilities (CSD), Building U, (516 572-7241, TTY(516) 572-7617.  The counselors at CSD will review your concerns and determine reasonable accommodations you are entitled to by the Americans with Disabilities Act and Section 504 of the Rehabilitation Act of 1973.  All information and documentation pertaining to personal disabilities will be kept confidential. See also Services for Students with Disabilities: https://www.ncc.edu/campusservices/disabilities_services/.

The NEST Food Pantry: If you are having difficulty affording groceries or accessing sufficient food to eat every day or if you lack basic necessities and believe this may affect your performance in the course I urge you to visit The NEST @ NCC Food Pantry in North Hall (N Building) Basement. The NEST provides free groceries and personal care items to all NCC students and their families and can assist you in accessing other necessary resources. The NEST is open 6 days a week. Hours can be found on the NCC Portal and posted on the door of the pantry. Please visit The NEST’s website for further information: http://nestncc.weebly.com.

The Center for Educational and Retention Counseling: The Center for Educational and Retention Counseling offers students help with educational planning and direction, such as choice of area of concentration, exploring options in the face of academic difficulties, improving study skills, obtaining learning assistance services and adjusting to the often conflicting demands facing college students:  juggling coursework, a job, a social life and living at home. Contact the Center at 516.572.7141 or cerc@ncc.edu.

 

 

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ASSIGNMENTS:
Attendance and Participation (10%):
As this class will combine both lecture and discussion, students are expected both to attend every session and to take an active part in class—joining in discussions and raising questions. Discussion is one of the best ways to clarify your understandings and to test your conclusions; therefore, it is imperative that all students participate regularly in order that we may together discover what each selection “means” to us. Open discussion always involves personal exposure, and thus the taking of risks: your ideas may not be the same as your fellow students’ or even the instructor’s. Yet as long as your points are honest and supportable, they will be respected by all of us in the classroom. Questions, discussion, disagreement, and laughter are all encouraged in this class (However, ridicule or scoffing is never tolerated).

Quizzes (10%):
With the exception of the first day, class may begin with a short (five- to ten-minute) quiz or writing assignment on the reading(s) for the day, at the instructor’s discretion. Quizzes missed due to tardiness may not be made up. At the end of the semester, the lowest quiz grade will be dropped. Total number of quizzes during the semester will determine the point value of each; that is, if 11 quizzes are given (lowest quiz grade will be dropped), each quiz is worth up to one full point.

Essays (2 @ 20%):
Students will complete two essays during the semester; topics should be selected from the list of suggestions provided (see Essay Topics, below) or developed in consultation with the instructor. Each should be at least five (5) full pages (1000-1250 words minimum), with a Works Cited page (cover page, if used, and Works Cited do not count toward the five-page requirement). The paper must be argumentative (persuasive), with a clear, explicit, and assertive thesis statement (underlined), and must use a minimum of five to seven sources, including at least one to three primary sources (the text or texts discussed) and three to five secondary sources. Essays should be grammatically correct, free of errors in mechanics, grammar, usage, spelling, and documentation, and will be evaluated according to the Model for Evaluation of Student Writing. Please refer to the Essay Outline and Revising and Editing Checklist for additional assistance, as well as Writing About Literature, Writing a Literature Paper, and Getting an A on an English Paper.

Exams (2 @ 20%):
Students will complete two exams: an in-class midterm and a final during the designated final exam period. These exams will each evaluate students’ recognition and comprehension of material studied during the previous weeks, covering specific texts, literary themes, and cultural and historical backgrounds. The exams may combine objective questions and short essay answers, and students may be entitled to use notes or textbooks for the essay portion of the exams.

Poetic Recitation (2-4 points Extra Credit): Students may select and memorize one of the selections below to be recited in front of the class for extra credit. Memorization serves the student’s skills of reading lines carefully and making judgments about how particular passages can be interpreted. A single recitation is worth 2 points extra credit; a second recitation will earn an additional 2 points. There will be opportunities for recitation twice during the semester, on the day of the midterm and final exams; students must sign up for these dates at least one week in advance, as sufficient time must be allocated for completion of the exam.

Possible selections for Recitation 1 (Mid-Semester):
 Blake,
London 16 lines
 Wordsworth,
Expostulation and Reply32 lines
 Wordsworth, 
The Tables Turned32 lines
 Byron,
She Walks in Beauty 18 lines
 Shelley,
Ozymandias 14 lines
 Keats, 
Ode on a Grecian Urnll. 1-10, 41-50: 20 lines
 Tennyson, “
Ulysses” ll. 44-70: 26 lines
 Hopkins, “
God’s Grandeur” 14 lines

Possible selections for Recitation 2 (Finals Week):
 Owen, “
Dulce et Decorum Est” 28 lines
 Yeats, “
The Second Coming22 lines
 Eliot, 
The Love Song of J. Alfred Prufrock” ll. 1-22: 22 lines
 Eliot, “
The Hollow Men” I: ll. 1-18: 18 lines
 Auden, “
Musée des Beaux Arts” 21 lines
 Additional selections may be announced

Extra Credit (possibly various opportunities, at 1–2 points each):
In addition to Poetic Recitation, above, students may be notified of opportunities for extra credit during the semester, including attendance at various workshops or cultural events related to the class (Recommended Field Trips”). If students attend one or more of these events, and provide evidence of attendance (ticket stub, program, unretouched digital image, et cetera) along with a typed one- to two-page personal response (review, analysis, reflection, critique, et cetera), they can receive additional points: a single event and written response is usually worth 2 points extra credit; attendance at additional events will earn one additional point each.

Note: As a general rule, extra credit only helps if you have already completed all of the assigned work, and will not make up for missing an essay (or two, or three). Extra credit opportunities will be announced in class, and they will also be posted here as well as on the class Announcements page, so do not ask at the end of the semester for extra credit to bring your average up. Students asking for extra points or changes to their grade may have their grade reduced, instead.

Extra credit opportunities to date:

 

Writing Center Grammar Review Workshops (1 point each)
Sentence Building and Avoiding Run-ons, Comma Splices, and Fragments
Using Correct Punctuation: Commas, Semicolons, and Colons
Subject-Verb Agreement, Verb Formation, Tense Usage

Dates, Times, and Locations TBA

The Writing Centers are located in Bradley Hall (Bldg. Y) and on the second floor of the Library, room L233
572-7195 or 572-3595
wcenter@ncc.edu      www.ncc.edu/writingcenter

 

Writing Center MLA Research and Documentation Workshops (1 point)
Topics include: Locating and Evaluating Sources
Integrating Sources into an Essay
Creating and Formatting a Works Cited List

Dates, Times, and Locations TBA

Academic Success Workshops and Learning Skills Workshops (1 point each)
NCC Center for Educational and Retention Counseling

Includes:

Listening/Note-Taking
Studying for Classes
Reading College Textbooks
Test-Taking

Dates, Times, and Locations TBA

For questions, call 516-572-7141
CERC Office, Nassau Hall, M19

 

 

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GRADING:
 

Final average will be calculated as follows:

Attendance and Class Participation

10 points

Quizzes

10 points

Essays (2 @ 20 points each)

40 points

Midterm Exam

20 points

Final Exam

20 points

Extra Credit (if any) will be added to the final total.

Final average will determine the grade received for the course, as follows:

Final Percentage

Final Grade

90–100+

A

8589

  B+

8084

B

7579

  C+

7074

C

6569

D+

6064

D

059

F

Note: Percentages ending in .5 or greater are rounded up. Therefore, 79.5 rounds to 80, a B, but 79.4 rounds to 79, a C+.

 

 

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SCHEDULE AND PROJECTED OUTLINE:

 

IMPORTANT DATES: FALL SEMESTER 2021

Wed. Sep. 1

Fall, 1st half, Online Education & Evening classes begin  

Fri. Sep 3

Evening classes do not meet (classes beginning AFTER 5:01 p.m.)

Sat.–Sun. Sep. 4–5

Classes do not meet

Mon. Sep. 6

Labor Day – classes do not meet – COLLEGE HOLIDAY – offices closed

Tue. Sep. 7

Rosh Hashanah – classes do not meet; 75% refund ends online by 11:59 p.m.
1rst half classes last day drop without a W grade online by 11:59 p.m.

Wed. Sep. 8

Fall & 1st half classes last day drop/add 

Fri. Sep. 10

Weekend classes begin

Wed. Sep. 15

Evening classes do not meet (classes beginning AFTER 5:01 p.m.)

Thu. Sep. 16

Yom Kippur – classes do not meet – COLLEGE HOLIDAY – offices closed

Tue. Sep. 21

Fall last day drop without a W grade online by 11:59 p.m.

Wed. Oct 6

1st half last day automatic W 

Tue. Oct. 12

Evening Activity Hour: 8:30 p.m. class will not meet; all other

Mon. Nov. 1

2nd half last day automatic W

Tue. Nov. 2

2nd half classes last day drop without a W grade

Wed. Nov 3

2nd half last day drop/add 

Fri. Nov 5

Fall last day automatic W 

Wed. Nov 10

DAY & EVENING classes meet on a THURSDAY schedule 

Thu. Nov 11

Veterans’ Day – classes do not meet   COLLEGE HOLIDAY – offices closed 

Tue Nov 16

Evening Activity Hour: 7:00 p.m. class will not meet; all other classes follow regular schedule

Wed. Nov 24

Evening classes do not meet (classes beginning AFTER 5:01 p.m.)

Thu Nov 25—
Fri Nov 26

Thanksgiving – classes do not meet – COLLEGE HOLIDAY – offices closed

Sat. Nov 27

Classes do not meet

Tue. Dec.7

Evening Activity Hour: 5:30 p.m. class will not meet; all other classes follow regular schedule

Sun. Dec.12

MW - Makeup Weekend – if necessary WEEKEND classes will meet

Wed, Dec. 22

DAY classes meet on a THURSDAY schedule

Note: All dates subject to change;
See
Academic Student Calendar Fall 2021 (.pdf)

 

 


Projected Schedule of Readings and Assignments

All readings below are required and must be completed by the day indicated; the only exceptions are those indicated with an asterisk (*), which are recommended additional readings or resources.

Readings from British Literature: Romantic Era to the Twentieth Century and Beyond are identified below by section or author and title as well as page numbers, e.g., Part 1: The Romantic Period (BL 1-5); William Blake, Selections from Songs of Innocence and of Experience and Reading and Review Questions (BL 18-27, 37). Additional readings not in British Literature may be accessed through the links provided or will be available as handouts and/or downloads in Blackboard. Red text indicates important dates or due for assignments; Blue text indicates links online versions of text, recommended readings, or other resources. (Note: While every effort is made to verify the accuracy and usefulness of these links and their contents, no guarantees are made. Please notify me of any broken or outdated links at brian.murphy@ncc.edu. I might even give you extra credit.)

Note: This schedule is subject to revision according to the instructor’s discretion, the Academic Calendar for the semester, school closings due to inclement weather or other reasons, and the progress of the class. Additions or changes will be announced in class and via email and posted on Blackboard in the class Announcements.

 

Date

Readings and Assignments:

Wed. 1 Sep.

Day, Evening & Distance Education (online) Classes Begin
Introduction: Syllabus, texts, policies, assignments

Mon. 6 Sep.

Labor Day – classes do not meet – COLLEGE HOLIDAY – offices closed

Wed. 8 Sep.

Last Day Drop/Add
Part 1: The Romantic Era
(
BL 1-5)

*Backgrounds (recommended reading):

The Romantic Period and Timeline;

The Revolution Controversy and the “Spirit of the Age”;

 Edmund Burke: Reflections on the Revolution in France
 Mary Wollstonecraft:
A Vindication of the Rights of Men
 Thomas Paine:
Rights of Man
 Mary Wollstonecraft: A Vindication of the Rights of Woman

William Blake, (BL 18-37):
 From Songs of Innocence (see image of Blake’s engraving here):
 
Introduction” (image), “The Lamb” (image), “The Little Black Boy” (image),
 
The Chimney  Sweeper” (image), “Holy Thursday” (image )

*See also, Chevalier, Tracy. Burning Bright. New York: Dutton, 2007.

Mon. 13 Sep.

Blake continued
 From Songs of Experience  (see image here):
 
Introduction” (image), “Holy Thursday” (image), “The Chimney Sweeper” (image),
 
The Sick Rose” (image), “The Tyger” (image), “London” (image)

Wed. 15 Sep.

Blake continued
William Wordsworth,
(
BL 37-74): from Lyrical Ballads: Preface - 1802 edition; “We Are Seven,” Expostulation and Reply,” The Tables Turned,”My Heart Leaps Up When I Behold

Mon. 20 Sep.

William Wordsworth continued

Tue. 21 Sep.

Last day drop without a W grade online by 11:59 p.m.

Wed. 22 Sep.

Samuel Taylor Coleridge, (BL 81-120): “The Lime-Tree Bower My Prison,” “The Rime of the Ancient Mariner,” “Kubla Khan,” “Frost at Midnight

*See also, Goss, Theodora. “Singing of Mount Abora.” Lightspeed Science Fiction and Fantasy July 2012.
   Sisman, Adam. The Friendship: Wordsworth and Coleridge. New York: Viking, 2007.†
   Review of The Friendship: Eder, Richard. "
Coleridge was Wordsworth’s Albatross." New York Times 15 March 2007: E9.

Mon. 27 Sep.

George Gordon, Lord Byron, (BL 120-122, 165-166) “She Walks in Beauty;
Percy Bysshe Shelley
, (
BL 166-200)  Mutability,” “To Wordsworth,” “Ozymandias,” “To a Skylark

*See also:
Horace Smith, “Ozymandias
Theodora Goss, “
Singing of Mount Abora.” Lightspeed Science Fiction and Fantasy July 2012.
Ancient Grammar Police

Wed. 29 Sep.

John Keats, (BL 206-228): “On First Looking into Chapman’s Homer,” “La Belle Dame Sans Merci,” (
Ode to a Nightingale,” “Ode on a Grecian Urn

Mon. 4 Oct.

Mary Shelley, (BL 229-285): Frankenstein. Read at least Preface - 1818 ed; Introduction - 1831 ed; Vol. I.

  *See also:

Frankenstein (Edison Studios, 1910), dir. J. Searle Dawley; also here

Online quiz on Mary Shelley’s Frankenstein

Dirda, Michael. Mary Shelley. Classics for Pleasure. Orlando, FL: Harcourt, 2007. 185-88.

LaValley, Albert J. “The Stage and Film Children of Frankenstein: A Survey.” The Endurance of Frankenstein. Eds. George Levine and U. C. Knoepflmacher. Berkeley: U of California P, 1979. 243-248.

Gould, Stephen Jay. “The Monster’s Human Nature.” Dinosaur in a Haystack: Reflections in Natural History. New York: Harmony, 1995. 53-62.

Hoobler, Dorothy and Thomas Hoobler. The Monsters: Mary Shelley and the Curse of Frankenstein. New York: Little, Brown, 2006.

Murphy, Brian T. ENG 251: Film and Literature, Fall 2018.

Utley, Stephen and Howard Waldrop. “Black as the Pit, from Pole to Pole.” New Dimensions 7, ed. Robert Silverberg. 1977. Republished in Eternal Lovecraft: The Persistence of HPL in Popular Culture. Ed. Jim Turner. Collinsville, IL: Golden Gryphon P, 1998. 243-278.

Zakharieva, Bouriana. “Frankenstein of the Nineties: The Composite Body.” Shelley, Mary. Frankenstein, 2 ed. Ed. Johanna M. Smith. Boston: Bedford, 2000. 416-431.

Wed. 6 Oct.

Classes do not meet

Mon. 11 Oct.

Frankenstein continued: read at least through Vol. II

Wed. 13 Oct.

Essay 1 Due
Frankenstein continued: finish Vol. III

Mon. 18 Oct.

Midterm Exam, Poetry recitations (Extra credit)

Wed. 20 Oct.

Part 2: The Victorian Age (BL 286-292);
Alfred, Lord Tennyson, (BL 337-348): Ulysses,” “Break, Break, Break,” “In Memorium A.H.H.” [excerpts TBA];
*Additional works not in textbook (recommended only, not required):
The Epic” ll. 1-51, 324-354 from The Idylls Of The King: “The Coming of Arthur,” “The Passing of Arthur

*Backgrounds (recommended reading):

 The Victorian Age and Timeline; Victorian Imperialism

Thomas Carlyle: Past and Present

John Stuart Mill: On Liberty

* Recommended listening: The Kinks, “Victoria

* Recommended viewing: Barker, Thomas Jones, The Secret of England's Greatness,” ca. 1862-1863 (National Portrait Gallery in London)

* See also,  Chandler, Alice K. A Dream of Order: The Medieval Ideal in Nineteenth-Century Literature. London: Routledge & Kegan Paul, 1971.

Mon. 25 Oct.

Robert Browning, (BL 429-493): “Rabbi Ben Ezra,” “Fra Lippo Lippi,” “My Last Duchess;
Matthew Arnold,
(BL 539-595): “Dover Beach

* See also:

  Gould, Stephen Jay. “Red in Tooth and Claw.” Natural History 101.11 (Nov. 1992): 14+. Reprinted as “The Tooth and Claw Centennial.” Dinosaur in a Haystack: Reflections in Natural History. New York: Harmony, 1995. 63-75.

 Weiss, Kenneth M. “‘Nature, Red in Tooth and Claw’, So What?Evolutionary Anthropology 19 (2010):41–45.

Wed. 27 Oct.

 Gerard Manley Hopkins, (BL 206-228): “God’s Grandeur,” “Pied Beauty,” “Spring and Fall”;
 William Morris, (
BL 736-754): “The Defence of Guenevere,” “How I Became a Socialist”

Mon. 1 Nov.

Charles Dickens, (BL 596-696): Hard Times

*Backgrounds (recommended reading):

Industrialism: Progress or Decline?

Friedrich Engels: The Great Towns

Henry Mayhew: from London Labour and the London Poor
Annie Besant: from
The “White Slavery” of London Match Workers

The “Woman Question": The Victorian Debate about Gender

Sarah Stickney Ellis: The Women of England: Their Social Duties and Domestic Habits
Harriet Martineau:
Autobiography
Arthur Munby:
“The Great Social Evil” (Diary, 1859)  (see also cartoon from Punch, )
Dinah Maria Mulock:
A Woman’s Thoughts about Women
John Stuart Mill: from
The Subjection of Women [Chapter 1] (.pdf) (also here)

* See also,  Rudder, Christian. Dataclysm: Who We Are (When We Think No One's Looking). [New York]: Crown, 2014.

Wed. 3 Nov.

Hard Times, continued

Fri. 5 Nov.

Last Day Automatic W

Mon. 8 Nov.

Hard Times, continued

Wed. 10 Nov.

DAY & EVENING classes meet on a THURSDAY schedule 

Mon. 15 Nov.

Oscar Wilde, (BL 766-851): The Importance of Being Earnest

Wed. 17 Nov.

The Importance of Being Earnest, continued.

Mon. 22 Nov.

The Importance of Being Earnest, continued.

Wed. 24 Nov.

Part 3: The Twentieth Century and Beyond, (BL 878-885):

*Backgrounds (recommended reading):

The Twentieth Century and After  and Timeline
Empire and National Identity, Imperialism to Postcolonialism

Anonymous: Easter 1916 Proclamation of Irish Republic
James Anthony Froud: The English in the West Indies; or, The Bow of Ulysses (1888)
John Jacob Thomas: Froudacity: West Indian Fables (1889)
Joseph Chamberlain:
The True Conception of Empire (1897)
John Hobson:
The Political Significance of Imperialism (1902)

Mon. 29 Nov.

Voices from World War I: Additional poems not included in textbook

Siegfried Sassoon: “They
Isaac Rosenberg: “Break of Day in the Trenches,”  Louse Hunting
Wilfred Owen: “Anthem for Doomed Youth,” “Dulce et Decorum Est
*Rupert Brook: “The Soldier
*Jessie Pope: “Who's for the Game?” and “The Call

*See also:
  Boyd, William. “Why World War I Resonates.” New York Times 22 Jan. 2012.
  MacDonald, Lyn, ed.
Anthem For Doomed Youth: Poets Of The Great War. London: Folio Society, 2000. Print.
  Pope, Jessi.
Jessie Pope's War Poems (1915)

Wed. 1 Dec.

W. B. Yeats, (BL 951-957): The Stolen Child,” The Lake Isle of Innisfree,”  When You are Old," “Easter 1916,” “The Second Coming”;

 James Joyce, (BL 960-1032): “Araby,” “The Dead

Mon. 6 Dec.

 T.S. Eliot, (BL 1081-1104): The Love Song of J. Alfred Prufrock,” “The Hollow Men,”  Journey of the Magi;
 W.H. Auden,
poems not included in textbook
: “Musée des Beaux Arts,” “In Memory of W. B. Yeats,” The Unknown Citizen,” “September 1, 1939

 *See also:
   Brueghel, Peter, Landscape with the Fall of Icarus, The Census at Bethlehem (a.k.a. The Numbering at Bethlehem), Winter Landscape with a Bird Trap, and    The Massacre of the Innocents

Wed. 8 Dec.

Essay 2 Due

Voices from World War II:
Virginia Woolf,
(
BL 958-960): “A Room of One’s Own,” “The Legacy”
Additional works not included in textbook:
Virginia Woolf,
from
Three Guineas, “[As a Woman I Have No Country]”
Pablo Picasso, “
Guernica
Henry Reed: from “
Lessons of the War,” Naming of Parts
Randall Jarrell  
Death of the Ball Turret Gunner
Claude McKay: “
Old England,” “If We Must Die”; “America
Grace Nichols: “
Epilog,” “ The Fat Black Woman Goes Shopping,” “Wherever I Hang Me Knickers

 *See also:
  
Treasures of the World: Guernica: Testimony of War. PBS.org
  
Information about the Sperry Ball Turret
  
Cheese Nips office commercial

Mon. 13 Dec.

Margaret Atwood (2967-82): “Death by Landscape” (.pdf), “Miss July Grows Older
Seamus Heaney (BL 1112-113): “Digging,” “The Grauballe Man,” “Casualty,” “Clearances,” “Anything Can Happen

 *See also:

 Quintus Horatius Flaccus, Odes I. 34 (from The Odes and Carmen Saeculare of Horace. John Conington. trans. London. George Bell and Sons. 1882)

 Fawbert, David. Connecting with Seamus Heaney.

 Information about The Tollund Man and, more generally, “Bodies of the Bogs.” Archaeology. Archaeology.org May 2010. Web.

 T.P. Tolland’s “Lagan Towpath (in Memory of Tom Carr),” showing his use of light and color, and the much darker (in both senses) “Boglands (for Seamus Heaney).”

 as well as his obituary: “T.P. Flanagan: Artist and Teacher Whose Work Inspired Seamus Heaney.” The Independent (U.K.) 19 April 2011. Web.

Wed. Dec. 15

Final Exam

Mon. Dec. 20

Last day of class
Final Conferences (by appt.)

Wed. Dec. 22

DAY classes meet on a THURSDAY schedule
Day & Distance Education Classes End

 

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TOPICS AND GENERAL ESSAY INSTRUCTIONS:

For each of the assigned essays, a topic or list of topic choices is provided. Your essay must be on one of the assigned topics for that assignment or developed in consultation with the instructor. All essays must be submitted on or before the due date, by the beginning of the class period; late work will not be accepted.

For each of the essays, select one of the topics to discuss in  a clear,  well-developed, coherent, thoughtful, and properly documented (MLA format) argumentative essay of at least five to seven pages (1250 words minimum), with a cover page and Works Cited page (cover page and Works Cited do not count toward the five- to seven-page requirement). The paper must be argumentative (persuasive), with a clear, explicit, and assertive thesis statement (underlined), must use a minimum of five to seven sources: up to three primary sources and a minimum of three to five secondary sources. Secondary sources must be scholarly criticism or analysis, not summaries, reviews, or “analysis” from sites such as e-Notes, SparkNotes, Wikipedia*, 123HelpMe, or Gradesaver.com; instead, use the library resources, including the available electronic databases such as Academic Search Complete, Literary Sources through Artemis, Literature Resource Center, Bloom’s Literary Reference, Literature Criticism Online, Humanities Source, Project MUSE - Standard Collection, MagillOnLiterature Plus, and JSTOR Arts & Sciences I Current Collection  to locate appropriate sources. To access the databases from home, click on the individual database link. Then, when prompted, enter your username (N #) and password (PIN). You must include at least one short quotation, one long—block—quotation, and one paraphrase, and these sources must be properly documented (utilizing MLA format), and integrated into your writing smoothly and correctly. See also Research Paper checklist.

* On use of Wikipedia in college-level research, see Wikipedia founder Jimmy Wales on PBS NewsHour, here: “I don’t think at a university level it makes sense to cite any encyclopedia in an academic paper. That’s just not what an encyclopedia’s role is in the research process. Maybe if you’re in junior high, you know? If some kid out there is twelve years old and they wrote something and they put in a footnote, we should be thrilled, right? That’s his first start on the idea of crediting other people with ideas and things like that, but at the university level? No, it’s a bit junior high to cite an encyclopedia.”

Essays must contain quotations from or other references to your sources, and these references should be used to support your assertions about the text; you must include at least one short quotation, one long—block—quotation, and one paraphrase, and these sources must be properly documented (utilizing MLA format), and integrated into your writing smoothly and correctly. Essays must be submitted in a folder, including copies of all secondary sources used. Be sure to print out or photocopy all secondary sources, and highlight all relevant passages, whether quoted, paraphrased, or summarized. Failure to submit a complete folder according to these instructions will be grounds for failure on the assignment. In addition, plagiarism, either in whole or in part, will result in automatic failure (a grade of zero) for the assignment.

Please refer to the following as well:

   Formatting and Style Guide (Purdue Online Writing Lab)

   Incorporating Sources (class handout)

   Class Plagiarism Policy (on syllabus), as well as the Nassau Community College Policy on Academic Dishonesty and Plagiarism (page 63 in the college catalog).

You might also find the following additional resources useful:

   Works Cited page (Instructions & Sample) (Microsoft Word document)

   Avoiding Plagiarism (Houghton-Mifflin web site)

   Practice Incorporating Sources into Your Work (Houghton-Mifflin web site)

   MLA format (Purdue university's Online Writing Lab)

Be sure to focus carefully on the topic: formulate a strong, objectively worded thesis, and avoid plot summary. Remember that these are formal essays: they must have an appropriate, original title; contain an introduction, body, and conclusion; have a clear, explicit, assertive, objectively worded thesis statement; and avoid use of “I” or “you” throughout.

Also, one would think that this would not even need to be stated, but read the work or works about which you are writing, and read carefully! Do not rely upon your general impressions based on what you think was said in class, or on what you read online. There is no reason for your essays to contain factual errors.

Please feel free to communicate any concerns or questions to me before the essays are due; I will be available to meet with any student who needs assistance or additional instruction. Please speak to me before or after class or e-mail me to set up an appointment during my office hours.

Essay 1: Due Wednesday, TBA

1.      Blake’s Songs of Innocence  and Songs of Experience present several complementary pairs of poems (for example, “The Lamb” and “The Tyger,” “The Chimney Sweeper” and “The Chimney Sweeper,”  Holy Thursday” and “Holy Thursday”). How do these and other such paired poems, not only those discussed in class, illustrate Blake’s thesis that they show “Two Contrary States of the Human Soul"? You may include in your discussion Blake’s engravings in relation to this thesis.

2.      There is often a sudden change of mood or emotion in Wordsworth’s poetry. Explain why Wordsworth uses this technique, citing specific examples from several different works.

3.      Compare ideas of nature and natural processes in several of the Romantic poets; for example, does Keats use nature as a teacher the same way Coleridge and Wordsworth do in their poems? Or, compare Shelley’s “Ode to the West Wind” and Keats’s “To Autumn.” Explain your answer by using specific references to poems by each author.

4.      Mary Shelley’s Frankenstein is subtitled “The Modern Prometheus"; in addition, she includes below the title an epigraph from Paradise Lost:
      Did I request thee, Maker, from my clay
      To mould me man? Did I solicit thee
      From Darkness to promote me?
In what way does Shelley draw upon the Prometheus myth and/or Paradise Lost in her novel? Why?

5.      An analytical essay of your own choosing, developed in consultation with the instructor, involving one or more works from the Romantic period. You must discuss the topic with me and you must develop and submit a clear, well-written, one- to two-page topic proposal for approval by Wednesday, 11 February. No essays on alternative topics will graded without the approved topic porposal attached. Proposals should include an explanation of the topic you have chosen, your reason for the selection, your focus and opinion, and a clear, well-written, explicit, and assertive preliminary thesis; you may also include a preliminary idea of the plan of the paper, its intention, or research question. Your work should take the following form:

Topic: the general topic selected.
Rationale: why you have chosen to research and write about this particular topic.
Focus: a narrowed form of the subject, and the issue, question, or debate involved.
Opinion: your subjective opinion on the debate or issue.
Thesis: your opinion, worded objectively.

Note: No essays on alternative topics will be graded without the approved topic proposal attached.

 

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Midterm Exam: Wednesday, TBA
Details TBA.

 

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Essay 2: Due Wednesday, TBA

1.      How does historical context shape the Victorian poets? That is, how are their themes, their understanding of poetry, their attitude towards life shaped and reflected by their era, and how does this distinguish them from the Romantic poets?

2.      In the nineteenth century, a number of poets adapted (or attempted) the Arthurian legends: not only Tennyson (The Idylls Of The King) and  Morris (“The Defence of Guenevere”), but also Matthew Arnold, A. C. Swinburne, et cetera. Compare the treatment of one or more specific Arthurian legends in several of the Victorian poets; for example, how is the story of Tristan and Iseult rewritten by various poets? Or, how does Morris’s treatment of Guenevere differ from Tennyson’s?

3.      Two concerns of the Victorian period were industrialism and its effects and “The Woman Question,” the debate about gender and the role of women. Compare the treatment of one of these themes in at least two different works not discussed in class.

4.      In The Metaphysical Poets (1921), T. S. Eliot states that the modern poet “must become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate if necessary, language into his meaning.” Explain how Eliot and/or other modernist poets either adhere to or violate this principle, citing specific examples from several different works.

5.      The modernist period is, chronologically, closer to the Victorian age than to the early twenty-first century. Select a pair of nineteenth-century (Romantic or Victorian) and twentieth-century works and discuss their continuities and differences. In what respects, if any, is the twentieth-century work closer to our own era than the corresponding nineteenth-century work? Some possible pairings include Keats’s “Ode on Melancholy” and Hardy’s “The Darkling Thrush,” Arnold’s “Thyrsis: A Monody” and Auden’s “In Memory of W. B. Yeats,” Wordsworth’s “Ode: Intimations of Immortality” and Yeats’s “Among School Children,” and Wollstonecraft’s A Vindication of the Rights of Woman  and Woolf’s A Room of One’s Own.

6.      An analytical essay of your own choosing, developed in consultation with the instructor, involving one or more works from the Victorian period, the twentieth century, or the twenty-first. As above, you must discuss the topic with me and you must develop and submit a clear, well-written, one- to two-page topic proposal for approval. The deadline for submission of proposals is Wednesday, 8 April. As above, no essays on alternative topics will be graded without the approved topic proposal attached.

 

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Final Exam: In class, TBA
The final exam will consist of three parts, with built-in extra credit, as follows:

Part I: Identification and short answers. Select any eight (8) of the passages provided. (10% each)
In a well-developed paragraph, identify each passage and discuss its significance. Include as much of the following as possible: author, title, speaker, or character described, situation, and how the passage is significant in the context of the work itself and/or its connection to other works, ideas, or themes. Be sure to focus carefully and avoid plot summary: do not merely retell the story. Paragraphs will be evaluated for the quality of writing, ideas, and expression, not for the ability to regurgitate the instructor’s comments. Extra Credit: You may identify up to two additional passages, 10 points each.

Note: This portion is subject to change. It may become select 5, at 15% each, or 6 at 12.5%, depending on class discussion.

Part II: Short responses (10% each)

A. TBA

B. TBA

 

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