ENG 209: Modern Irish Literature, Spring 2019 (CRN 49004)
Section GA:  Monday G 359; Wednesday G 383
                   11:00
am–12:15 pm
James Joyce, DublinersBrian Friel, Dancing at LughnasaJ.M. Synge, The Playboy of the Western World...WIlliam Trevor, The Oxford Book of Irish Short Stoires

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

 

For the Great Gaels of Ireland
Are the men that God made mad,
For all their wars are merry
And all their songs are sad.

  —from G. K. Chesterton,
The Ballad of the White Horse

 

DESCRIPTION:
According to the official catalog description for ENG 209, “This course examines outstanding works by major writers such as Yeats, Joyce, Shaw, O’Casey, O’Connor, Behan, and Beckett and their cultural background in relation to the Irish literary tradition. Writing is an integral component of the course.”
This class will emphasize critical reading and analysis of selected fiction, poetry, drama, and/or essays. Irish authors and stylistic developments in Irish literature from the Modern period to the present day will be considered.

Prerequisite: ENG 102 or ENG 109.
It is assumed that students have successfully completed the prerequisite for this course, ENG 102 or ENG 109 (or the 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.

 

OBJECTIVES:

 

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.

Cultural Literacy: to engage with literary texts that reflect the diversity of the human experience in a variety of historical and cultural framework

Students will recognize the diversity and similarities of the ways in which people in different cultural traditions perceive and experience their lives; demonstrate understanding of the various influences that shape perspectives, values, and identities; and demonstrate understanding of social divisions such as gender, ability, ethnicity, and racial formations in a pluralistic nation and world.

Humanities Competency:

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

 

 

Students will:

ball.gif (137 bytes)  Discuss the works of major modern Irish writers in the contexts of literary, social, and intellectual movements;

ball.gif (137 bytes)  Trace the development of themes and genres within their historical contexts;

ball.gif (137 bytes)  Analyze literary works for their aesthetic features and thematic patterns;

ball.gif (137 bytes)  Identify styles, themes, and works of major writers;

ball.gif (137 bytes)  Examine a variety of critical approaches to literature.

 

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TEXTS:
Textbooks have been ordered through the NCC Campus Store; however, you are encouraged to purchase or rent them from wherever they are least expensive.
(see also Additional Textbook Options, below)

Required:

Friel, Brian. Dancing at Lughnasa: A Play. London and Boston: Faber and Faber, 1998. ISBN 9780571144792.
Print, new: $13.00
Print, used: $9.75
Print, new rental: $10.40
Print, used rental: $2.65
(Available used starting at $0.01 at Amazon.com***).

Joyce, James. Dubliners. New York: Signet, 2007. ISBN 9780451530417.
Print, new: $5.95
Print, used: $4.50
(Available used starting at $0.01 at Amazon.com***).

Synge, J. M. The Playboy of the Western World and Riders to the Sea. New York: Dover, 1993. ISBN 9780486275628.
Print, new: $3.00
Print, used: $2.25
Digital, buy: $1.00
(Available used starting at $0.01 at Amazon.com***).

Trevor, William, ed. The Oxford Book of Irish Short Stories. Oxford: Oxford UP, 2010. ISBN 9780199583140.
Print, new: $20.00
Print, used: $15.00
Print, new rental: $16.00
Print, used rental: $4.00
(Available used starting at $1.11 at Amazon.com***).

 

Supplemental handouts, to be distributed in class.

A good college-level (paperback) dictionary (Available used starting at $0.01 at Amazon.comhttp://www.assoc-amazon.com/e/ir?t=briantmurph-20&l=ur2&o=1***).

Recommended:

Hacker, Diana. Rules for Writers, 7 ed. Boston: Bedford/St. Martin’s, 2012. ISBN 9780312647360.
(
https://www.assoc-amazon.com/e/ir?t=briantmurph-20&l=ur2&o=1Available used starting at $35.00 at Amazon.com***), or another current college-level handbook.

(See also Additional Textbook Options, below)

Recommended additional texts:**

Irish literature, history, culture, religion, selected texts, and so on:

Bartlett, Thomas. The Fall and Rise of the Irish Nation: The Catholic Question, 1690-1830. Savage, MD: Barnes and Noble, 1992.

---. Ireland: A History. Cambridge: Cambridge UP, 2011.

Birmingham, Kevin. The Most Dangerous Book: The Battle for James Joyce’s Ulysses. New York: Penguin, 2014. †

Bonaccorso, Richard. Sean O’Faolain’s Irish Vision. Albany, NY: SUNY P, 1987.

Brown, Terence. Ireland: A Social and Cultural History, 1922-2001. Ithaca, NY: Cornell U.P., 1985.

Cahill, Thomas. How the Irish Saved Civilization: The Untold Story of Ireland’s Heroic Role from the Fall of Rome to the Rise of Medieval Europe. New York: Nan Talese/Doubleday, 1995.

The Context and Development of Irish Literature: History, Poetry, Landscape. Irish Literary Studies, Washington and Lee University. Lexington, VA

Edwards, Ruth Dudley. An Atlas of Irish History, 2 ed. New York: Methuen, 1937.

Encyclopaedia of Ireland. New York, McGraw-Hill, 1968.

Eyler, Audrey S. and Robert F. Garatt, ed. The Uses of the Past: Essays on Irish Culture. Newark: U. Delaware P.1988.

Doyle, Roddy. The Commitments. New York: Vintage, 1989.

---.  Paddy Clarke Ha Ha Ha. New York: Penguin, 1995.

Fanning, Charles. The Irish Voice In America 250 Years of Irish-American Fiction, 2nd ed. Lexington, KY: U P of Kentucky, 2000.

Foster, R. F. Modern Ireland: 1600-1972. New York: Penguin, 1990.

Garrett, Peter K., ed. Twentieth Century Interpretations of Dubliners : A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1968.

Gorman, Herbert. James Joyce. New York: [?], 1940.

Harmon, Maurice. Fenians and Fenianism; Centenary Essays. Seattle: U. Washington P.,1970.

Holdeman, David. The Cambridge Introduction to W.B. Yeats (Cambridge Introductions to Literature). Cambridge, England: Cambridge U.P., 2006.

Inglis, Tom. Moral Monopoly: The Catholic Church in Modern Irish Society. New York: St. Martin’s, 1984.

Irish Authors in the Irish Landscape. Irish Literary Studies, Washington and Lee University. Lexington, VA

Jackson, Alvin. Ireland 1798-1998: War, Peace and Beyond, 2 ed.. Hoboken, NJ: Wiley-Blackwell, 2010.

Kinsella, Thomas, ed. The New Oxford Book of Irish Verse. Oxford, England: Oxford UP, 2001.

Lyons, F. S. L. Culture and Anarchy in Ireland, 1890-1939. New York: Oxford UP, 1982.

McCourt, Frank. Angela’s Ashes: A Memoir. New York: Scribner, 1996.

---. ’Tis: A Memoir. New York: Scribner, 1999.

Moody, T. W. A New History of Ireland. Oxford, England: Clarendon, 1976.

Murphy, Maureen O’Rourke and James MacKillop. An Irish Literature Reader: Poetry, Prose, Drama. Syracuse, NY: Syracuse U.P., 2006.

Nolan, Elmer. James Joyce and Nationalism. London: Routledge, 2014.

O’Casey, Sean. Three Dublin Plays: The Shadow of a Gunman, Juno and the Paycock, & The Plough and the Stars. London: Faber & Faber, 1998.

Stevens, Patricia Bunning. God Save Ireland! the Irish Conflict in the Twentieth Century.. New York: Macmillan, 1974.

Thacker, Andrew, ed. Dubliners (New Casebooks). [New York?]: Palgrave Macmillan; 2005. (Available starting at $32.88 at Amazon.com***)

Tóibín, Colm. Brooklyn: A Novel. New York: Scribner, 2009.

Unterecker, John. A Reader’s Guide to William Butler Yeats.http://ir-na.amazon-adsystem.com/e/ir?t=briantmurph-20&l=as2&o=1&a=0815603401 Syracuse, NY: Syracuse U. P., 1959.

Uris, Leon and Jill Uris. Ireland: A Terrible Beauty; The Story of Ireland Today. New York: Doubleday, 1975.

Yeats, William Butler. The Autobiography of William Butler Yeats; Consisting of Reveries over Childhood and Youth, The Trembling of the Veil, and Dramatis Personae. New York: MacMillan, 1965.

General literature, writing, and related topics:

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

Casagrande, June. Grammar Snobs are Great Big Meanies: A Guide to Language for Fun and Spite. New York: Penguin, 2006. (Available starting at $3.94 at Amazon.com***)

---. Mortal Syntax: 101 Language Choices That Will Get You Clobbered by the Grammar Snobs—Even If You’re Right. New York: Penguin, 2008 (Available used starting at $6.61 at Amazon.com***).

Crystal, David. 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 starting at $0.29 at Amazon.com***).

Dirda, Michael. Classics for Pleasure. Orlando, FL: Harcourt, 2007. (Available starting at $1.49 at Amazon.com***)

Foster, Thomas C. How to Read Literature Like a Professor. [New York: Harper, 2008 ?].†

---. How to Read Novels Like a Professor. New York: Harper, 2008.

Kozol, Jonathan. Letters to a Young Teacher. New York: Crown, 2007 (Available starting at $12.15 at Amazon.com***).

---The Shame of the Nation: The Restoration of Apartheid Schooling in America. New York: Crown, 2005 (Available starting at $10.17 at Amazon.com***).

Lederer, Richard. Anguished English: An Anthology of Accidental Assaults Upon Our Language. Charleston, SC: Wyrick & Company, 1987 (Available used starting at $0.01 at Amazon.com***).

---. More Anguished English: An Expose of Embarrassing Excruciating, and Egregious Errors in English. New York: Dell, 1994 (Available used starting at $0.01 at Amazon.com***).

Truss, Lynne. Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation. New York: Gotham Books, 2004 (Available used starting at $2.70 at Amazon.com***).

 

*Note: Many of the individual stories, poems and plays to be read and discussed are available online; these are indicated on the schedule (below) as hyperlinks. However, students are still strongly cautioned that they must purchase the textbook for class use, as well as for the supplemental materials included. Additional poems and/or short stories to be assigned  are not included in the books ordered for the class, but may be accessed through the links provided or will be distributed as handouts in class.

** 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 (irreverent, possibly sacrilegious) revisions. Students who find themselves becoming deeply interested in one or more of the required readings may find these interesting and/or useful. When indicated with a dagger (†), texts 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 policy,  “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 absences in excess of 10% of the total class meetings may result being dropped from the course.”  Students must not only attend every class, but also arrive on time, be prepared, and take an active part in class (see Participation, below); students may be required to sign in each class session to verify their attendance. Excessive absences or latenesses will adversely affect your grade: Students may miss no more than three classes; further absences will result in a reduction of the final grade by one full letter grade for each additional absence. Students unable to attend class should contact the instructor regarding their absence; in addition, students are responsible for submitting all work on time regardless of absences. In addition, once students get to class, they are expected to stay in the classroom until the class is over. Leaving class early or getting up in the middle of class is considered disruptive behavior and should happen only in extreme emergencies.

Classroom Behavior:
Students are expected to be present, prepared, attentive, and active participants in the learning process. 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. According to the “Student Code of Conduct,” “The College is committed to providing an atmosphere in which students have freedom to learn and engage in the search for truth, knowledge, and reason in accordance with the standards set forth by the academic community. Conduct that adversely affects a student’s responsible membership in the academic community shall result in appropriate disciplinary action.” Appropriate disciplinary action may include but is not limited to probation, suspension, and expulsion from the college. See the Nassau Community College “Classroom Management Policy” and “Student Code of Conduct” in the college catalog.

*On cell phone use in class, see Andrew Lepp, Jacob E. Barkley, and Aryn C. Karpinski. “The Relationship between Cell Phone Use and Academic Performance in a Sample of U.S. College Students.” SAGE Open 19 Feb. 2015;
and Herrera, Tim. “Hide Your Phone When You’re Trying to Work. Seriously.” New York Times (Smarter Living) 2 Dec. 2018.

Plagiarism and Cheating:
Plagiarism includes copying or paraphrasing another’s words, ideas, or facts without crediting the source; submitting a paper written by someone else, either in whole or in part, as one’s own work; or submitting work previously submitted for another course or instructor. 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 expulsion from the college. See the Nassau Community College policy on “Academic Dishonesty & Plagiarism.”

Homework/Essay Submission:
For each of the assigned essays and projects, a topic or list of topic choices will be provided. Your work must be on one of the assigned topics for that assignment or developed in consultation with the instructor* or it will receive a grade of “F”.

*Note: You must obtain prior approval to write on topics other than those listed below; speak to me before or after class to set up an appointment during my office hours. Approval must be obtained at least one full week in advance of the due date. See details below.

All writing assignments must be received by the instructor on or before the due date, by the beginning of the class period, as indicated on the schedule, below. Students may also be required to submit an electronic copy of their work via TurnItIn.com; details to be announced. Essays submitted by email will not be accepted, and late work if accepted will be penalized 10% for each day it is late; see below. All at-home work must be typed (in 12-point Times New Roman), double-spaced, with one-inch margins, and stapled when submitted. In-class work must be neatly printed in blue or black ink on loose-leaf composition paper or in bluebooks provided by the instructor and double-spaced§. All essays must also include a proper heading (see Purdue Online Writing Lab’s Formatting and Style Guide), 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. Please refer to the Paragraph Outline or Essay Outline and Revising and Editing Checklist for additional assistance.

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 them 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 email me to set up an appointment during my office hours.

§ On format, handwriting, and neatness, see Chase, Clinton I. “Essay Test Scoring: Interaction of Relevant Variables.” Journal of Educational Measurement 23.1 (1986): 33-41 and
   Marshall, Jon C. and Jerry M. Powers. “Writing Neatness, Composition Errors, and Essay Grades.” Journal of Educational Measurement 6.2 (1988): 306-324.

Revisions:
All failing essays may be revised and resubmitted by the due dates announced when the graded essays are returned. Essays receiving a passing grade may also be revised and resubmitted, but only after the student has met with the instructor during office hours (by appointment only) to discuss revisions. Revisions must be substantially revised, not merely “corrected” versions of the original essay (revisions should be based upon the Revising and Editing Checklist and relevant information from class and the textbooks), and must be submitted with the original graded essay and/or draft(s) attached as well as one full typed page detailing the changes made, in the following  pattern:

·         Paragraph 1: Changes in content. What was added, deleted, or modified.

·         Paragraph 2: Changes in organization. What sentences, ideas, or paragraphs were moved, how things were rearranged, and why.

Evidence of substantial revision may result in a better grade for the assignment. If you did not submit a completed essay on time, or if you submit a plagiarized essay, you will receive a grade of zero and may not submit a “revision.”

Make-up Exams/Late Work:
All assignment deadlines and scheduled exam dates are provided at the beginning of the semester; therefore, no make-up opportunities will be offered or late work accepted, except under extraordinary circumstances with appropriate documentation, and late work will be penalized 10% for each day or portion thereof it is submitted after the due date. Note: As all work is due at the beginning of the class period, this includes work submitted on the due date after class has begun.

Excuses such as “crashed computers,” “lost flash drives,” or “empty printer ink cartridges” will not be accepted. All essays or work should be saved both on your computer’s hard drive and again on removable storage device as well as uploaded to cloud storage (OneDrive, et cetera). Students should also keep backup copies of all work submitted.

*See also,  Mike Adams, “The Dead Grandmother/Exam Syndrome.”

Disabilities and Accommodations:
If you have a physical, psychological, medical, or learning disability that may adversely impact your ability to carry out the assigned coursework, contact the staff at the Center for Students with Disabilities (CSD) in Building U: 572-7241, TTY 572-7617. CSD will review your concerns and determine with you what accommodations are necessary and appropriate. All information and documentation are confidential.

 

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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 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), and stapled when submitted.  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):
Memorization serves the student’s skills of reading lines carefully and making judgments about how particular passages can be interpreted. Therefore, there will be opportunities for recitation twice during the semester, at midterm and during finals week. Students may select and memorize one of the selections listed below to recite in front of the class for extra credit on each occasion; each recitation is worth up to 2 points. Students must sign up for these dates at least one week in advance, as sufficient time must be allocated for completion of the exam; in addition, no more than two students may elect to recite each poem.

Selections for Recitation 1 (Midterm):
ball.gif (137 bytes) Macneice, Louis. “House On A Cliff” (12 lines)
 ---. “Soap Suds” (16 lines)
ball.gif (137 bytes) Murphy, Richard. “Green Martyrs” (18 lines)
  ---. “Orange March” (16 lines)
  ---. “Rapparees”(21 lines)
ball.gif (137 bytes) Yeats, William Butler. “The Lake Isle of Innisfree” (12 lines)
  ---. “The Second Coming” (22 lines)
  ---.  “When You Are Old” (12 lines)
  ---. “The Wild Swans at Coole” (18 lines)

Selections for Recitation 2 (Final Exam week):
Students may select from any of the above, or one of the following poems.
ball.gif (137 bytes) Kinsella, Thomas.
 ---. “At the Ocean’s Edge” ll. 1-12
 ---. “The Force of Eloquence” (14 lines)
 ---. “Mirror in February” ll. 1-14
 ---. “Night Songs” 1: ll. 1-12
 ---. “Night Songs” 2: ll. 1-14

ball.gif (137 bytes) Heaney, Seamus.
 ---. “Anything Can Happen” (16 lines)
 ---. “Blackberry-Picking” ll. 11-24
 ---. “Digging” ll. 15-31
 ---. “Mid-Term Break” (22 lines)
 ---. “Strange Fruit” (14 lines) 

 

Extra Credit (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:

Taste of Yeats Day
This annual day of all things Yeats, organized by the Yeats Society of NY in partnership with Glucksman Ireland House NYU, is just a taste of a two-week program in Sligo that includes a tour of "Yeats Country."

Saturday April 6

10:00 am5:00 pm

Glucksman Ireland House

1 Washington Mews, New York, NY 10003

 

The Sean O’Casey Season at Irish Repertory Theatre
“A comprehensive retrospective of the work of renowned Irish playwright Sean O’Casey. The celebration will feature The O’Casey Cycle – O’Casey’s renowned “Dublin Trilogy” in repertory: The Shadow of a Gunman (1923), Juno and the Paycock (1924), and The Plough and the Stars (1926) – and free readings of all of O’Casey’s other plays. Other planned events include symposiums, lectures, film screenings, a musical evening, and two exhibitions (details for these events and more will be announced soon). Sean O’Casey’s The Plough and the Stars inspired the first collaboration between Irish Rep founders Charlotte Moore and Ciarán O’Reilly; we are delighted to return to the work that started it all in The O’Casey Season – Irish Rep’s most ambitious project to date!”

132 West 22nd Street
New York, NY 10011
Box Office: 212.727.2737
Office: 212.255.0270

Numerous events, some free, including:
The Sean O’Casey Reading Series (free!), February 2
–April 28, including

The Silver Tassie (1928)
Within the Gates (1934)
The Star Turns Red (1940)
Purple Dust (1940/1945)
Red Roses for Me (1942)
Oak Leaves and Lavender (1946)
Cock-a-Doodle Dandy (1949)
Three One Acts Part I: “Bedtime Story” (1951), “The End of the Beginning” (1937), and “A Pound on Demand” (1939)
Three One Acts Part II: “Behind the Green Curtains” (1961), “Figuro in the Night” (1961), and “The Moon Shines on Kylenamoe” (1961)
The Bishop’s Bonfire: A Sad Play within the Tune of a Polka (1955)
The Drums of Father Ned (1959)
Additionally, there will be a reading of Grandchild of Kings, Harold Prince’s adaptation of Sean O’Casey’s autobiographies.

The Sean O’Casey Cycle, January 30May 25, including

The Shadow of a Gunman, January 30May 25
Juno and the Paycock
, March 9
May 25
The Plough and the Stars, April 20
May 25

Film Screening: The Shadow of a Gunman (Directed by Joseph Hardy, 1972), February 21 & 22

Sean O’Casey Exhibition (free!)
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center

3rd Floor Display; Shelby Cullom Davis Museum
40 Lincoln Center Plaza (65th St and Columbus Ave)

New York, NY, 10023

(917) 275-6975
January 28–March 23

 

 

 

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

Building Compound Sentences:
Students will learn how to combine short sentences into longer ones using proper conjunctions and correct punctuation.
Facilitated by Professor Matthew Posillico, English Department
Tuesday, February 5, 5:30 (Evening Activity Hour)
G223

Tuesday & Thursday Club Hour Series 

Thursday
Feb. 28

11:30 am to 12:45 pm
Library L233A

Conjunction Usage

Tuesday
March 5

11:30 am to 12:45 pm
 Bradley Ballroom

Building Compound Sentences

Tuesday
March 12

11:30 am to 12:45 pm
Bradley Ballroom

Building Complex Sentences

Tuesday
March 19

11:30 am to 12:45 pm
Bradley Ballroom

Subject-Verb Agreement

Tuesday
March 26

11:30 am to 12:45 pm
Bradley Ballroom

The Verb Phrase

Thursday
March 28

11:30 am to 12:45 pm
Library L233A

Understanding Verb Tenses

Tuesday
April 2

11:30 am to 12:45 pm
Library L233A

Forming Adjective Clauses

Tuesday Evening Series

Tuesday
Feb. 5

5:30 pm to 6:50 pm
G223

Building Compound Sentences

Tuesday March 5

5:30 pm to 6:50 pm
Library L233A

Building Complex Sentences

Tuesday March 12

7:00 pm to 8:20 pm
G (Room TBA)*

Understanding Verb Tenses

Tuesday March 19

7:00 pm to 8:20 pm
Library L233A

Pronoun Usage

Tuesday March 26

5:30 pm to 6:50 pm
Library L233A

Punctuation Usage

 

*This workshop takes place during the March 12th Evening Activity Hour.
Regular 7:00 pm classes are cancelled, but check with your classroom instructor.

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

IT'S "ABOUT TIME"
MANAGING, TIME. SELF & COLLEGE
February 26
11:30
AM―12:45 PM
G 121

Learning Skills Workshops
It is RECOMMENDED that students attend all five of the following

Listening/Note-Taking
March 5
11:30
AM―12:45 PM
G 121

Studying and Organizing for Classes
March 12
11:30
AM―12:45 PM
G 121

Reading College Textbooks
March 19
11:30
AM―12:45 PM
G 121

Test-Taking
March 26
11:30
AM―12:45 PM
G 121

Managing Test Anxiety
April 2
11:30
AM―12:45 PM
G 121

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

 

 

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GRADING:
Final grades will be determined 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.

Total Points earned (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: SPRING SEMESTER 2019

Mon. 21 Jan.

Martin Luther King, Jr. – COLLEGE HOLIDAY – offices closed 

Tues. 22 Jan.

Day, 1st half semester, Evening & Distance Education classes begin

Mon. 28 Jan.

Full, 1st half semester & Distance Education classes last day drop/add 

Tues. 5 Feb.

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

Mon. 11 Feb.

Last day drop without a W grade

Fri. 15 Feb.

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

Sat.–Thurs.
16–21 Feb. 

Classes do not meet

Mon. 18 Feb.

Presidents’ Day – COLLEGE HOLIDAY – offices closed

Tues. 19 Feb.

COLLEGE HOLIDAY – offices closed

Fri. 22 Feb.

Day classes do not meet; Evening classes meet on a regular schedule (classes beginning AFTER 5:01 p.m.)

Tues. 12 March

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

Fri. 5 Apr.

Full & Distance Education classes last day automatic W

Tues. 9 Apr.

Evening Activity Hour: 8:30 p.m. classes will not meet; all other classes follow a regular schedule

Mon.–Sun.
15–21 Apr.

Classes do not meet

Fri. 19 Apr.

Good Friday & Passover – COLLEGE HOLIDAY – offices closed

Mon. 19 May

Day, 2nd half semester & Distance Education classes end  

Tues. –Thur.
20–22 May

MD – if necessary, DAY classes will meet

Note: All dates subject to change;
See
Academic Student Calendar Spring 2019

 

 

Readings and Assignments:
Readings from The Oxford Book of Irish Short Stories are identified below by author and title as well as page numbers, e.g., Elizabeth Bowen (1899-1973), “Her Table Spread” (Trevor 311-318). Selections from Dubliners are identified by title and page numbers, e.g., “The Sisters” (1-11). No page numbers are provided for The Playboy of the Western World and Dancing at Lughnasa; required readings are identified by act instead.

All readings below are required, and must be completed by the class indicated; the only exceptions are those indicated with an asterisk (*), which are recommended additional readings or resources. Poetry selections are not included in the books ordered for the class, but may be accessed through the links provided or will be distributed as handouts in class. Additional readings may also be assigned.

Red text indicates important dates or links to assignment descriptions; Blue text indicates links to assignments, resources, or online versions of texts. (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).

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 they will also be posted here as well as on the class Announcements page.

Date:

 Readings and Assignments:

Mon., 21 Jan.

Martin Luther King, Jr. Day: College Closed

Tue., 22 Jan.

Day, Evening & Distance Education (online) Classes Begin

Wed., 23 Jan.

 Course Introduction: Syllabus, texts, policies, assignments

Mon., 28 Jan.

 Easter 1916 Proclamation of Irish Republic
 
Colum McCann, “Splitting the Atom” (Foreword to Dubliners: Centennial Edition (Penguin Classics Deluxe Edition) )
 
James Joyce (1882-1941), Dubliners: “The Sisters” (1-11)

*See also,
 “The Twentieth Century and After: Period Introduction Overview,”
  “The Proclamation of the Irish Republic, 1916,” and
 
Image of the original Proclamation

 *Recommended viewing:
 
The Animated History of Ireland (YouTube)
 
Reading Ireland: Contemporary Irish Writers in the Context of Place
 
The 1916 Easter Rising (The Great Courses)
 
The Irish Civil War (The Great Courses)
 
1916 Easter Rising: Insurrection 

*See also,
 
SparkNotes quiz: “The Sisters”

Wed., 30 Jan.

 Dubliners continued:
 “
An Encounter” (12-22), “Araby” (23-30), “Eveline” (31-36)

 *See also,
  Barry, Dan. “
Singular Collection, Multiple Mysteries.” New York Times 27 June 2014: C20, 28.
  Coleman, Patrick. “Printers, Bookleggers, and ‘Spicy’ Books: James Joyce in the Book Industry.”
The Writers Chronicle 46.4 (Feb. 2014): 34-42.
  Galchen, Rivka and Panka Mishrav. “
Who Are James Joyce’s Modern Heirs?New York Times 28 Jan. 2014.
  Kershner, R. B. “
‘An Encounter’: Boys’ Magazines and the Pseudo-Literary.” Joyce, Bakhtin, and Popular Culture: Chronicles of Disorder. U North Carolina P, 1989. 31-46.

*Recommended viewing: James Joyce: A Concise Biography; James Joyce’s Dublin: The Ulysses Tour; The World of James Joyce; Joyce, Yeats, and Wilde: A Conversation between Seamus Heaney and Richard Ellman;  James Joyce Reading Ulysses

*See also,
 
 Norton Online Quiz: "Araby"
  
LitIQ Quiz A: "Araby"; LitIQ Quiz B: "Araby"
  
LitIQ Quiz A: "Eveline"; LitIQ Quiz B: "Eveline"
  SparkNotes quiz:
“An Encounter”
  SparkNotes quiz:
“Araby”
  SparkNotes quiz:
“Eveline”  

 

Mon., 4 Feb.

 Dubliners continued:

 “Two Gallants” (45-57), “The Boarding House” (58-66), “A Little Cloud” (67-83), “Counterparts” (84-97), “Clay” (98-106)

 *See also,
 
SparkNotes quiz: “Two Gallants”
  SparkNotes quiz:
“The Boarding House”
  SparkNotes quiz:
“A Little Cloud”  
  SparkNotes quiz:
“Counterparts”
  SparkNotes quiz:
“Clay”

Wed., 6 Feb.

 Dubliners continued:

 “A Painful Case” (107-118), “Ivy Day in the Committee Room” (119-138)

 *See also,
   “Let Me Like a Soldier Fall.” Composer William Vincent Wallace, Librettist Edward Fitzball, Tenor vocal Evan Williams (1908)
  McCann, Colum. “
What Time Is It Now, Where You Are?Washington Post 14 Nov. 2013.
  O’Brien, Edna. “
Irish Revel” (Trevor 495-514)

*See also,
 
SparkNotes quiz: “A Painful Case”
  SparkNotes quiz:
“Ivy Day in the Committee Room”  

Mon., 11 Feb.

 Last day to drop without W grade

 Dubliners continued: “The Dead” (183-236)

 *See also,
  McCann, Colum. “What Time Is It Now, Where You Are?Washington Post 14 Nov. 2013.
  O’Brien, Edna. “
Irish Revel” (Trevor 495-514)

*See also,
 
Norton Online Quiz: "The Dead"
  SparkNotes quiz:
“The Dead”

Wed., 13 Feb.

 Essay 1 Due

 Elizabeth Bowen (1899-1973), “Her Table Spread” (Trevor 311-318);
 
Seán Ó Faoláin (1900–1991), “The Faithless Wife” and “The Sugawn Chair” (Trevor 318-337, 338-341)

 *See also,
Gonzalez, Alexander G. “Elizabeth Bowen's 'Her Table Spread': A Joycean Irish Story.Contemporary Literary Criticism, edited by Jeffrey W. Hunter and Timothy J. White, vol. 118, Gale, 1999. Literature Resource Center, http://link.galegroup.com.ncc.idm.oclc.org/apps/doc/H1100004423/LitRC?u=sunynassau&sid=LitRC&xid=1cdc4dee. Accessed 12 Feb. 2019. Originally published in Studies in Short Fiction, vol. 30, no. 3, Summer 1993, pp. 343-348.
Marie-Louise O'Murphy” (Wikipedia)
François Boucher, “
Resting Girl
Lubbock, Tom. “
François Boucher, Mademoiselle O’Murphy (1751).” The Independent (UK) 18 July 2008.
A sugawn chair (on the right) 

16–21 Feb.

 Classes do not meet

Mon., 18 Feb.

 Presidents’ Day – COLLEGE HOLIDAY – offices closed

Tue., 19 Feb.

 COLLEGE HOLIDAY – offices closed

Mon., 25 Feb.

 Essay 1 Due

 W. B. Yeats (1865-1939): selected poems (handout):
 “
The Stolen Child,” “When You Are Old,” “The Lake Isle of Innisfree,” and others...

 *See also,  Changeling.” (Wikipedia.org); J. Sheridan Le Fanu, “The Child that Went with the Fairies.”
  “
William Butler Yeats.” (Sacred-Texts.com)
  
Walden by Henry David Thoreau  (here, or available used starting at $2.31 at Amazon.com); The Walden Woods Project: The Thoreau Institute at Walden Woods;
 
Joni Mitchell, “Big Yellow Taxi” (live version); studio version here.
  And, on the recovery and preservation of native languages: Giesbrecht, Lynn. “
Third Annual Elders' Gathering Focuses on Language Revitalization.Saskatoon Star Phoenix 19 Feb. 2019.

 *Recommended viewing:
  
W.B.Yeats: Poetry, 1910-1939;
  
W.B. Yeats: A Concise Biography;
  
A Fantastic Heart: Bob Geldof and Yeats;
 
W.B.Yeats and the Irish Renaissance (The Great Courses);
 
William Butler Yeats’ Love Poems Recited and Discussed I ((includes "The Rose of the World," "The Sorrow of Love," "When You Are Old,"
 
"The Folly of Being Comforted," "The Arrow," "Reconciliation," "No Second Troy," "Peace," "Broken Dreams," "A Deep Sworn Vow," and "A Bronze Head")

Wed., 27 Feb.

 Yeats, selected poems continued

 (Selections to be determined)

Mon., 4 Mar.

 No class due to inclement weather and delayed opening

Wed., 6 Mar.

 Yeats, selected poems continued;

Mon., 11 Mar.

  Louis MacNeice  (1907-1963): selected poems (handout);

 *See also,  Cahill, Thomas. “What Was Found: How the Irish Saved Civilization.” How the Irish Saved Civilization: The Untold Story of Ireland’s Heroic Role from the Fall of Rome to the Rise of Medieval Europe. New York: Nan Talese/Doubleday, 1995. 147-196.

 *Recommended viewing:
  
"Prayer Before Birth" by Louis MacNeice
   (in
MacNeice, Frost, Lear, and Williams

Wed., 13 Mar.

  Essay 1 Revisions Due

  Richard Murphy: selected poems (handout)

 *See also,  Richard Murphy, Poet (obituary).” Telegraph (UK) 26 Feb. 2018.
   
Poet Richard Murphy Dies, Age 90.  Irish Times 31 Jan. 2018.
   “
Richard Murphy at 90: A Poet of Other People.”  Irish Times 23 Oct. 2017.

Mon., 18 Mar.

 J. M. Synge (1871-1909), The Playboy of the Western World (1907): read at least through Act I
 Viewing: The Playboy of the Western World (Druid Theatre Company of Galway)
 
Note: Class will meet in the Haskell Room, Y-217, Bradley Hall

*See also, 
  Kiberd, Declan. “The Riotous History of The Playboy of the Western World.” The Guardian 23 Sep. 2011
 
The Playboy of the Western World: Practice Quiz 1, Quiz 2, Quiz 3, Quiz 4

 *Recommended viewing:
   
The Playboy of the Western World (The Great Courses)

Wed., 20 Mar.

 The Playboy of the Western World continued: read through Act II

Mon., 25 Mar.

 The Playboy of the Western World continued: read through Act III

Wed., 27 Mar.

 Midterm Exam, Poetry recitations (Extra credit)

Mon., 1 Apr.

 Frank O’Connor (1903–1966), “The Majesty of the Law” (.pdf, pp. 18-20), “Guests of the Nation” (.pdf), (Trevor 342-353, 354-362);
 Mary Lavin (1912-1996), “
Sarah” (Note: online text is incomplete) (Trevor 392-400)

Wed., 3 Apr.

William Trevor (1928- ), “Death in Jerusalem” (Trevor 455-470);

Fri., 5 Apr.

 Last Day Automatic W

Mon., 8 Apr.

 Brian Friel (1929-2015), “The Diviner” (Trevor 471-481);
 Edna O’Brien (1932-), “
Irish Revel” (Trevor 495-514);
 John McGahern (1934-2006), “
The Beginning of an Idea” (pp. 30-34; story begins halfway down p. 30) (Trevor 526-540)

 *See also, 
 
  Anton Chekhov, “Oysters
    *Also, see also,  Pavel Chekov

 *Recommended viewing:
   “
The Diviner” as read by Donal Donnelly, here
 
Irish Writers in America: Edna O’Brien;
 
John McGahernRoscommon Landscape, Knockivar, and John McGahern: A Rural Writer?
   (from
Reading Ireland: Contemporary Irish Writers in the Context of Place)

Wed., 11 Apr.

 Essay 2 Topic Proposals due

 Thomas Kinsella (1928- ): selected poems (handout)

 *See also, 
  “
Aogán Ó Rathaille.”  Wikipedia.org.
  Kurt Vile, “
Pretty Pimpin.”
  Yeats, W. B.  “
The Curse of Cromwell.” PoemHunter.com

15–21 Apr.

 SPRING BREAK – Classes do not meet

Mon., 22 Apr.

  Kinsella, selected poems continued 

Wed., 24 Apr.

  Seamus Heaney  (1939-2013): selected poems (handout)

 *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.
  Lange, Karen E. “
Tales from the Bog.” National Geographic. Sep. 2007. Web.
  Murphy, Richard. “
Poetry and Terror.” (rev. of North by Seamus Heaney) New York Review of Books. 30 Sep. 1976. 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.

 *Recommended viewing:
 
Seamus Heaney: Looking Back;
 
Seamus Heaney’s Poetry of Remembrance (The Great Courses)

Mon., 29 Apr.

  Essay 2 Due

 Heaney, selected poems continued

Wed., 1 May

 Heaney, selected poems continued

Mon., 6 May

 Brian Friel (1929-2015),  Dancing at Lughnasa: read at least through Act 2;
 
Viewing: Dancing at Lughnasa.

*See also, 
  Meredith, Fionola. “
The Dark Heart of Dancing at Lughnasa.”  Irish Times 25 Sep. 2015.

Wed., 8 May

 Dancing at Lughnasa continued: read through the end;
 
Viewing: Dancing at Lughnasa.

Mon., 13 May

  Colum McCann (1965- ), “Everything in This Country Must” (Handout; also here);
  Viewing: Everything in This Country Must.

*See also, 
  Taylor, Charles.  “
Cheerless in Ireland.” (Review).  New York Times   19 March 2005.

Wed., 15 May

 Poetry recitations (Extra credit)
 
Final Exam

Mon., 20 May

 Final Conferences
 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:

ball2.gif (137 bytes)   Formatting and Style Guide (Purdue Online Writing Lab)

ball2.gif (137 bytes)   Incorporating Sources (class handout)

ball2.gif (137 bytes)   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:

ball2.gif (137 bytes)   Works Cited page (Instructions & Sample) (Microsoft Word document)

ball2.gif (137 bytes)   Avoiding Plagiarism (Houghton-Mifflin web site)

ball2.gif (137 bytes)   Practice Incorporating Sources into Your Work (Houghton-Mifflin web site)

ball2.gif (137 bytes)   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 email me to set up an appointment during my office hours.

 

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Essay One: Due Wednesday, 13 February Monday, 25 February

In James Joyce’s Dubliners, several images, tropes, or themes recur. Select one of the following and discuss how Joyce develops the idea throughout several stories, how it changes or evolves, how and why it is important, and what it suggests both within the context of the story itself and in society as depicted by Joyce. You should also include examples of how the same idea is utilized in one or more additional short stories, including Elizabeth Bowen’s “Her Table Spread” and Seán Ó Faoláin’s “The Faithless Wife” and “The Sugawn Chair.”

·         Religion and the Priesthood

·         Family and Family Obligations

·         Coming of Age/Loss of Innocence

·         Ireland and “Irishness”

·         Another topic of your own choice. (See below.)

If you wish to write on a topic other than those listed here, approval must be obtained at least one full week in advance of the due date; topic proposals should be submitted by Wednesday, 6 February. You must develop and submit a clear, well-written, one-page explanation of the topic you have chosen, your reason for the selection, your focus and opinion, and an explicit, assertive preliminary thesis. This proposal 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 specific topic you have selected
Rationale: why you have chosen to research and write about this particular topic.
Focus: a narrowed form of the subject, and the issue or debate involved.
Opinion: your subjective opinion on the debate or issue.
Preliminary Thesis: your opinion, worded objectively.

For example:
Topic: Joyce’s use of the city of Dublin as a character.
Rationale: We didn’t really talk about it in class, but Joyce seems to describe a lot of different parts of the city, so I’m curious about why he does it.
Focus: How does Joyce use Dublin landmarks in his stories, and why? What is his intent?
Opinion: I think that Joyce wants to present the different sides of Dublin to show how environment (including class) shapes his characters’ lives.
Preliminary Thesis: In Dubliners, Joyce uses different neighborhoods of the city in order to emphasize the unavoidable environmental influences that shape politics and religion

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 email me to set up an appointment during my office hours. 

Essay 1 Revisions: Due Wednesday, 13 March
As explained in class, essays marked RW (for Rewrite) must be revised and resubmitted by Wednesday, March 13. Essays receiving a passing grade may also be revised and resubmitted, but these revisions are optional. Students are strongly encouraged to make use of the Writing Center in revising their essays, Revisions must be substantially revised, not merely “corrected” versions of the original essay (revisions should be based upon the
Revising and Editing Checklist and relevant information from class and the textbooks), and must be submitted with the original graded essay and/or draft(s) attached as well as one full typed page detailing the changes made, in the following  pattern:

·         Paragraph 1: Changes in content. What was added, deleted, or modified.

·         Paragraph 2: Changes in organization. What sentences, ideas, or paragraphs were moved, how things were rearranged, and why.

·         Paragraph 3: Cosmetic level changes. What specific editing for grammar was performed, or what corrections made in punctuation, mechanics, and diction.

Evidence of substantial revision may result in a better grade for the assignment. If you did not submit a completed essay on time, or if you submit a plagiarized essay, you will receive a grade of zero and may not submit a “revision.”

 

 

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Midterm Exam: Wednesday, 27 March
The final exam will consist of two parts, as follows, and may have built-in extra credit; it may follow the following format:

Part I: Objective (matching, multiple choice, True-False, and/or short answers), 55%
To be completed in class during regular class time, Wednesday, 27 March

Part II: Short essays, 45% (three at 15 points each)
To be completed at home and submitted, typed, due Wednesday, 27 March
Instead of a traditional midterm essay, you should write three short essays of at least 250-300 words apiece. Essays must be typed, in 12-point Times New Roman, double-spaced, and stapled when submitted. Before you begin to write, take time to focus on your subject and to plan your essays carefully. Essays must have an appropriate, original title; contain an introduction (with an explicit, assertive thesis, underlined), body, and conclusion; and avoid use of I or you throughout. Your essay will, as always, be evaluated in terms of Main Idea, Organization, Support, and Diction and Mechanics. Therefore, make certain your essays are not only well organized and developed, but also free of errors in grammar, usage, mechanics, and spelling.

Remember that you are not summarizing the works, but responding to them in a critical manner. Include evidence or examples from the specific texts that you are writing about, but do not retell the story, and do not copy directly except when quoting. Remember to incorporate sources correctly: use signal phrases and document with parenthetical citations and a Works Cited reference at the end of the essay.

You may use the texts themselves (textbook, printout, or online versions) and a dictionary and/or thesaurus (print, electronic, or online) for this essay, but no other materials or sources. Use of secondary sources, whether credited or not, will be considered grounds for failure.

 

 

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Essay Two: Due Monday 29 April
Select one of the following topics.

1.      Many of the same images, tropes, or themes seen in James Joyce’s Dubliners recur throughout later Irish literature, not only  in short fiction but also in poems and plays. Select one of the following and discuss how the idea is presented in the works of at least two or three authors other than Joyce; you must reference at least three or four different works. Do not merely indicate that the topic is present in the works, however. You must provide a clear, analytical statement about the use of the topic in the works, how the authors differ in their approach or intent, and so on. For example, poems from Richard Murphy could provide a counter-example in a discussion of nationalism and rebellion in Yeats’ poetry, or something from Bowen or Ó Faoláin could contrast with a reading of Synge.

(See for example Jack Lynch’s “Getting an A on an English Paper” at http://andromeda.rutgers.edu/~jlynch/EngPaper/, especially “The Thesis” and “Close Reading.”)

·         Religion and the Priesthood

·         Family and Family Obligations

·         Coming of Age/Loss of Innocence

·         Ireland and “Irishness”

·         Another topic of your own choice. (See below.)

2.      Select any one of the authors from the syllabus, and find one long work (a novel or play) or at least two to three short works (poems or short stories) by that author but which are not listed on the syllabus. For example, if you enjoyed reading Yeats’ poetry, you may elect to read and analyze his play The Death of Cuchulain or, if you enjoyed Friel’s Dancing at Lughnasa, consider reading Translations, The Home Place, or a selection of his short stories. Your essay should be a close, critical analysis of the work or works, showing familiarity with the selection, its context, and its significance, and demonstrate independent thought and research, including an argumentative thesis. Do not provide a biography of the author or a summary of the texts; instead, your thesis must be a claim about the work or works that represents your interpretation and that is supported with textual evidence. Your project  must address specific appropriate elements including (but not limited to)—depending on genre—plot or dramatic structure, setting, characterization, point of view, speaker or narrator, language (including figurative language or imagery, diction, and allusions) and for poetry, structure (including meter and rhyme scheme, or the lack of them), intended audience, and theme, as appropriate.
 

3.      If you wish to write on a topic other than those listed here, approval must be obtained at least one full week in advance of the due date; topic proposals should be submitted by Monday, April 22. You must develop and submit a clear, well-written, one-page explanation of the topic you have chosen, your reason for the selection, your focus and opinion, and an explicit, assertive preliminary thesis. This proposal 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 specific topic you have selected
Rationale: why you have chosen to research and write about this particular topic.
Focus: a narrowed form of the subject, and the issue or debate involved.
Opinion: your subjective opinion on the debate or issue.
Preliminary Thesis: your opinion, worded objectively.

For example:
Topic: W. B. Yeats’ The Death of Cuchulain
Rationale: We read about Cuchulain in Prof. Anderson’s History of Ireland class last year, and she mentioned Yeats’ use of mythology, too, so I’m curious about it.
Focus: How does Yeats use Irish legends in Cuchulain, and why? What is his intent?.
Opinion: I think that Yeats wants to rekindle an interest in Irish tradition and mythology, which were being ignored in favor of English versions.
Preliminary Thesis: In The Death of Cuchulain, Yeats rewrites Irish legend in order to emphasize the richness of his native tradition, as a reaction against English dominance in art, politics, and religion.

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 email me to set up an appointment during my office hours.

 

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Final Exam: In class, Wednesday, 15 May
The final exam consists of multiple parts, with built-in extra credit, TBA

 

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Links

Grammar, Writing, and Research Papers:

Prentice Hall’s iPractice

Study Guides and Strategies

Hodges’ Harbrace Handbook

College Writing Skills with Readings

Patterns for a Purpose

How to Write a Research Paper

Online English Grammar

More on Writing a Research Paper

A Guide to Grammar & Writing

MLA format

Another Guide to Grammar and Style

Getting an A on an English Paper

Plagiarism.org

TurnItIn.com

The Grammar Curmudgeon

Society for the Preservation of English Language and Literature

re: Writing for Literature

Additional Textbook Options:

Used Textbooks:

Bigwords.com 
Bookbyte.com 
Buyusedtextbooks.com 
Campusbooks.com 
CollegeSwapShop.com 
Ebay.com 
Half.com 
Halfvalue.com 
Textbooks.com 
TextbookX.com 
ValoreBooks.com

E-Books:

Bkstore.com (B&N) 
CampusBooks.com 
Coursesmart.com 
eCampus.com 
efollett.com 
Cengagebrain.com 
Pearsonhighered.com/student 
Wiley.com

Textbook Rental:

Bookrenter.com
Campusbookrentals.com
Chegg.com
Collegebookrenter.com
Rent-a-Textbook.com
Skoobit.com
Textbookrentals.com

Comparison Shopping:

Abebooks.com 
Addall.com 
Affordabook.com 
Alibris.com 
Allbookstores.com 
Amazon.com
Bestbookbuys.com 
Bigwords.com 
Bookfinder.com 
Bookscouter.com NEW CampusBooks4Less.com 
Collegebooksnow.com 
DirectTextBook.com 
Half.com 
textbook.pricecomparison.com
The Cheap Textbook.com

Links to sites for textbook purchase or rental are provided for students seeking textbook options; no guarantees or recommendations concerning these services are intended, either express or implied.

Research Essay Links

Research should begin with the available electronic databases such as Academic Search Complete, InfoTrac General OneFile, Lexis-Nexis Academic, Opposing Viewpoints in Context, Points of View Reference Center, and CQ Researcher.

Especially useful should be 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 access the databases from home, click on the individual database link. Then, when prompted, enter your username (N #) and password (PIN).

Notify me of any broken or outdated links at bmurphy@Brian-T-Murphy.com.

Additional links may be provided.

 

 

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Last Revised: Monday, 11 March 2019
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Main page:
www.Brian-T-Murphy.com

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