This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License. Use of information or material from these pages for educational purposes is both acceptable and encouraged.  If you are teaching Irish literature and find this page useful in your class, please email me at Brian.Murphy@NCC.edu to let me know if you would be interested in an online OER (Open Educational Resources) textbook of Irish literature with appropriate introductions, notes, and bibliography. Your response would be gratefully appreciated.


ENG 209: Modern Irish Literature, Spring 2020 (CRN 49004)
Section GA:  Monday North Hall, 202/ Wednesday Nassau Hall, M-227
                     11:00
am–12:15 pm (Rooms subject to change)
James Joyce, DublinersBrian Friel, Dancing at LughnasaJ.M. Synge, The Playboy of the Western World...William Trevor, The Oxford Book of Irish Short Stories

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 (.pdf) here.

 

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: 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 modern Irish writers in the contexts of literary, social, and 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.

 

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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 $1.23 at Amazon.com***).

Joyce, James. Dubliners. New York: Signet, 2007. ISBN 9780451530417.
Print, new: $5.95
Print, used: $4.50
(Available used starting at $4.55 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 $1.01 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 $6.52 at Amazon.com***).

 

Supplemental handouts, to be distributed in class.

A good college-level (paperback) dictionary (Available used starting at $0.01 at Amazon.com***).

Recommended:

Hacker, Diana. Rules for Writers, 7 ed. Boston: Bedford/St. Martin’s, 2012. ISBN 9780312647360.
(
Available 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.

Burns, Anna. Milkman: A Novel. Graywolf P, 2018.

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.

Keefe, Patrick Radden. Say Nothing: A True Story of Murder and Memory in Northern Ireland. HarperCollins, 2019.

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.

McCann, Colum. Everything in This Country Must. New York: Picador/Macmillan, 2001.

---. Transatlantic: A Novel. New York: Random House, 2014.

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. 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 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.” 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 (7.5%):
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 (7.5%):
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.

Exams (2 @ 15%):
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.

Short Writing Assignments/Response Papers (15%):
Students will complete at least ten of the short writing assignments or  response papers during the semester, on topics to be assigned. (See Response Paper Topics, below). Respond to each question or topic in a brief, well-developed, coherent, and thoughtful short essay of at least two pages (500 words minimum). Your essay should include independent analysis and demonstrate careful thought, but no research is necessary, nor should any secondary sources be used. This is not a research essay; the only sources utilized or quoted should be the texts themselves. Use of secondary sources, whether credited or not, will be considered grounds for failure. Although these are personal responses, and therefore there is no “correct” answer, remember that they are still formal essays: in your analyses, formulate a clear, explicit, assertive (persuasive), objectively worded thesis statement, and avoid use of “I” or “you” throughout. At least one response paper will be shared with the class as a short (five-minute) presentation, ideally one that is open-ended, leading into class discussions with questions, major themes, or topics for further thought. Handouts, visual aids, or multi-media presentations are not required, but certainly allowed.

Students may complete more than ten response papers for extra credit: only the best ten scores will be utilized in determining final grades.

Research Paper/Final Project (40% total)
Students will also complete a major semester project or argumentative (persuasive) Research Essay of at least seven pages (a minimum of 1000-1250 words), using a minimum of five to seven primary or secondary sources (secondary sources must be reliable: scholarly criticism or analysis, not summaries, reviews, or “analysis” from sites such as e-Notes, SparkNotes, Wikipedia*, 123HelpMe, or Gradesaver.com), correctly documented utilizing MLA format, including a Works Cited page (cover page, if used, and Works Cited do not count toward the seven-page requirement). Topics should be selected from a list of suggestions provided (see Research Paper Topics, below), or developed in consultation with the instructor. The project will be completed in stages during the semester; points will accrue as follows:

Proposal/Topic Selection (5%): Before beginning the assignment, students will develop and submit a clear, well-written, one-page explanation of the topic chosen from the list provided and the reason for selection. This proposal should include a preliminary idea of the plan of the paper, its intention or research question, and a preliminary thesis.

Annotated Bibliography (5%): Students will develop and submit an annotated bibliography for the research essay assignment, with a minimum of five to seven sources, correctly documented according to MLA format.

Preliminary Draft (5%): Students will submit a finished, typed draft of the completed research essay for review, evaluation, and comments.

Presentation (5%): Students will present to the class a summary and explanation of their final project or research essay.

Final Draft (20%): The final draft of the research paper or project must be submitted in a folder, including copies of all sources used and all of the above assignments associated with the research paper.

 

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):
 Macneice, Louis. “House On A Cliff” (12 lines)
 ---. “Soap Suds” (16 lines)
 Murphy, Richard. “Green Martyrs” (18 lines)
  ---. “Orange March” (16 lines)
  ---. “Rapparees”(21 lines)
 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.
 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

 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:

Extra Ordinary

An Irish Supernatural Comedy

Opens Friday, March 6
See times and locations
here or here.

 

 

Joyce, Yeats, and a Couple of Pubs: Travels in Ireland

Tuesday, March 17 March 17 Postponed indefinitely
1:00
PM
CCB 251

NCC English Professor Brian T. Murphy shares experiences from his travels in Ireland, from Galway to Rosses Point in County Sligo, Trim, and Dublin. In addition to architecture and landscape, he will discuss sites associated with Irish writers James Joyce and William Butler Yeats.

Part of the Nassau Community College Cultural Program, Spring 2020

 

 

 

All This Mine Alone: Lady Gregory and the Irish Literary Revival

Augusta Gregory has long been recognized as the woman who helped shape a new era of modern Irish literature at the turn of the 20th century. Known as a patron of writers and artists, co-founder and director of a national theater, and collaborator with W. B. Yeats for 30 years, Lady Gregory began her own literary career well before she emerged to prominence as a playwright, folklorist, translator, and Irish nationalist. This first major exhibition of her work and art—showcased at The New York Public Library—foregrounds her creative evolution and independent achievements, along with her influence on others.

New York Public Library

Stephen A. Schwarzman Building, Sue and Edgar Wachenheim III Gallery

476 Fifth Avenue (42nd St and Fifth Ave)

New York, NY 10018

(917) 275-6975

 

 

Seamus Heaney: Manuscripts

An exhibition of the poet's handwritten, typed and edited work, in partnership with the National Library of Ireland.

Irish Arts Center
553 W 51st Street
New York, New York 10019 Gallery hours by appointment
Monday
Friday | 10:00 am–6:00 pm
Please call 212-757-3318 x203

Exhibition has been extended and will be available to view by appointment through January 24, 2020.

 

 

12th Annual Origin 1st Irish Theatre Festival

The world’s only theatre festival dedicated to showcasing the work of contemporary Irish writers, Origin 1st Irish is New York’s only all-Irish performing arts festival.

January 7February 3

Numerous performances this semester, at various location, including:

Maz and Bricks, Jan. 7–Feb. 2

Scór on Broadway, Jan. 24

Round Room, Jan 27 & 28

Appropriate, Jan. 27Feb. 2

Laugh While You Can,  Feb. 1 & 2

OriginTheatre.org.

 

 

The Irish Repertory Theatre

132 West 22nd Street
New York, NY 10011

Box Office: 212.727.2737

 

Founded by Ciarán O’Reilly and Charlotte Moore, the Irish Repertory Theatre is currently the only year-round theater company in New York City devoted exclusively to bringing Irish and Irish-American works to the stage. Numerous performances this semester, including:

London Assurance, extended though Feb. 9

The Scourge, Jan. 22Feb. 2

Lady G: Plays and Whisperings of Lady Gregory, Feb. 12March 22

Incantata, Feb. 18March 15

A Touch of the Poet, March 25May 10

IrishRep.org

 

 

The W. B. Yeats Society of NY

February 29, Saturday, 10:00 am–5:00 pm | ‘A Taste of the Yeats Summer School.’  All-day program evoking spirit of the school in Ireland (see below). Includes a social and summer school reunion. Speakers will include Deborah Fleming (Ashland) on “The Great House and Colonial Politics:  Yeats and Walcott.” At NYU Glucksman Ireland House, 1 Washington Mews (Fifth Avenue between Washington Square and 8th Street).

March 30 Monday, 6:30-7:30 pm  Readings marking Poetry Month & presentation of our poetry awards. At Barnes & Noble Union Square, 33 East 17 Street at Park Avenue South. Free.

 

 

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."

Date TBA

10:00 am5:00 pm

Glucksman Ireland House

1 Washington Mews, New York, NY 10003

 

 

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

 

Tuesday & Thursday Club Hour Series

Tuesday

March 10

11:30 am to 12:45 pm Bradley Ballroom

Building Compound Sentences

Tuesday

March 17

11:30 am to 12:45 pm Bradley Ballroom

Building Complex Sentences

Thursday

March 26

11:30 am to 12:45 pm Bradley Ballroom

Subject-Verb Agreement

Thursday

April 2

11:30 am to 12:45 pm
Bradley Ballroom

The Verb Phrase

 

Tuesday Evening Series

Tuesday

February 25

5:30 pm to 6:50 pm
L233B

Building Compound Sentences

Tuesday

March 3

7:00 pm to 8:20 pm
L233B

Relative Pronouns

Tuesday

March 10

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

Verb Tenses

Thursday

March 24

5:30 pm to 6:50 pm
L233B

Punctuation

*These workshops take place during Evening Activity Hour. Regular classes are cancelled so that students can attend, 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
Dates, times, and locations TBA

 

IT'S "ABOUT TIME"
MANAGING, TIME. SELF & COLLEGE
February 25
11:30 
AM―12:45 PM
SH 121

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

Listening/Note-Taking
March 3
11:30 
AM―12:45 PM
SH 121

Studying and Organizing for Classes
March 10
11:30 
AM―12:45 PM
SH 121

Reading College Textbooks
March 17
11:30 
AM―12:45 PM
SH 121

Test-Taking
March 24
11:30 
AM―12:45 PM
SH 121

Managing Test Anxiety
March 31
11:30 
AM―12:45 PM
SH 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

7.5 %

Quizzes

7.5 %

Midterm Exam

15 %

Final Exam

15 %

Short Writing Assignments/ Response Papers

15%

Research Paper/Project

40%

Proposal/Topic Selection (5%)

 

Annotated Bibliography (5%)

 

Preliminary Draft (5%)

 

Presentation  (5%)

 

Final Draft (20 %)

 

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 2020

Mon. 20 Jan.

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

Tues. 21 Jan.

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

Mon. 27 Jan.

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

Tues. 4 Feb.

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

Mon. 10 Feb.

Last day drop without a W grade

Fri. 14 Feb.

Evening classes do not meet (classes beginning AFTER 5:01 PM)

Sat.–Thurs.
15–20 Feb. 

Classes do not meet

Mon. 17 Feb.

Presidents’ Day – COLLEGE HOLIDAY – offices closed

Fri. 21 Feb.

Day AND Evening classes do not meet (Academic calendar was revised on February 11)

Tues. 10 March

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

Fri. 27 March

Full & Distance Education classes last day automatic W

Mon.–Sun.
6–12 Apr.

Classes do not meet

Thurs.–Fri.
9–10 Apr.

Good Friday & Passover – COLLEGE HOLIDAY – offices closed

Tues. 14 Apr.

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

Sat. 25 Apr.

MW – if necessary, WEEKEND classes will meet

Sun. 26 Apr.

Weekend classes do not meet

Wed. –Thurs.
6–7 May

All 3 credit evening classes must be extended by 5 minutes for final exams

Mon.–Tues.
11–12 May

All 3 credit evening classes must be extended by 5 minutes for final exams

Tues. 12 May

Evening classes end

Wed.–Thurs.
13–14 May

ME – if necessary EVENING classes will meet

Mon. 18 May

Day, 2nd half semester & Distance Education classes end
ME – if necessary, EVENING classes will meet

Tues. –Thur.
19–21 May

MD – if necessary, DAY classes will meet

Note: All dates subject to change;
See
Academic Student Calendar Spring 2020

 

 

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., 20 Jan.

 Martin Luther King, Jr. Day: College Closed

Tue., 21 Jan.

 Day, Evening & Distance Education (online) Classes Begin

Wed., 22 Jan.

 Course Introduction: Syllabus, texts, policies, assignments; Background
 Easter 1916 Proclamation of Irish Republic
 
The Troubles in Northern Ireland, Dir. Thomasina Gibson. VEA Group Pty Ltd, 2012. (30:03)

 *See also,
  “The Twentieth Century and After: Period Introduction Overview” (Handout),
  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. from The Irish Identity: Independence, History, and Literature (The Great Courses)
 
The Irish Civil War. from The Irish Identity: Independence, History, and Literature (The Great Courses)
 
1916 Easter Rising: Insurrection

Mon., 27 Jan.

 Response Paper 1 due

 Colum McCann, “Splitting the Atom” (Foreword to Dubliners: Centennial Edition (Penguin Classics Deluxe Edition) )
 James Joyce (1882-1941), Dubliners: “The Sisters” (1-11), “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
Joyce’s Dubliners: Anatomy of a City. from The Irish Identity: Independence, History, and Literature (The Great Courses)
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:
“The Sisters”
 
SparkNotes quiz: “An Encounter”
  SparkNotes quiz:
“Araby”
  SparkNotes quiz:
“Eveline”  
 

Wed., 29 Jan.

 Response Paper 2 due

 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”   

Mon., 3 Feb.

 Response Paper 3 due

 Dubliners continued:

 A Painful Case” (107-118), “Ivy Day in the Committee Room” (119-138), “The Dead” (183-236)

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

Wed., 5 Feb.

 Response Paper 4 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) 

Mon., 10 Feb.

 Last day to drop without W grade

 Response Paper 5 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., 12 Feb.

 Proposal/Research Topic Due

 Yeats, selected poems continued

 (Selections to be determined)

15–20 Feb.

 Classes do not meet

Mon., 17 Feb.

 Presidents’ Day – COLLEGE HOLIDAY – offices closed

Mon., 24 Feb.

 Response Paper 6 due

 Yeats, selected poems continued; 

 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., 26 Feb.

 MacNeice, selected poems continued

Mon., 2 Mar.

 Response Paper 7 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.

Wed., 4 Mar.

  Murphy: selected poems continued

Mon., 9 Mar.

 Response Paper 8 due

  J. M. Synge (1871-1909), The Playboy of the Western World (1907): read at least through Act I

  *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)

Tues., 10 Mar.

 Campus closed until Monday, 23 March (at least)
 All face-to-face classes suspended.
 NOTE: Check email, the class
Announcements page, and Blackboard daily for regular updates.:

Wed., 11 Mar.

  All face-to-face classes suspended.

Mon., 16 Mar.

  All face-to-face classes suspended.

Wed., 18 Mar.

  Reading: Finish The Playboy of the Western World: through Act III

  Viewing: Begin watching The Playboy of the Western World (Druid Theatre Company of Galway)

  Discussion Boards: Read and post in Playboy of the Western World forum, Question 1

Mon., 23 Mar.

  Annotated Bibliography Due: Must be submitted by 11:00 AM via email (as an attachment in Word) and uploaded to the appropriate folder in TurnItIn.

  Reading: No new readings

  Viewing: Finish watching The Playboy of the Western World (Druid Theatre Company of Galway)

  Discussion Boards: Read and post in Playboy of the Western World forum, Question 2

  Class Meeting: Meet via Zoom at 11:00 AM

Wed., 25 Mar.

  Midterm Exam

Fri., 27 Mar.

 Last Day Automatic W

Mon., 30 Mar.

 Response Paper 9 due: Must be submitted by 11:00 AM via email (as an attachment in Word) and uploaded to the appropriate folder in TurnItIn.

  Reading: Read Frank O’Connor, “The Majesty of the Law” and “Guests of the Nation” (Trevor 342-353, 354-362);
Mary Lavin (1912-1996), “Sarah” (Note: online text is incomplete) (Trevor 392-400)

  Discussion Boards: Read and post in two of the three discussion threads in Blackboard.
First post is due by 11:00
AM on Monday; second post is due by 11:00 AM on Wednesday.

Wed., 1 Apr.

 Response Paper 10 due: Must be submitted by 11:00 AM via email (as an attachment in Word) and uploaded to the appropriate folder in TurnItIn.

  Reading: Read William Trevor, “Death in Jerusalem” and Brian Friel, “The Diviner” (Trevor 455-470, 471-481)

  Discussion Boards: Read and post in both discussion threads in Blackboard.
First post is due by 11:00
AM on Wednesday; second post is due by 11:00 AM on Monday.

  Class Meeting: Meet via Zoom at 11:00 AM

Mon.–Sun.
6–12 Apr.

 SPRING BREAK: To be held as scheduled.
No additional assignments. Use this time to catch up.

Mon., 13 Apr.

  Reading: Read Edna O’Brien, “Irish Revel” (Trevor 495-514) and John McGahern, “The Beginning of an Idea” (Trevor 526-540)

  Viewing: Watch  Irish Writers in America: Edna O’Brien (26:53) and John McGahern, Roscommon Landscape, Knockivar, and John McGahern: A Rural Writer? (11:46 total, from Reading Ireland: Contemporary Irish Writers in the Context of Place)

  Discussion Boards: Read and post in both discussion threads in Blackboard.
First post is due by 11:00
AM on Monday; second post is due by 11:00 AM on Wednesday.

 *Recommended additional viewing:
  
The Diviner” as read by Donal Donnelly, here (36:35)

Wed., 15 Apr.

 Response Paper 11 due: Must be submitted by 11:00 AM via email (as an attachment in Word) and uploaded to the appropriate folder in TurnItIn.

  Reading: Read Thomas Kinsella, selected poems (handout)

  Discussion Boards: Read and post in discussion thread in Blackboard.
First post is due by 11:00
AM on Wednesday; second post is due by 11:00 AM on Monday

  Class Meeting: Meet via Zoom at 11:00 AM

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

Mon., 20 Apr.

  Response Paper 12 due: Must be submitted by 11:00 AM via email (as an attachment in Word) and uploaded to the appropriate folder in TurnItIn.

  Reading: Read Thomas Kinsella, selected poems continued; Seamus Heaney,  selected poems (handout)

  Viewing: Watch  Seamus Heaney’s Poetry of Remembrance (The Great Courses) (37:18)

  Discussion Boards: Read and post in discussion thread in Blackboard.
First post is due by 11:00
AM on Monday; second post is due by 11:00 AM on Wednesday.

  *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.
  Toner, Emily. “
The Secret World of Life (and Death) in Ireland’s Peat Bogs.” New York Times 19 Oct. 2019.
  and, T.P. Flanagan’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 additional viewing:
 
 Seamus Heaney: Looking Back (51:38)

Wed., 22 Apr.

  Reading: Read Heaney, selected poems continued

  Discussion Boards: Read and post in discussion threads in Blackboard.
First post is due by 11:00
AM on Wednesday; second post is due by 11:00 AM on Monday.

 Class Meeting: Meet via Zoom at 11:00 AM

Mon., 27 Apr.

 Research Paper Draft Due: Typed, finished draft for comments and suggestions

  Reading: Read Heaney, selected poems continued

  Discussion Boards: Read and post in discussion threads in Blackboard.
First post is due by 11:00
AM on Monday; second post is due by 11:00 AM on Wednesday.

Wed., 29 April

 Response Paper 13 due:  Must be submitted by 11:00 AM via email (as an attachment in Word) and uploaded to the appropriate folder in TurnItIn.

  Reading: Read Brian Friel,  Dancing at Lughnasa: read at least through Act 2

  Viewing: Dancing at Lughnasa, available at Amazon Prime Video, Vudu, or free (with ads) at Pluto TV.
Staged productions available on YouTube include:

Dancing at Lughnasa (Dome Theater, 2018)

Dancing at Lughnasa (Mountbatten Community Centre, 2017)

Dancing at Lughnasa (San Juan College, 2018)

  Discussion Boards: Read and post in discussion threads in Blackboard.
First post is due by 11:00
AM on Wednesday; second post is due by 11:00 AM on Monday.

  Class Meeting: Meet via Zoom at 11:00 AM

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

Mon., 4 May

  Reading: Read Dancing at Lughnasa continued: read through the end

  Viewing: Watch  

  Discussion: Read and post in discussion threads in Blackboard.
First post is due by 11:00
AM on Monday; second post is due by 11:00 AM on Wednesday.

Wed., 6 May

 Response Paper 14 due: Must be submitted by 11:00 AM via email (as an attachment in Word) and uploaded to the appropriate folder in TurnItIn.

  Reading: Read Colum McCann, “Everything in This Country Must” (Handout; also here)

  Viewing: Watch Everything in This Country Must (20:08)

  Discussion Boards: Read and post in discussion threads in Blackboard.
First post is due by 11:00
AM on Wednesday; second post is due by 11:00 AM on Monday.

  Class Meeting: Meet via Zoom at 11:00 AM

 

 *See also, 
  Espiner, Mark. “
What to Say about…Dancing at Lughnasa.” The Guardian 6 March 2009.
  Taylor, Charles. 
Cheerless in Ireland.” (Review).  New York Times   19 March 2005.

Mon., 11 May

 Research Paper Revisions Due: Final research project, in folder with all ancillary materials

  Conferences (online) by appointment only.

Wed., 13 May

 Response Paper 15 due: Must be submitted by 11:00 AM via email (as an attachment in Word) and uploaded to the appropriate folder in TurnItIn.

 Final Exam

Mon., 18 May

 Final Conferences (online) by appointment only.

 Day & Distance Education Classes End

 

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SHORT WRITING ASSIGNMENTS/RESPONSE PAPER TOPICS:
For each week, a question or topic will be provided. You may complete any ten response papers, but  your response must be on the assigned topic for the week it is submitted, and must be submitted on or before the due date, by the beginning of the class period, or it will receive a zero (0). Late work will not be accepted. Students may complete more than ten response papers for extra credit: only the best ten scores will be utilized in determining final grades.

Instructions: Respond to each question or topic in a brief, well-developed, coherent, and thoughtful essay of at least two pages (500 words minimum). Your essay should include independent analysis and demonstrate careful thought, but no research is necessary, nor should any secondary sources be used. This is not a research essay; the only sources utilized or quoted should be the texts themselves. Use of secondary sources, whether credited or not, will be considered grounds for failure. Although these are personal responses, and therefore there is no “correct” answer, remember that they are still formal essays: in your analyses, formulate a clear, explicit, assertive (persuasive), objectively-worded thesis statement, and avoid use of “I” or “you” throughout. Do not attempt to address all aspects of the text, but carefully focus your topic, and avoid merely paraphrasing or summarizing the work. Be sure to support your answers with specific references to the work. Essays must be typed, double-spaced, and grammatically correct; essays will be evaluated according to the Model for Evaluation of Student Writing.

1) Due Monday, 27 January:
What connections do you perceive between “The Sisters” (1-11), “An Encounter” (12-22), “Araby” (23-30), and “Eveline” (31-36), the first four stories in Dubliners? Consider Plot, Characters, Setting, Point of View, Theme, Motifs, and language. Do these stories present some form of coherent, unified idea?

2) Due Wednesday, 29 January:
Consider the prevalent themes in “Two Gallants” (45-57), “The Boarding House” (58-66), “A Little Cloud” (67-83), “Counterparts” (84-97), and “Clay” (98-106)? What, if anything, do these stories suggest about confinement and escape, and/or about family and familial obligations?

3) Due Monday, 3 February:
The Dead” is in many ways unlike the other stories in Dubliners. Not only the last story and the longest, it also differs in both structure and theme. Why is it the last story, how does it bring the rest of Dubliners into focus, and in what way does it serve to complete the collection?

4) Due Wednesday, 5 February:
InElizabeth Bowen's 'Her Table Spread': A Joycean Irish Story,” Alexander G. Gonzalez writes, “At first ‘Her Table Spread’ would appear to have nothing Joycean about it, since it involves Ireland's Protestant upper class during the twenties; Dublin's slums and middle-class neighborhoods are nowhere in sight. However, further connections do exist once we consider certain significant subtleties of symbol, theme, and technique--all of which Bowen successfully adapts to suit her own purposes.” What connections— in PlotSettingCharacters and CharacterizationPoint of View, language (including Figurative Language or ImageryDiction, and Allusions) and Theme—do you see between “Her Table Spread” and Dubliners, especially “The Dead”?

5) Due Monday, 10 February:
Of the selected poems by W. B. Yeats included in the packet, which poem do you find the most interesting, enjoyable, or problematic, and why?

6) Due Monday, 24 February:
 Of the  selected poems by Louis MacNeice included in the packet, which poem do you find the most interesting, enjoyable, or problematic, and why?

7) Due Monday, 2 March:
Of the selected poems by Richard Murphy included in the packet, which poem do you find the most interesting, enjoyable, or problematic, and why?

8) Due Monday, 9 March:
In The Playboy of the Western World, Synge presents a particular image of life in a small, rural community in the west of Ireland in the early twentieth century. Focus on one main character, and explain how he or she reveals the author’s depiction of the complicated interplay between family, community, and reputation. Note: You may base your response paper on only Act One, or you may read ahead and refer to the whole play.

9) Due Wednesday, 25 March:
In a post from 2012, Mel U. praises Frank O’Connor’s “The Majesty of the Law” and “Guests of the Nation” as two of his strongest works. She observes, “One story is about an old man whose future is ruined by his own pride. The sad thing is no body even pays any attention to him. The other story is about young men used as pawns in a larger theater.” This would seem to indicate that any connection between the two stories is, at best, tangential; however, they may have more in common than is initially apparent. What, if anything, ties these two stories together? Why read these two together, as if they were in some ways companion pieces? Consider Plot, Setting, Characters and Characterization, Point of View, Speaker or narrator, and Theme, as appropriate.

10) Due Monday, 30 March:
Both William Trevor’s “Death in Jerusalem” and Brian Friel’s “The Diviner” present ambiguous if not outright negative depictions of the priesthood. How are the priesthood and religion depicted in each work, and to what end? Do these depictions differ, and if so, why?

11) Due Monday, 13 April:
Of the selected poems by Thomas Kinsella included in the packet, which poem do you find the most interesting, enjoyable, or problematic, and why?

12) Due Wednesday, 15 April:
Of the selected poems by Seamus Heaney included in the packet, which poem do you find the most interesting, enjoyable, or problematic, and why?

13) Due Monday, 27 April
In Dancing at Lughnasa, Brian Friel presents themes of change and memory, of transition and nostalgia. The radio, the knitwear factory in town, even Gerry’s plan to go off to join the International Brigade all point to August 1936 as  a moment of personal and cultural transition for Michael Evans, the narrator and (perhaps) the main character of the play. However, Michael never appears on stage as a character, the seven-year-old child of the play’s action, but stands outside of the action, commenting upon it as an adult narrator. Explore this issue: What is gained—or lost—by not having seven-year-old Michael as an actual character? How does utilizing an adult Michael as narrator alter or influence our reading of the play? Note: You may base your response paper on only Acts I and II, or you may read ahead and refer to the whole play.

14) Due Monday, 4 May
This question contains spoilers!
In “Everything in This Country Must,” we learn that Katie’s mother and brother were killed in an accident, losing their lives in a collision with a truck full of British soldiers. How does this tragedy, though “long ago” and accidental, inform the subsequent actions of Katie’s father, and how does it problematize any simple/simplistic reading of the story?

15) Due Wednesday, 13 May
Reflect upon the past semester and write about how this course has impacted you, asking yourself questions such as the following:

·         What did you initially expect to get out of this class, and what have you actually learned?

·         Have you taken away from this experience as much as you could have, and are you satisfied with your growth and performance? What if anything would you do differently if you had the chance?

·         What was your experience or perception of Irish literature before this semester, and how does it differ from your current beliefs about the value and purpose of Irish literture?

Do not just mechanically answer each of the above questions. Rather, take time to think carefully about your experience this semester, and present a thoughtful, personal response.

 

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FINAL PROJECT/RESEARCH PAPER: Due in stages (see below)
Students will complete either a traditional research essay of at least seven pages (1000-1250 words minimum) or an independent creative or scholarly project (see topic 4, below) with a Works Cited page (cover page, if used, and Works Cited do not count toward the seven-page requirement). The research essay must be argumentative (persuasive), with a clear, explicit, and assertive thesis statement, and all projects, creative or traditional,  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).

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.

* 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.”

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

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.

Proposal/Topic Selection and Preliminary Thesis: Due Wednesday 12 February
Whether you are writing a traditional research paper or an alternative final project, you must establish a plan and a clear thesis before you can begin to put together a focused, well-organized, and purposeful product. Therefore, as your first step in the assignment, 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 a clear, well-written, explicit, and assertive preliminary thesis. This proposal may also include a preliminary idea of the plan of the paper, its intention or research question. Note: Choose your topic carefully. You will not be allowed to change your topic once you have made your selection, although you may change your position on the particular issue and will, presumably, modify your thesis during the process of research and writing. *Note: Students must obtain prior approval for independent topics; speak to me before or after class or email me to set up an appointment during my office hours.

Your proposal must take the following form:

Topic: the specific topic selected from the list provided or one you have developed in consultation with the instructor.
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.
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.

Topic Choices:

1) 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 TranslationsThe 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, Characters and 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.

2) 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.

·         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.)

3) Several works of modern Irish literature, in addition to those discussed in class, have been adapted into films. Some adaptations are generally “faithful” to the text, while some may involve a radical transformation or expansion or a complete revision of the original, possibly including a shift in setting, both time and place. Choose one such text and analyze a cinematic adaptation. How does the film alter or adapt the original text, and to what end? That is, not only how do the two differ, but why? How does the film adapt, revise, or alter the original text? What is changed or left out, and why? How do all of these individual changes contribute to a different interpretation of the text; that is, what is the significant difference between the text and the film? And, finally, how does the socio-cultural milieu of each work inform these differences? Some suggested works (see me if you have others in mind):

·         Girl with Green Eyes (1964), based on Edna O’Brien’s The Lonely Girl 

·         The Dead (1987), based on James Joyce’s story

·         Bloom (2003) or Ulysses (1967) based on James Joyce’s novel

·         The Commitments (1991), based on Roddy Doyle’s novel 

·         Brooklyn (2015), based on Colm Tóibín’s novel

4) A topic of your own.
If you wish to write on a topic other than those listed above, or to develop an alternative project (An illustrated book of Yeats’ poems adapted for children? An animated version, with commentary, of Edna O’Brien’s “Irish Revel”?), you must obtain approval at least one full week in advance of the Proposal/Topic Selection due date. You must discuss with me your proposed project, its scope, and your plans; please speak to me before or after class or email me to set up an appointment during my office hours.

Please feel free to communicate any concerns or questions to me; I will be available to meet with any student who needs assistance or additional instruction.

 

Annotated Preliminary Bibliography: Due Wednesday 11 March
You must submit an  annotated preliminary bibliography with a minimum of five to seven sources, correctly cited according to MLA style. This may include 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, InfoTrac General OneFile, Lexis-Nexis Academic, Opposing Viewpoints in Context, Points of View Reference Center, and CQ Researcher, 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 may also utilize MRQE.com, The Movie Review Query Engine, but be sure to select only professional, reliable reviews: New York Times? Probably okay. JoBlo's Movie Emporium? Not so much.

In addition to a correct citation for each source, you must include a description or summary of the source, at least one paragraph long, and an explanation of how you foresee incorporating it into your essay. For additional information on Annotated Bibliographies, see the Purdue University Online Writing Lab (OWL)’s Annotated Bibliographies, as well as “Sample Annotated Bibliography“ and Ebel, Kimberly, “Class and Gender in Cinderella: Annotated Bibliography.”

You might also find the following additional resources useful:

   MLA Documentation of Films: Works Cited and In-Text Citations

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

   MLA format (Purdue university's Online Writing Lab)

 

Preliminary Draft: Due Wednesday 22 April
A finished, typed draft of the completed research essay must be submitted for review, evaluation, and comments. This should be a complete draft of your research essay, using a minimum of three to five secondary sources, five to seven pages, and including both a cover page and Works Cited page. This draft is worth 5% of your final grade; failure to bring the required essay will result in a zero for the assignment.

Note: You do not need to submit the folder containing copies of your sources at this time.

 

Presentations: Wednesday 6 May, Monday 11 May (Sign-ups required)
Students will present to the class a summary and explanation of their final project or research essay. Each presentation must be five to ten minutes long, and, ideally, and can be open-ended, leading into class discussions with questions, major themes, or topics for further thought. Handouts, visual aids, or multi-media presentations are not required, but certainly allowed. You must be present on the day you have signed up for to give your presentation.

 

Research Paper: Due Wednesday 6 May

The final research essay must be submitted, in its folder with all supporting materials: photocopies or printouts of all sources, Topic Selection and Preliminary Thesis, Annotated Preliminary Bibliography, Preliminary Draft, outline–if you have completed one–and any other related materials. 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. You must also submit a copy via TurnItIn.com.

Failure to submit the complete folder on the due date will result in a zero for the assignment

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Midterm Exam: Monday, 23 March—Friday, 27 March
The midterm exam will consist of two parts, as follows:

Part I: Objective (matching, multiple choice, True-False, and/or short answers), 70%
To be completed online by noon, Friday, 27 March

Part II: Short essays, 30% (three at 10 points each)
To be completed at home and submitted, via TurnItIn and email, by noon, Friday, 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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Final Exam: Wednesday 13 May
The final exam will include all of the assigned readings from March 30 though May 6; that is, from Frank O’Connor and Mary Lavin through Brian Friel. It may consist of two parts, as follows, and may have built-in extra credit:

Part I: Identification. (80%) Choose one of the following two options; choose either  A or B:

A: Matching, 4% each. Match each of the 22 passages provided with the appropriate author and title, using the key provided. Place the appropriate letter on the blank beside the number below. (Built-in Extra Credit)

B: Short Answer, 16% each. Select any five (5) of the 22 passages; be sure to identify each one by number. In a well-developed paragraph for each, identify the 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. (You may identify a sixth passage for up to 10 points extra credit.)

Part II: Short responses. You must answer both A and B.  (10% each)

A. A short essay (two or more paragraphs) about the class itself.

B. A short paragraph or two about your response to the course.

There is no correct answer for these two; this is for my information and course revisions only. All thoughtful, honest answers will receive credit.

 

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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: 30 March 2020
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Main page:
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