ENG 102: Composition II (Literature and Composition)
Section JF:  Monday & Wednesday
      
           12:30�1:45 AM, South 110
Keys for Writers, 5 ed.

Brian T. Murphy

Bradley Hall, Y-203
516-572-7185, ext. 25686

e-mail: [email protected]

Schedule and Office Hours
 

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

Description

Objectives

Texts

Policies 

Assignments

 Grading 

Schedule

Links

Important Announcements and Updates: Click HERE
 

Print-friendly syllabus (Microsoft Word) here.

Other printable documents:

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

 

DESCRIPTION:
This course is an introduction to writing about literature. The course is designed for students to practice close reading and organizing evidence to support their written interpretation and analysis of literary texts. The course offers students continued practice in drafting, revising, and editing essays. A primary goal for students is to produce clear, well-developed, well-organized, grammatical writing. For at least one essay, students use research materials.

Prerequisite: ENG 101.
It is assumed that students have successfully completed the prerequisite for this course,  ENG 101 (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: Students will

1.   Further enhance the skills, introduced in English 101, necessary for composing essays that support and develop a point of view, using literature as the prompt for writing.

2.   Read fiction, poetry, drama, and possibly other materials for insight and appreciation.

3.   Develop a repertoire of reading and writing strategies appropriate to different literary genres.

4.   Understand the differences between primary and secondary sources.

5.   Write as a away of exploring and enjoying literature, developing and confirming ideas in a process of communicating them.

6.   Revise in order to substantially improve the focus, organization, and development of ideas.

7.   Locate, evaluate, and cull information from archival and/or electronic sources.

8.   Summarize, paraphrase, quote, and use MLA-style citations to document course reading and materials found through research in the construction and expression of a point of view.

9.   Edit and proofread for usage and correctness of grammar, spelling, and punctuation.

10. Produce approximately 4,000�6,000 words across a series of written assignments and essays subject to evaluation, at least one of which is an essay of 1,000�1,500 words.

 

 

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TEXTS:
Required:*

Gardner, Janet E., et al., eds. Literature: A Portable Anthology, 3 ed. Boston: Bedford/St. Martin�s, 2013 (Available starting at $30.00 at Amazon.com***)
OR Gardner, Janet E., et al., eds. Literature: A Portable Anthology, 2 ed. Boston: Bedford/St. Martin�s, 2009 (
Available used starting at $0.01 at Amazon.com***) and
       Shakespeare, William. Othello. Ed. Stephen Orgel. New York: Penguin, 2001 (
Available used starting at $1.26 at Amazon.com***), or another reputable paperback edition.

Supplemental handouts, to be distributed in class

A good college-level (paperback) dictionary (Available used starting at $00.01 at Amazon.com***).

Recommended:

Hacker, Diana. Rules for Writers, 7 ed. Boston: Bedford/St. Martin�s, 2012 (Available used starting at $35.00 at Amazon.com***), or another current college-level handbook including 2009 MLA updates. Note: The sixth edition of Rules for Writers with 2009 MLA Updates is also available, and quite a bit less expensive (Available used starting at $00.01 at Amazon.com***).

(see also Additional Textbook Options, below)

Recommended additional texts:**

Bloom, Harold. Hamlet: Poem Unlimited. New York: Riverhead, 2003.�

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

Boose, Lynda E. and Richard Burt. Totally Clueless? Shakespeare Goes Hollywood in the 1990s from Shakespeare, The Movie: Popularizing the Plays on Film, TV, and Video. London and New York: Routledge, 1997. 8-21. (Available starting at $4.00 at Amazon.com***); reprinted in Corrigan.

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 SnobsEven If You�re Right. New York: Penguin, 2008 (Available used starting at $6.61 at Amazon.com***).

Cathcart, Thomas and Daniel Klein. Logic. Plato and a Platypus Walk into a Bar...: Understanding Philosophy Through Jokes. New York: Abrams Image, 2006. 27-49. (Available used starting at $6.73 at Amazon.com**)

---. Aristotle and an Aardvark Go to Washington: Understanding Political Doublespeak through Through Philosophy and Jokes. New York: Abrams Image, 2007. 27-49 (Available used starting at $10.85 at Amazon.com***).

Cohen, Paula Marantz. �Shakespeare Goes to the Movies.DOJ: The Drexel Online Journal.

Corrigan, Timothy, ed. Film and Literature: An Introduction and Reader. Upper Saddle River, NJ: Prentice Hall, 1999. 340-356. (Available starting at $11.00 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***)

Feldman, Gail M. �Adapting Shakespeare to Film.Inside Film Magazine Online.

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.

Giannetti, Louis. Understanding Movies, 10 ed. Upper Saddle River, NJ: Prentice Hall, 2005. (Available starting at $54.00 at Amazon.com***)

Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New York: W. W. Norton, 2004. (Available used starting at $1.91 at Amazon.com***).

Haig, Matt. The Dead Father�s Club: A Novel. New York: Viking, 2006. (Available starting at $0.59 at Amazon.com***)

Kliman, Bernice W. Hamlet: Film, Television, and Audio Performance. Rutherford, NJ: 1988. (Available starting at $40.00 at Amazon.com***)�

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***).

Lepore, Jill. The Secret History of Wonder Woman. New York: Knopf, 2014. (Available used starting at $13.71 at Amazon.com***).

Parrill, Sue. Jane Austen on Film and Television: A Critical Study of the Adaptations. Jefferson, NC: McFarland, 2002.

Postman, Neil. Amusing Ourselves to Death: Public Discourse in the Age of Show Business. New York: Penguin, 1985, 2005. (Available used starting at $6.74 at Amazon.com***).

Ray, Michelle. Falling for Hamlet. New York, Boston: Little Brown, 2011. (Available used starting at $3.51 at Amazon.com***).

Showalter, Elaine. A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx. New York: Knopf, 2009. (Available used starting at $0.40 at Amazon.com***).

Updike, John. Gertrude and Claudius: A Novel. New York: Random House, 2001 (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: All 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. Three  additional poems (Cummings, l(a,� Raleigh, �The Nymph�s Reply to the Shepherd,� and Blake�s �London) are not included in the textbook, but may be accessed through the links provided and 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� (page 67 in the 2014-2015 college catalog). Students must not only attend every class and lab meeting, 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 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. Eating, sleeping, texting, or other inappropriate behavior will result in your being asked to leave the class. 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� (page 24-5 in the college catalog) and �Student Code of Conduct� (pages 34-9 in the college catalog).

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 and Plagiarism (page 20 in the college catalog).

Essay Submission (General Essay Instructions):
For each of the assigned essays and projects, a topic or list of topic choices is 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.

All work must be received by the instructor on or before the due date, at the beginning of the class period, as indicated on the schedule, below. Late work will not be accepted, nor will essays be accepted via email. Failure to bring the required essay will result in a zero for the assignment, without opportunity for revisions.

For each of the essays, select one of the topics to discuss in a well-developed, coherent, and thoughtful essay. Be sure to focus carefully on the topic, and 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 (thesis statements must be underlined); and (unless otherwise indicated) avoid use of I or you throughout. Note: Except where otherwise specified below, these are not research essays; 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.

Essays 1 (fiction) and 3 (poetry) must be at least three to five pages (750 to 1250 words), the Midterm and Final (in-class) essays (Essays 2 and 4) must be a minimum of 600 words, and the Research Essay must be at least 1500 words (roughly six pages minimum). All at-home work must be typed in 12-point Times New Roman font, double-spaced, and stapled when submitted. In-class work must be neatly printed in blue or black ink on composition paper or in bluebooks provided by the instructor and double-spaced. All 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. See also Writing a Literature Paper and Getting an A on an English Paper as well as the Essay Outline and Revising and Editing Checklist for additional assistance.

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)and the LaGuardia Community College Policy on Academic Integrity (.pdf).

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 Documentation of Films: Works Cited and In-Text Citations

ball2.gif (137 bytes)   MLA format (Purdue Universitys Online Writing Lab)

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, with the exception of the Diagnostic Essay and Final Essay, may be revised and resubmitted by the due dates announced, usually one week after 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 attached. 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, late papers will not be accepted, nor will make-up opportunities be offered, except under extraordinary circumstances with appropriate documentation. Excuses such as �crashed computers,� �lost flash drives,� or �empty printer ink cartridges� will not be accepted.; therefore, be sure to save your work in multiple forms (computer�s hard drive, flash drive, and cloud), and keep backup copies of all work submitted.

Disabilities and Accommodations :
If you have a physical, psychological, medical, or learning disability that may impact  your ability to carry  out assigned course work, I urge that you contact the Center for Students with Disabilities(CSD), Building U. (516 572-7241).  The counselors at CSD will review your concerns and determine reasonable accommodations you are entitled to by the Americans with Disabilities Act and Section 504 of the Rehabilitation Act of 1973. All information and documentation of disability remain 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. 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. Questions, discussion, disagreement, and laughter are all encouraged. Taking an active part also means being prepared: students should bring pens, a notebook and/or loose-leaf paper, and the textbook to every class. In addition, all reading or writing assignments must be completed in advance, according to the schedule (below).

Quizzes and In-class Writing (10%):
With the exception of the first day, class may begin with a short (five-minute) quiz or writing assignment on the readings for the day, at the instructor�s discretion. Quizzes cannot be made up; if you miss a quiz due to absence or lateness, that grade will be recorded as a 0. At the end of the semester, the lowest grade will be dropped. Students may also complete a number of smaller in-class writing assignments, including summaries, exercises, or short responses. Total number of quizzes and writing assignments during the semester will determine the point value of each; that is, if 11 quizzes/writing assignments are given (lowest grade dropped), each is worth up to one full percentage point.

Diagnostic Essay (ungraded):
Students will complete an in-class Diagnostic Essay at the beginning of  the semester on a topic provided. This essay is for evaluative purposes only: it will not receive a grade, nor will it affect your final average.

At-Home Essays (2 @ 12.5%):
Students will complete two at-home critical essays during the semester: literary analyses of works of fiction and of poetry, on topics selected from the list of suggestions provided (see Essay Topics) or developed in consultation with the instructor. Essays must be at least three to five (3-5) pages (750 to 1000 words), typed (12-point Times New Roman), double-spaced, and stapled (once, upper-left corner) when submitted. 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 Writing a Literature Paper and Getting an A on an English Paper as well as the Paragraph Outline or Essay Outline and Revising and Editing Checklist for additional assistance.

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.

In-Class Essays: Midterm and Final (2 @ 10%):
Students will also complete two open-book in-class essays of at least 600 to 750 words, a Midterm and Final. The essays will draw upon the students� knowledge of material studied during the previous weeks, including short fiction, poetry, and drama. Students will be allowed to use textbooks and a dictionary and/or thesaurus for the essays.

Research Essay (35% total):
Students will also complete an argumentative (persuasive) Research Essay of at least six pages (at least 1500 words), using up to three primary sources and a minimum of three to five secondary sources, correctly documented utilizing MLA-style citations, with a cover page and Works Cited page (cover page and Works Cited do not count toward the six-page requirement). The research essay will be completed in stages during the semester; points will accrue as follows:

Topic Selection (5%):
Before beginning the research essay assignment, students will develop and submit a clear, well-written, one-page (250-300 words) 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 possible 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 cited according to MLA format.

Preliminary Outline and Draft Introduction (5%):
Students will complete an outline and a preliminary draft of their research essay introduction for evaluation and comments.

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

Extra Credit (possibly various opportunities, at 1�2 points each):
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 Fieldtrips). 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 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.

Extra Credit Opportunities to date:

 

The Critique of Reason: Romantic Art, 1760-1860
Friday, March 6 t
hrough Sunday, July 26

The first major collaborative exhibition between the Yale University Art Gallery and the Yale Center for British Art, The Critique of Reason offers an unprecedented opportunity to display together treasured works from both museums� collections. The show comprises paintings, sculptures, medals, watercolors, drawings, prints, and photographs by such iconic artists as William Blake, Th�odore G�ricault, Francisco de Goya, and Joseph Mallord William Turner. The broad range of work selected challenges the traditional notion of the Romantic artist as a brooding genius given to introversion and fantasy. Instead, the exhibition�s eight thematic sections juxtapose arresting works that reveal the Romantics as attentive explorers of their natural and cultural worlds.

Yale University Art Gallery.
1111 Chapel Street at York Street
New Haven, CT
203-432-0600
artgallery.yale.edu
FREE.

 

Young Man Langston: A Dramatic Reading

92nd Street Y

1395 Lexington Avenue
New York, NY 10128
212-415-5500

Aaron Clifton Moten and John Douglas Thompson�star in the premiere of Young Man Langston, a dramatic reading from the letters of Langston Hughes that looks at the poet�s formative years, from the publication of �The Negro Speaks of Rivers� and The Weary Blues, to his travels through the American South, to his life as an artist among artists in 1920s Harlem.

Monday, February 23, 8:00 pm

Lexington Avenue at 92nd St

Kaufmann Concert Hall

$15�$35

(35 and under tickets are available for patrons ages 35 and under. ID�s will be checked at the door.)

 

 

Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe

New World Stages
340 West 50th Street (Between 8th and 9th Avenue)

Clinton, Manhattan

212-239-6200

Written, composed, and directed by Jonathan Christenson

Production design by Bretta Gerecke

Through May 31, 2015

$75�$115

$30 under 30: A limited number of $30 rush tickets for patrons under 30 years of age will be available in person at the box office two hours prior to each performance while supplies last. Valid ID required.

 

Writing Center Grammar Review Workshops (1 point each)

Building Compound and Complex Sentences,
Using Relative Pronouns and Clauses ,
Using Tenses Correctly, 
Subject-Verb Agreement, the Verb Phrase

Tuesday Club Hour Series: Library L233A (except February 10: Bradley Hall Ballroom

February 10

11:30 am to 12:45 pm

Building Compound Sentences

February 24

11:30 am to 12:45 pm

Building Compound Sentences

March 3

11:30 am to 12:45 pm

Building Complex Sentences

March 24

11:30 am to 12:45 pm

Using Relative Pronouns & Clauses

April 7

11:30 am to 12:45 pm

Using Tenses Correctly

Tuesday Evening Series: CCB Building (*Evening Activity Hours: Regular Class Cancelled-- but check with your instructors.)

February 10

5:30pm-6:50pm EAH*

Building Compound Sentences

March 10

7:00pm-8:20pm EAH*

Building Complex Sentences

Wednesday Afternoon Series: Bradley Hall Ballroom

February 25

2:00 pm to 3:15 pm

Building Compound Sentences

March 11

2:00 pm to 3:15 pm

Building Complex Sentences

March 25

2:00 pm to 3:15 pm

Subject-Verb Agreement

April 8

2:00 pm to 3:15 pm

The Verb Phrase

Thursday Club Hour Series: Bradley Hall Ballroom

February 26

11:30 am to 12:45 pm

Building Complex Sentences

March 12

11:30 am to 12:45 pm

Subject-Verb Agreement

March 26

11:30 am to 12:45 pm

The Verb Phrase

To reserve a seat at these workshops, please stop by or call:
The Writing Center in Bradley Hall (Bldg. Y) at 572-7195
The Writing Center Annex on 2nd floor of Library, room L233 at 572-3595

 

 

Writing Center Spring 2015 MLA Research and Documentation Seminars (1 point each)
Topics include: Locating and Evaluating Sources, Integrating Sources into an Essay,
Creating and Formatting a Works Cited or Reference List

MLA Sessions:

 Wednesday April 15 2:00 am to 3:15 pm Bradley Ballroom
Tuesday April 21 8:30 pm to 9:50 pm* CCB Room TBA
Thursday April 23 11:30 am to 12:45 pm Bradley Ballroom
Tuesday April 28 11:30 am to 12:45 pm Library L233A
Thursday April 30 11:30 am to 12:45 pm Bradley Ballroom
Tuesday May 5 11:30 am to 12:45 pm Bradley Ballroom
Thursday May 7 11:30 am to 12:45 pm Library L233A

*Evening Activity Hour

APA Sessions

Thursday March 26 11:30 am to 12:45 pm Library L233A
Thursday April 9 11:30 am to 12:45 pm Library L233A
Tuesday April 21 11:30 am to 12:45 pm Library L233A

Seating is limited!

Register in advance by calling or visiting the Writing Center.
The Writing Center is located in Bradley Hall (Y Bldg., Ballroom) 572-7195
and in the Library (L Bldg., Room L 233) 572-3595
e-mail: [email protected] www.ncc.edu/writingcenter

Note: Extra credit will be given for attending MLA workshops only. Details about APA workshops are provided for your information only.

 

 

 

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GRADING:
Final grades will be determined as follows:

Attendance/Class Participation

10%

Quizzes and In-class Writing

10%

At-Home Essays: 2 @ 12.5%

25%

In-Class Essays (Midterm, Final): 2 @10%

20%

Research Paper (35% total)  

Topic Selection

 5%

Annotated Bibliography

 5%

Preliminary Outline and Draft Introduction

 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 2015 SEMESTER
 Monday, Jan. 19   Martin Luther King, Jr. Day � COLLEGE HOLIDAY � offices closed
 Tuesday, Jan. 20  Day, Evening & Distance Education Classes Begin
 Friday, Jan. 23  Weekend Classes Begin
 Monday, Jan. 26  Last Day Drop/Add
 Tuesday, Feb. 10  Evening Activity Hour: 5:30 p.m. class will not meet
 Friday, Feb. 13  Evening Classes Do Not Meet (classes beginning after 5:01pm)
 Feb. 14�19  Classes Do Not Meet
 Monday, Feb. 16  Presidents� Day � COLLEGE HOLIDAY � offices closed
 Tuesday, Feb. 17  COLLEGE HOLIDAY � offices closed
 Friday, Feb. 20  Day classes do not meet (Classes that begin before or at 5:00 PM)
 Mar. 30Apr. 5  Classes do not meet � Spring Break
 Friday, Apr. 3  Passover/Good Friday � COLLEGE HOLIDAY � offices closed
 Friday Apr. 10  Last Day Automatic W
 Tuesday, April 14  Evening Activity Hour: 8:30 p.m. classes will not meet
 Wednesday, May 6  Evening Classes Extended by Five Minutes for Final Exams
 Thursday, May 7  Evening Classes Extended by Five Minutes for Final Exams
 Sunday, May 10  Weekend Classes End
 Monday, May 11  Evening Classes Extended by Five Minutes for Final Exams
 Tuesday, May 12  Evening Classes Extended by Five Minutes for Final Exams;
 Evening Classes End
 Monday, May 18  Day & Distance Education Classes End

NOTE: All dates subject to change.
See
Academic Calendar: Spring 2015 (.pdf)


Readings and Assignments:
This schedule is for students using Literature: A Portable Anthology, 3 edition only. If you have the second edition, you must find the appropriate page numbers yourself.

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. Several selections�Cummings� �l(a ,� Raleigh�s �The Nymph�s Reply to the Shepherd,� Blake�sLondon�are not included in Literature: A Portable Anthology, 3 ed. They will be made available as handouts, and can also accessed through the links provided, below.

Readings from Literature: A Portable Anthology are identified below by author and title as well as page numbers, e.g., Lawrence, �The Rocking-Horse Winner� (150-162) or, where the text�s critical apparatus and additional information are intended, by title and page number, e.g., �Writing About Literature: The Role of Good Reading� (1136-1150). Readings from Rules for Writers are identified below by title and page numbers, including references for both  the current (7th) edition and the previous (6th edition, with 2009 MLA updates); e.g., �Documenting Sources in MLA Style� (Rules 7 ed. 479-523, 6 ed. 426-463). 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; LitIQ Quizzes are additional, optional online exercises for review purposes only. (Note: While every effort is made to verify the accuracy and usefulness of these links and their contents, no guarantees are made. Please notify me of any broken or outdated links at [email protected]).

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., 19 Jan.

 Martin Luther King, Jr. Day � COLLEGE HOLIDAY � offices closed

 Tues., 20 Jan.

 First Day of Weekday Classes, Spring 2015

Wed., 21 Jan.

 Course Introduction: Syllabus, texts, policies, assignments
 Diagnostic Essay

 Mon., 26 Jan.

 Last Day Drop/Add
 Class cancelled

Wed., 28 Jan.

 �Writing About Literature: The Role of Good Reading� (1136-1150);
�Elements of Fiction� (1197-1200), esp. �Plot� (1197),
Character� (1197-1198), �Point of View� (1198), �Symbolism� (1199)
Poe, �The Cask of Amontillado� (14-19)

* Recommended additional reading:
   On reading fiction,  Annie Murphy Paul,  �Your Brain on Fiction.� New York Times 4 March 2012.
   on reading in electronic formats,  Julie Bosman and Matt Richtel,  �Finding Your Books Interrupted...by the Tablet You Read It On.�
           New York Times 18 March 2012
     and  Dwight Garner,  �
The Way We Read Now.� New York Times 18 March 2012
   and on Poe,
  �Freemasonry: Wikipedia*
     King, Stephen. �Dolan�s Cadillac� (from the collection  Nightmares & Dreamscapes, 1993)
     Milan, Victor.
The Casque of Lamont T. Yado.� Asimov's SF Adventure Magazine Spring 1979: 66+.
     Morressy, John. �The Resurrection of Fortunato.� Fantasy and Science Fiction Magazine,  March-April 2003.

* Recommended listening:
  �The Cask of Amontillado � by Alan Parsons Project  from the album Tales of Mystery and Imagination

* Recommended viewing:
  The Cask of Amontillado Part 1 (9:42), Part 2 (6:05) from American Masters (1995), starring John Heard and Rene Auberjonois
 
Edgar Allan Pooh (1)� and �Edgar Allan Pooh (2)
  and, from The Simpsons:
          �Principal Charming.� (Episode 74F15, Twentieth Century Fox, 1991) esp. 6:10�6:32.
          �Homer the Vigilante.� (Episode 1F09, Twentieth Century Fox, 1994) esp..10:01�10:10
          �Homer the Great.� (Episode 2F09, Twentieth Century Fox, 1995).

* Lit IQ Quiz A: Plot; LitIQ Quiz B: Plot
* Lit IQ Quiz A: Character; LitIQ Quiz B: Character
* Lit IQ Quiz A: Point of View; LitIQ Quiz B: Point of View
* Lit IQ Quiz A: Symbol; LitIQ Quiz B: Symbol 
* Lit IQ Quiz A: The Cask of Amontillado; LitIQ Quiz B: The Cask of Amontillado

Mon., 2 Feb.

 Class cancelled (again)

Wed., 4 Feb.

 

�The Writing Process� (1151-1180); �Common Writing Assignments � (1181-1196); �Writing a Literary Research Paper� (1231-1266)
O�Connor, �A Good Man Is Hard to Find� (276-288)

*Recommended additional reading:
   On writing:
   �Writing about Texts� (Rules for Writers 7 ed. 70-83, 6 ed. 346-358);
   �
Writing a Thesis� by Michael Barsanti;
   �
Getting an A on an English Paper� by Jack Lynch, especially  �Good Theses,� �Bad Theses,� and �Turning Bad Theses into Good Ones
   and on O�Connor:
 
  Downes, Lawrence. �In Search of Flannery O�Connor.� New York Times 4 Feb. 2007. sec. 5: 1+.
   �Vacationing Woman Thinks Cats Miss Her.� The Onion 24 Jan. 2001

*Recommended viewing:
  from The Simpsons:  �Homer the Vigilante.� (Episode 1F09, Twentieth Century Fox, 1994) esp..10:06�10:15.

* Lit IQ Quiz A: A Good Man Is Hard to Find; LitIQ Quiz B: A Good Man Is Hard to Find
* Lit IQ Quiz A: Character; LitIQ Quiz B: Character
* Lit IQ Quiz A: Point of View; LitIQ Quiz B: Point of View
* Lit IQ Quiz A: Symbol; LitIQ Quiz B: Symbol

Mon., 9 Feb.

Research Essay Topic Due

Theme� (1199), Setting� (1198-1199), �Symbolism� (1199);
Jackson, �The Lottery (.pdf)� (242-249);

*Recommended additional reading:
 
Reading and Discussion Questions on Shirley Jackson�s "The Lottery"

  Burger, Jerry M. �Replicating Milgram: Would People Still Obey Today?� (Word document; also here as .pdf);
  Cain, Susan. �The Rise of the New Groupthink.� New York Times 13 Jan. 2011
  The Experiment. Dir. Paul Schereung. Perf. Adrien Brody and Forest Whitacker. Stage 6 Films/Sony Pictures Home Entertainment, 2010;
  Franklin, Ruth. �'The Lottery' Letters.� The NewYorker 26 June 2013.
   �Group Settings Can Diminish Expressions of Intelligence, Especially among Women, Study Finds. ScienceDaily, 22 Jan. 2012. Web. 23 Jan. 2012;
  LeGuin, Ursula K.
The Ones Who Walk Away from Omelas;
  Lessing, Doris. �Group Minds�;
  Milgram, Stanley. �The Perils of Obedience� (also here, or here and here as .pdf);
  �The Stanford Prison Experiment�;
  Tavris, Carol. �In Groups We Shrink from Loner's Heroics� (also here as .pdf)
  Zimbardo, Philip G. The Stanford Prison Experiment (website with slide show,
      embedded videos, discussion questions, bibliography and additional links)

* Recommended viewing:
  The Lottery Part 1 (8:58) Part 2 (9:07) from Encyclopaedia Britannica Educational Corporation (1969);
  The Lottery  (Aura Pictures, 2007) on YouTube.com

  and, from The Simpsons:
        �Dog of Death.� (Episode 8F17, Twentieth Century Fox, 1992) esp. 2:21�3:22
.

* Lit IQ Quiz A: The Lottery; LitIQ Quiz B: The Lottery
* Lit IQ Quiz A: Setting; LitIQ Quiz B: Setting

* Lit IQ Quiz A: Theme; LitIQ Quiz B: Theme

Wed., 11 Feb.

Lawrence, �The Rocking-Horse Winner� (150-162)

MLA Format and Annotated Bibliographies:
�Documenting Sources: MLA Format� (1244-1261);
�Maintain a Working Bibliography� (Rules 7 ed.
448-449, 6 ed.405-406);
�Documenting Sources in MLA Style� (Rules 7 ed.
479-523, 6 ed.426-463)

Recommended additional reading:
 
On Writing:
  �Citing sources; avoiding plagiarism,� �Integrating sources,� (Rules for Writers 7 ed. 464-479, 6 ed. 415-426)
 
How Do I Cite a Tweet? MLA.org 2 March 2012. 15 March 2012. Web.
  Works Cited page (Instructions & Sample) (Microsoft Word document);
  MLA Documentation Style for �Works Cited� (LaGuardia Community College Library web site)
  and on Annotated Bibliographies:
  Purdue University Online Writing Lab (OWL) for additional information on Annotated Bibliographies, as well as
  �Sample Annotated Bibilography� and Ebel, Kimberly, �Class and Gender in Cinderella: Annotated Bibliography

* Recommended viewing:
 
  from The Simpsons:  �Saddlesore Galactica (Episode BABF09, Twentieth Century Fox, 2000).

*See also:
 
CoinMill.com (currency converter) and MeasuringWorth.com (inflation calculator)

* Lit IQ Quiz A: The Rocking-Horse Winner; LitIQ Quiz B: The Rocking-Horse Winner

 Feb. 14�19

 Classes Do Not Meet

Mon., 23 Feb.

Choice of stories:
Walker, �Everyday Use� (336-343),
Welty, �A Worn Path� (216-223), or
Bambera, �The Lesson(also here) (330-336)

*See also:
 
  Hoel, Helga. �Personal Names and Heritage: Alice Walker�s �Everyday Use�.�
    MeasuringWorth.com (inflation calculator)

 
 
�Workt by Hand�: Hidden Labor and Historical Quilts at the Brooklyn Museum

* Recommended viewing:
   A Worn Path Part 1 (10:57), Part 2 (10:59);
   An Interview with Eudora Welty (9:38)

   from The Simpsons: �Bart's Dog Gets an F� (Episode 7F14, Twentieth Century Fox, 1991), esp. 7:388:23, 14:1415:40.

*  Lit IQ Quiz A: Everyday Use; LitIQ Quiz B: Everyday Use
    Lit IQ Quiz A: A Worn Path; LitIQ Quiz B: A Worn Path

    LitIQ Quiz A: The Lesson; LitIQ Quiz B: The Lesson

Wed., 25 Feb.

 Essay One Due (Fiction)

What is Poetry?; Introduction to Poetic Analysis;
�Writing about Poems: Elements of Poetry� (1208-1212)

Cummings, �l(a� (Handout);
Shakespeare,
Sonnet 73 [That time of year thous mayst in me behold]  (454);

*See also:
  The super-short �The Collected Works of E. E. Cummings� from Book-a-Minute Classics
  Understanding and Explicating Poetry

 
A Haiku with Mayim Bialik
 and on Annotated Bibliographies
:
 
Purdue University Online Writing Lab (OWL) for additional information on Annotated Bibliographies, as well as
 Orlov, Anna,  �Online Monitoring: A Threat to Online Privacy in the Wired Workplace: An Annotated Bibliography
  and Ebel, Kimberly, �Class and Gender in Cinderella: Annotated Bibliography

* Lit IQ Quiz A: Theme; LitIQ Quiz B: Theme
* Lit IQ Quiz A: Voice; LitIQ Quiz B: Voice
* Lit IQ Quiz A: Word Choice, Word Order; LitIQ Quiz B: Word Choice, Word Order
* Lit IQ Quiz A: Imagery; LitIQ Quiz B: Imagery
* Lit IQ Quiz A: Sound; LitIQ Quiz B: Sound 
* Lit IQ Quiz A: Figures of Speech;
LitIQ Quiz B: Figures of Speech

Mon., 2 Mar.

Shakespeare, Sonnet 18: �Shall I compare thee to a summer�s day?� (453-454);
Browning, Sonnet 43: �How Do I Love Thee?� (494)

*See also:
  �
Sonnet 18: Shall I compare thee� from RapGenius.com

Wed., 4 Mar.

 Annotated Bibliography Due

Marlowe, �The Passionate Shepherd to His Love� (452-453);
Raleigh, �The Nymph�s Reply to the Shepherd� (Handout);
Marvell, �To His Coy Mistress� (464-465)

*See also:
   �Philomela� (Encyclopedia Mythica);
   �Philomela� (Ovid Metamorphoses Resource Page);
   �Philomela� (Wikipedia)
*
   The Rolling Stones, �She�s So Cold� (esp. 2:58�3:24)

Mon., 9 Mar.

Jarrell, �Death of the Ball Turret Gunner� (577);
Dickinson, �Because I could not stop for Death� (523-524) (see also, two different versions, here)

*See also:
 
Boyd, William. �Why World War I Resonates.� New York Times 22 Jan. 2012.
  MacDonald, Lyn, ed. Anthem For Doomed Youth: Poets Of The Great War. London: Folio Society, 2000. Print.
  Pope, Jessi. Jessie Pope's War Poems (1915)
  Information about the Sperry Ball Turret
  Cheese Nips office commercial

Wed., 11 Mar.

Owen, �Dulce et Decorum Est� (555);
Frost, Stopping by Woods on a Snowy Evening (540)

*See also:
   Research Paper Folder Checklist
  
Research Paper Revision and Editing Checklist

Mon., 16 Mar.

 Midterm Exam (Essay Two) (Day 1)

*See also:
  Mike Adams, �The Dead Grandmother/Exam Syndrome.�

Wed., 18 Mar.

 Midterm Exam (Essay Two) (Day 2)

Mon., 23 Mar.

Blake, �The Lamb� (473) (see image here), and �The Tyger� (474) (see image here)

*See also:
 
Jethro Tull, �Bungle in the Jungle� (also, see lyrics)

Wed., 25 Mar.

Blake, �London� (Handout) (see image here),
Hughes, �Harlem (A Dream Deferred)� (560);
Piercy, �Barbie Doll� (624)

*See also:
  Galia Slayen, �The Scary Reality of a Real-Life Barbie Doll�;
  Thomas Clough�s �Barbie Doll Feminism: Satan�s Plastic Sister�;
  �The Real Measurements and Proportions of a Modern Barbie Doll�;
  Stuart Elliott, �Barbie's Sports Illustrated Swimsuit Issue Causes a Stir Online.� New York Times.com  11 Feb. 2014;
  Mitford, Jessica. �
Behind the Formaldehyde Curtain� (.pdf)

 Mar. 30�Apr. 5

 SPRING BREAK � Classes do not meet

Mon., 6 Apr.

Midterm Revisions Due

Cummings, �in Just-� (556-557);
Williams, �The Red Wheelbarrow� (542-543)

 Wed., 8 Apr.

Essay Three (Poetry) Due

Coleridge, �Kubla Khan� (484-485);
Shelley, �Ozymandias� (487) (*see also, Horace Smith, �Ozymandias�)

*See also:
  Theodora Goss, �Singing of Mount Abora.� Lightspeed Science Fiction and Fantasy July 2012.
  �Ancient Grammar Police

Fri., 10 Apr.

 Last Day Automatic W

Mon., 13 Apr.

�Writing about Plays� (1223-1230), including �Elements of Drama� and �Moral Ambiguity and Character Development in Trifles�; Glaspell, Trifles (913-920)

*See also,
  Gerald Richman�s Trifles Resources page
  "A Jury of Her Peers" (short story)
  "A Jury of her Peers" (audio recording)

* Recommended viewing:
  Trifles (LSU Theater Department, Dress Rehearsal): Part 1 (10:01); Part 2 (10:01); Part 3 (4:09)
  Trifles (Life in Provincetown videos): Introduction (11:24) and (not quite complete) staged reading  (39:03);
       Part I (15:15); Part II (12:58); Closing comments (2:18)
  Trifles perf. by the Ontological-Hysteric Theater, Jan.-Feb. 2010 (excerpts)
  �Trifles� from Star Tonight (1955) (no video currently available)
  �A Jury of Her Peers� from Alfred Hitchcock Presents (1961) on YouTube
  A Jury of Her Peers (1980) (no video available)

*See also:
 �Workt by Hand�: Hidden Labor and Historical Quilts at the
Brooklyn Museum

* Lit IQ Quiz A: Trifles; LitIQ Quiz B: Trifles

Wed., 15 Apr.

 Research Outline and Introduction Due

Glaspell, Trifles (913-920) continued (as needed)

Mon., 20 Apr.

Shakespeare, Othello, The Moor of Venice (751-849): Introduction and Backgrounds

*Are you smarter than a fifth-grader? See The Hobart Shakespeareans: description and trailer.

*See also, No Fear Shakespeare: Othello; Biography of William Shakespeare; About Shakespearean Theater; Summary and Analysis of Othello; and an extremely abbreviated Othello from Book-a-Minute Classics
NOTE: These links are provided as an aid to understanding the text, not as a substitute! You are still expected to read the original text!

* Recommended viewing:
  �The Bubble Boy.� Seinfeld. NBC. Originally aired 7 Oct. 1992.

* Recommended additional reading:
   Africanus, Leo. �The commendable actions and vertues of the Africans.� The History and Description of Africa. Trans. John Pory. 1600. (also here.)
   Boose, Lynda E. and Richard Burt. �Totally Clueless? Shakespeare Goes Hollywood in the 1990s� from Shakespeare, The Movie: Popularizing the Plays on Film, TV, and Video. London and New York: Routledge, 1997. 8-21. (reprinted in Film and Literature: An Introduction and Reader. Ed. Timothy Corrigan. Upper Saddle River, NJ: Prentice Hall, 1999. 340-356).
   Cohen, Paula Marantz. �Shakespeare Goes to the Movies.DOJ: The Drexel Online Journal.
   Feldman, Gail M. �Adapting Shakespeare to Film.Inside Film Magazine Online.
   �Al Andalus� and  �The Ottoman Empire in 1580
  �The Sixteenth Century� and �The Early Seventeenth Century.�
The Norton Anthology of English Literature: Norton Topics Online.

* SparkNotes: Quiz on Othello

Wed., 22 Apr.

Shakespeare, Othello, continued: Read at least through Act I

Mon., 27 Apr.

Shakespeare, Othello, continued: Read at least through Act II

Wed., 29 Apr.

 Research Paper Due: Complete, final project (in folder)

Shakespeare, Othello, continued: Read at least through Act III

*See also, Research Paper Folder Checklist
  
Research Paper Revision and Editing Checklist

Mon., 4 May

Shakespeare, Othello, continued: Read at least through Act IV

Wed., 6 May

Shakespeare, Othello, Act V

Mon., 11 May

 Essay Four: Final Exam
Wed., 13 May Conferences (by appointment only!)

 Mon., 18 May

 Day & Distance Education Classes End

 

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TOPICS:

For each of the assigned essays and projects, a topic or list of topic choices is 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�. Select one of the topics to discuss in a well-developed, coherent, and thoughtful essay. Be sure to focus carefully on the topic, and 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 (thesis statements must be underlined); and (unless otherwise indicated) avoid use of I or you throughout.

Note: Except where otherwise specified below, these are not research essays; 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.

 

Diagnostic Essay: Wed., 21 January
Select one of the following topics, and compose a formal essay. Your essay will not receive a grade, nor will it affect your final average; this is for evaluative purposes only. You will have approximately one hour to complete this essay. (Use of �I� is allowed for both choices.)

    1.  What is your favorite text�however you may define the term �text��or who is your favorite author, and why? Defend your choice with specific examples.

    2.  The late Steve Jobs, former CEO of Apple, once notably claimed that �people don�t read anymore� (see �The Passion of Steve Jobs�). With radio, television, cable, personal computers, smart phones, web-books, and tablets, we are living in a post-literate world, one in which people merely skim, browse, or surf rather than engaging in deep, meaningful reading for any prolonged periods of time. That is, sustained, concentrated reading*�for pleasure or for knowledge�is no longer necessary or important. Do you agree or disagree? Why or why not?

    3.  Why are you here? That is, what is your objective or goal? How do you anticipate achieving it, and how will this class, or your education at Nassau Community College, help you to achieve this goal?

     *On reading, see also:
Bosman,  Julie and Matt Richtel.  �Finding Your Books Interrupted...by the Tablet You Read It On.� New York Times 18 March 2012;
Garner, Dwight.  �
The Way We Read Now.� New York Times 18 March 2012.

 

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Essay One�Short Fiction: Due Wed., 25 February
After reading Writing About Literature (1136-1196) andWriting about Stories (1197-1207), and �Writing about Texts� (Rules for Writers 7 ed. 70-83, 6 ed. 346-358), select one of the following topics to discuss in a well-developed, coherent, and thoughtful essay of at least three to five pages (750 to 1000 words). Essays must have an appropriate, original title; contain an introduction (with an explicit, assertive thesis, underlined), several body paragraphs supporting the thesis, and an appropriate concluding paragraph; and avoid use of I or you throughout. Be sure to use appropriate topic sentences and transitions to guide the reader.

Remember that you are not summarizing the works, but responding to them in a critical manner. Include evidence or examples from the specific text or 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 Work or Works Cited reference at the end of the essay.

Your essay will, as always, be evaluated in terms of Main Idea, Organization, Support, and Mechanics (Words and Sentences). Therefore, make certain your essay is not only well organized and developed, but also grammatically correct, free of errors in mechanics, grammar, usage, and spelling.

 

Note: 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.

Write an analysis of the symbolism used in Alice Walker�s �Everyday Use.� What specific symbols occur in the story, and how do they function in the story? Do they form a unified pattern, or motif? (Be sure to discuss more than just one main symbol!)

Discuss the theme of Eudora Welty�s A Worn Path; what is the central idea, thesis, or message of the story, and how is it revealed or developed? Be sure to address how plot, setting, characters, and symbols all help to shape and reflect this theme.

In Toni Cade Bambera�s �The Lesson,� the narrator Sylvia ends by asserting that �ain�t nobody gonna beat me at nuthin� (353). What, if anything, has she learned, and what is her resolution or decision at the end of the story? How realistic is it, and how does it reflect or illustrate Bambera�s theme?

In Flannery O�Connor�s �A Good Man Is Hard to Find,� after he has shot the grandmother, the Misfit says of her, �She would of been a good woman...if it had been somebody there to shoot her every minute of her life� (288). What does he mean by this, and how is he correct�or incorrect�in his assessment?

An argumentative (not purely informative) fiction topic of your own, focusing on one or more of the stories from the syllabus and developed in consultation with the instructor.

Note: Students must obtain prior approval for independent topics; speak to me before or after class or set up an appointment during my office hours.

 

 

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Essay Two�Midterm (In-Class Essay): Mon. & Wed. 16 & 18 March
You have approximately two hours to write an essay of at least six hundred (600) words. Before you begin to write, take time to focus on a clearly defined subject and to plan your essay carefully. Essays must have an appropriate, original title; contain an introduction (with an explicit, assertive thesis, underlined), several body paragraphs supporting the thesis, and an appropriate concluding paragraph; and avoid use of I or you throughout. Be sure to use appropriate topic sentences and transitions to guide the reader.

Remember that you are not summarizing the works, but responding to them in a critical manner. Include evidence or examples from the specific text or 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 Work or Works Cited reference at the end of the essay.

Your essay will, as always, be evaluated in terms of Main Idea, Organization, Support, and Documentation. Therefore, make certain your essay is not only well organized and developed, but also grammatically correct, free of errors in mechanics, grammar, usage, and spelling. Leave room for corrections (skip lines or double-space, if necessary).

You may use the texts themselves (textbook, printout, or online links) and a dictionary and/or thesaurus (print, electronic, or online) for this essay, but no other materials or sources.

Note: 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.

 

Topic(s) to be announced:

 

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Midterm Revisions (optional): Due Mon., 6 April
You may submit a revised version of your midterm exam; however, rather than merely a �corrected� versions of the original essay, it must be substantially revised and expanded: a well-developed, coherent, and thoughtful essay of at least three to five pages (750 to 1000 words) and must be submitted with the original graded bluebook essay attached. Evidence of substantial revision may result in a better grade for the assignment. 

Remember that essays must have an appropriate, original title; contain an introduction (with an explicit, assertive thesis, underlined), several body paragraphs supporting the thesis, and an appropriate concluding paragraph; and avoid use of I or you throughout. Be sure to use appropriate topic sentences and transitions to guide the reader. Also, you should not merely summarize the works, or regurgitate what you think was said in class, but respond to them in a thoughtful, critical manner. Be sure to include evidence or examples from the specific text or 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, use block form where appropriate, and document with parenthetical citations (cite poetry by line numbers and prose by page numbers) and a Work or Works Cited reference at the end of the essay.

Note: 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.

 

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Essay Three�Poetry: Due Wed., 8 April
As above, after reading �Writing About Literature� (1136-1196), �Writing about
Poems� (1208-1222), and �Writing about Texts� (Rules for Writers 7 ed. 70-83, 6 ed. 346-358), select one of the following topics to discuss in a well-developed, coherent, and thoughtful essay of at least three to five pages (750 to 1000 words). Essays must have an appropriate, original title; contain an introduction (with an explicit, assertive thesis, underlined), several body paragraphs supporting the thesis, and an appropriate concluding paragraph; and avoid use of I or you throughout. Be sure to use appropriate topic sentences and transitions to guide the reader.

Remember that you are not summarizing the works, but responding to them in a critical manner. Include evidence or examples from the specific text or 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 Work or Works Cited reference at the end of the essay.

Your essay will, as always, be evaluated in terms of Main Idea, Organization, Support, and Mechanics (Words and Sentences). Therefore, make certain your essay is not only well organized and developed, but also grammatically correct, free of errors in mechanics, grammar, usage, and spelling.

Note: 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.

Select one of the following topics.

   Select a pair of poems from �Some Provocative Pairings� on the Literature: A Portable Anthology website, other than poems read or discussed in class.* Compare and/or contrast the way the two poems treat the same theme or subject matter: Nature, Art, Love, Sex, Age, Death or Mourning, War, Race, Gender, and so on. Your analysis should establish a clear connection between the two poems, beyond merely �They both discuss love� or �both refer to death�; rather, the connection should be based on similarities in situation, structure, language, imagery, theme, et cetera. For example,

Randall Jarrell�s �Death of the Ball Turret Gunner� and Emily Dickinson�s �Because I could not stop for Death� both feature first-person narrators who recount the circumstances of their own deaths; however, while the former poem presents an image of death as violent and pointless, the latter suggests that death may actually be a welcome end to the struggles and obligations of life.

Your essay should explore the poems� tone, speaker, language (including figurative language or imagery, diction, and allusions) and structure (including meter and rhyme scheme, or the lack of them), and explain how these are interrelated and how they shape or influence meaning.

Note: As announced in class, you may not write on either of the following pairs:

     Theodore Roethke�s �My Papa�s Waltz� and Robert Hayden�s �Those Winter Sundays�
     Robert Frost�s �The Road Not Taken� and William Stafford�s �Traveling through the Dark.�

   Select a poem other than ones read or discussed in class* and the lyrics to a song that treats the same subject matter: Nature, Art, Love, Sex, Age, Death or Mourning, War, Race, Gender, and so on, and compare and/or contrast the way the two treat the same theme. As above, your analysis should establish a clear connection between the two works, beyond merely �They both discuss love� or �both refer to death�; rather, the connection should be based on similarities in situation, structure, language, imagery, et cetera. Note that you are to focus on the song�s lyrics only, as a work of poetry, not the performance, video, or other presentation of the song. Also, be sure to cite the author of the lyrics, not the singer.

  * Note: Texts for the above topics may not be selected from those listed on the syllabus. If the textbook does not have sufficient poems for you, try one or more of the links below, and be sure to use only works from professional, recognized poets (or lyricists). If the poems or lyrics you use are not in the textbook, you must include copies with your essay! Also, consulting with the instructor concerning your choice of texts is strongly recommended.

BP: British Poetry 1780-1910: A Hypertext Archive
CP: A Compendium of Poetry
ME: Modern English Collection, E-Text Center (U VA)
PA: Poetry Archives @ eMule.com
PB: Project Bartleby
PL: Poetry Archive at Plagiarist.com
PO: Poetry Online
RPO: Representative Poets Online

 

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Essay Four�Final In-Class Essay: Due Mon., 11 May;
continued on Wed., 13 May as needed

You have approximately two hours to write an essay of at least six hundred (600) words. Before you begin to write, take time to focus on a clearly defined subject and to plan your essay carefully. Essays must have an appropriate, original title; contain an introduction (with an explicit, assertive thesis, underlined), several body paragraphs supporting the thesis, and an appropriate concluding paragraph; and avoid use of I or you throughout. Be sure to use appropriate topic sentences and transitions to guide the reader.

Remember that you are not summarizing the works, but responding to them in a critical manner. Include evidence or examples from the specific text or 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 Work or Works Cited reference at the end of the essay.

Your essay will, as always, be evaluated in terms of Main Idea, Organization, Support, and Mechanics (Words and Sentences). Therefore, make certain your essay is not only well organized and developed, but also grammatically correct, free of errors in mechanics, grammar, usage, and spelling. Leave room for corrections (skip lines or double-space, if necessary).

You may use the texts themselves (textbook, printout, or online links) and a dictionary and/or thesaurus (print, electronic, or online) for this essay, but no other materials or sources. Note: 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.

Topic(s) to be announced.

 

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Research Paper:
After reading �Writing a Literary Research Paper� (1231-1266), compose a clear, well-written, properly documented (MLA format) argumentative essay of at least 1500 words (roughly six pages minimum), with a cover page and Works Cited page (cover page and Works Cited do not count toward the six-page requirement). The paper must be argumentative (persuasive), with a clear, explicit, and assertive thesis statement (thesis statements must be underlined), and must use 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.�

Topic Selection: Due Mon., 9 February
Before beginning the research essay assignment, you must develop and submit a clear, well-written, one-page explanation of the topic you have chosen and your reason for selection. This proposal should be at least 250-300 words, and include a preliminary idea of the plan of the paper, its intention or research question, and a possible preliminary thesis. Select one of the following topics. Note: See me before the assignment is due if you wish to discuss another appropriate topic.

1. According to some interpretations, a distinction seems to be drawn between legal and moral justice in Susan Glaspell�s play Trifles (and also in her short story, �A Jury of Her Peers��not in textbook, but available here or here). In other words, while the men seem to focus primarily on motive and guilt, the women focus on causes and justification. Why? That is, how does the socio-cultural milieu, the context of the play, inform the characters behavior and perspective? Consider the actual social, political, and legal roles of both men and women at the time the work was written. Caution: Do not merely repeat vague generalizations about rights here; actual research is required. See the bibliography of literary criticism and scholarly research at the Susan Gaspell Society website, Elaine Showalter's A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx (New York: Knopf, 2009) and, oddly, even The Secret History of Wonder Woman  by Jill Lepore (New York: Knopf, 2014) might be useful!

2. Compare/contrast two different screen versions of Othello and their treatment or adaptation of the play. How does each adapt, change, or edit the play? What is changed or left out, and why? Good versions for this assignment include the classic/embarrassing 1952 version by Orson Welles, Laurence Olivier�s classic 1965 version, Oliver Parker�s 1995 adaptation, starring Laurence Fishburn and Irene Jacob, or 0, starring Mekhi Phifer and Julia Stiles, a modernization and adaptation of Othello. You should consider addressing specific elements including (but not limited to) plot or dramatic structure, setting and set design, characterization (character development), theme, narrative point of view, performance, cinematography (including type and length of shots, angles, composition, proxemic patterns, color, lighting), costuming, sound, music, special effects, running time, and intended audience. Note: several movie versions are available at local libraries, or online through Amazon or Netflix.

3. 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 Frost�s Stopping by Woods on a Snowy Evening, select several other poems by Frost (but not The Road Not Taken!). Your essay should be a close, critical analysis of the work or works, 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.

Annotated Bibliography: Due Wed., 4 March
You must submit an annotated preliminary bibliography with a minimum of five to seven sources, correctly cited according to MLA format. 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, 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). 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 �Online Monitoring: A Threat to Employee Privacy in the Workplace: An Annotated Bibliography.�

Preliminary Outline and Draft Introduction: Due Wed., 15 April
A finished, typed outline of the research essay and a draft introduction must be brought to class for evaluation and comments. This should be a detailed outline of your projected research essay, including up to three primary sources and a minimum of three to five secondary sources.
Note
: you do not need to submit the folder containing copies of your sources at this time.

Final Draft: Due Wed., 29 April
The final research paper must be submitted in a research folder, including copies of all sources used. Be sure to print out or photocopy all secondary sources, and highlight all relevant passages, whether quoted, paraphrased, or summarized. You must also include all supporting documents: your previously submitted Topic Selection, Annotated Bibliography, and Preliminary Outline and Draft Introduction.

Your essay must be clear, well-written, properly documented (MLA format), argumentative, and at least 1500 words (roughly six pages minimum), with a cover page and Works Cited page (cover page and Works Cited do not count toward the six-page requirement). The paper must be argumentative (persuasive), with a clear, explicit, and assertive thesis statement (thesis statements�as always�must be underlined), and must use up to three primary sources and a minimum of three to five secondary sources; secondary sources must be scholarly criticism or analysis from peer-reviewed journals and must be accessed through the library databases such as Academic Search Complete, DOAJ: Languages and Literatures, Gale Literary Index, or Humanities Full Text, not summaries, reviews, or �analysis� from sites such as e-Notes, SparkNotes, Wikipedia*, 123HelpMe, or Gradesaver.com. 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 (supplemental handouts packet).

Failure to submit a complete research essay in a 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, just as for any essay, and therefore likely failure for the course as well.

Please refer to the following as well:

    �Writing about Texts� (Rules for Writers 7 ed. 70-83, 6 ed. 346-358)

    �Citing sources; avoiding plagiarism,� �Integrating sources,� (Rules for Writers 7 ed. 464-479, 6 ed. 415-426)

    Research Paper Revision and Editing Checklist (supplemental handouts packet)

    Research Paper Folder Checklist (supplemental handouts packet)

 

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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 
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, 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).

The following selective lists are intended to provide jumping off points for research;
these lists are not to be construed as an exhaustive collection of the "best" links. While every effort is made to verify the accuracy and usefulness of these links and their contents, no guarantees are made.

Notify me of any broken or outdated links at [email protected].

Susan Glaspell: Trifles and �A Jury of Her Peers�

Start with the bibliography of literary criticism and scholarly research at the Susan Glaspell Society website. Several of these references are standards, and accessible through the library databases, including:

Alkalay-Gut, Karen. ��A Jury of Her Peers�: The Importance of Trifles.� Studies in Short Fiction 21.1 (Winter 1984): 1-9.

---. �Murder and Marriage: Another Look at Trifles.� In Susan Glaspell: Essays on Her Theater and Fiction. Ed. Linda Ben-Zvi. Ann Arbor: U of Michigan P, 1995. 71-81.

Angel, Marina. �Criminal Law and Women: Giving the Abused Woman Who Kills A Jury of Her Peers Who Appreciate Trifles.� American Criminal Law Review 33 (1996): 229+.

---. �Susan Glaspell�s Trifles and �A Jury of Her Peers�: Woman Abuse in a Literary and Legal Context.� Buffalo Law Review 46.2 (Spring 1998): 779+.

---. �Teaching Susan Glaspell�s �A Jury of Her Peers� and Trifles.� Journal of Legal Education 53.4 (December 2003): 548-563.

Grose, Janet L. �Susan Glaspell�s Trifles and �A Jury of Her Peers�: Feminine Reading and Communication.� Tennessee Philological Bulletin: Proceedings of the Annual Meeting of the Tennessee Philological Association (TPB). 36 (1999): 37-48.

Lepore, Jill. The Secret History of Wonder Woman. New York: Knopf, 2014.

Mustazza, Leonard. �Generic Translation and Thematic Shift in Susan Glaspell�s Trifles and �A Jury of Her Peers.�� Studies in Short Fiction 26.4 (Fall 1989): 489-96.

Schotland, Sara D.  �When Ethical Principles and Feminist Jurisprudence Collide: An Unorthodox Reading of �A Jury of Her Peers.��  St. John�s Journal of Legal Commentary 24.1 (Summer 2009): 53-71.

Showalter, Elaine. A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx. New York: Knopf, 2009.

See also Literary Resources: Feminism and Women�s Literature

Cinematic Adaptations of Othello

Information about specific movies can be found on IMDB.com (the Internet Movie Database): here

Movie reviews can be found at MRQE.com (the Movie Review Query Engine): here

Also recommended:

Boose, Lynda E. and Richard Burt. Totally Clueless? Shakespeare Goes Hollywood in the 1990s.� Shakespeare, The Movie: Popularizing the Plays on Film, TV, and Video. London and New York: Routledge, 1997. 8-21. (reprinted in Film and Literature: An Introduction and Reader.  Ed. Timothy Corrigan. Upper Saddle River, NJ: Prentice Hall, 1999. 340-356)

Cohen, Paula Marantz. Shakespeare Goes to the Movies. DOJ: The Drexel Online Journal.

Feldman, Gail M. Adapting Shakespeare to Film. Inside Film Magazine Online.

See also:

Corrigan, Timothy, ed. Film and Literature: An Introduction and Reader. Upper Saddle River, NJ: Prentice Hall, 1999. 340-356. (Available starting at $11.00 at Amazon.com)

Giannetti, Louis. Understanding Movies, 10 ed. Upper Saddle River, NJ: Prentice Hall, 2005. (Available starting at $54.00 at Amazon.com)

Seger, Linda. The Art of Adaptation: Turning Fact And Fiction Into Film.  [New York?]: Owl Books, 1992. (Available starting at $1.25 at Amazon.com)

Robert Frost

Robert Frost at MPAS (Modern American Poetry Site) includes useful information to begin with, including biography, links, and information/readings of specific poems.

Also recommended (pending link verification):

A Frost Bouquet: An Exhibition in the Tracy W. McGregor Room (Univ. of Virginia) -- A highly illustrated exhibition on Frost�s life and works, including facsimiles of drafts and published poems.

The Robert Frost Web Site (biography, selected poems, and bibliographies)

In Quest of Robert Frost (links and a selection of poems)

Robert Frost

Edgar Allen Poe

Start with The Poe Decoder, which includes several essays on Poe and his works, as well as the following useful links:

Qrisse's Poe Pages
Qrisse's Poe Pages by Christoffer Hallqvist, also a member of the Poe Decoder, contain links to most useful Poe pages on the net and an extensive biography on Poe (not finished yet). The site also contains a growing amount of Poe's work, and other Poe related things, such as the Book of Poe, and the Poe Chat Room.

Precisely Poe
Martha Womack's Precisely Poe page contains beautiful images of Poe landmarks and artifacts. It is dispelling some of the myths and lies that have followed in Poe's footsteps. Martha Womack is also one of the writers for the Poe Decoder.

Edgar Allan Poe's House of Usher
Peter Forrest's Edgar Allan Poe's House of Usher is an extensive Poe page with a large amount of information on Poe and related things.

Medical Humanities at New York University
This page contains summaries and comments on some of Poe's work, including The Facts in the Case of M. Valdemar, The Masque of the Red Death, and The Conqueror Worm.

The Edgar Allan Poe Society of Baltimore
The E. A. Poe Society of Baltimore's site presents lots of information about the things on Poe that there seems to be most rumors about, like his death, drugs and alcohol, Griswold and lots of other relevant information.

William Butler Yeats

.....

Also recommended (pending link verification):

Yeats, William Butler - Poetry Today Online

Yeats, William Butler - W. B. Yeats: The Collected Poems

Wind Among the Reeds

W. B. Yeats: The Collected Poems

Yeats, William Butler - Wild Swans at Coole

Yeats, William Butler - Atlantic Monthly

William Butler Yeats Poems

Heart�s Ease Library - William Butler Yeats

Guardian Unlimited - William Butler Yeats, 1865-1939

Today in Literature - William Butler Yeats

1Up Info - W. B. Yeats, (William Butler Yeats), 1865-1939

 

 

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