SYLLABUS FOR E307 ADVANCED WRITING IN ENGLISH STUDIES, CSU FULLERTON SPRING 2014 (4/10/14)
COURSE INFORMATION. English 307: Advanced College Writing in English Studies, Course Code 18908, Section 3. Wednesdays 4:00 p.m.- 6:45 p.m., University Hall 337 (UH).. Instructor: Alfred J. Drake, Ph.D. Office hours: M/W 2:20-3:20 in University Hall (UH) 329. Email: email@example.com. Catalog: "Prerequisite: ENGL/CPLT majors who have completed their lower-division writing requirements. Interpretive frameworks of communities within the discipline of English Studies (literary studies, creative writing, English education, composition, cultural criticism). Uses discursive conventions of these communities to produce formal and informal texts of various genres." 3 Units. I will use +/- grading. The English Dept. may be reached at (657) 278-3163. Students who need special accommodations at the main campus should contact the Disability Support Services Office in UH 101 or call (657) 278-3117; for the Irvine Campus, see Student Affairs, IRVC-159 phone (657) 278-3112. One other required link: Emergency Preparedness Guidelines.
REQUIRED TEXTS AT THE LITTLE PROFESSOR BOOKSTORE
*Please note the correction -- the earlier version of this syllabus said "Campus Bookstore."
Austen, Jane. Persuasion. Norton Critical Editions, 2012. 2nd edition. ISBN-13: 978-0393911534.
Graff, Gerald and Cathy Birkenstein. They Say, I Say: The Moves That Matter in Academic Writing. 2nd. ed. Norton, 2009. ISBN-13: 978-0393933611.
Kane, Thomas S. The New Oxford Guide to Writing. Oxford University Press, USA: Reprint edition, 1994. ISBN-13: 978-0195090598.
Shakespeare, William. The Tempest. Norton Critical Editions, 2003. ISBN-13: ISBN-13: 978-0393978193.
Wordsworth, Jonathan and Jessica Wordsworth, eds. The Penguin Book of Romantic Poetry. Penguin Classics, 2006. ISBN-13: 978-0140435689.
OPTIONAL RESOURCES TO HELP YOU DO WELL
LISTEN TO OUR CLASS SESSIONS IN MP3 AUDIO. Audio becomes available a day or two after each session.
COURSE RATIONALE AND PLAN
COURSE POLICIES. Please review the Course Policies Page early in the semester. Key points easily stated here: missing more than 20% of sessions may affect course grade; academic dishonesty may result in course failure. The four evaluative requirements outlined below must be substantially completed to pass the course. Since most assignments will be due by email, it is students' responsibility to contact me promptly if they do not get an email verifying receipt of materials.
MAJOR STUDY UNITS AND COURSE OBJECTIVES. This survey course will cover the rhetoric of academic writing as well as some key points of style and grammar. We will also be reading and viewing Jane Austen's Persuasion,, Shakespeare's The Tempest, as well as reading selected British romantic poetry as a means of furthering students' ability to analyze, discuss and write about literary texts in a way that helps not only them as individuals but also others who engage with them based on what they say and write.
CLASSROOM ACTIVITIES. Lecture, discussion, presentations, and possibly a limited number of in-class quizzes, which I may decide to factor in as 5% of the course grade. I encourage questions and comments -- student participation improves any course, broadening its scope and introducing a variety of opinion that wouldn't be available otherwise. My tasks are to lecture concisely, to listen well, to ask good questions, and to help you work with critical studies about our texts. Your tasks are to listen, respond, and develop your own ideas, your own voice, as a reader of literary works while also working with the ideas of others.
HOW YOUR PERFORMANCE WILL BE EVALUATED
PRESENTATIONS REQUIREMENT: LINK TO FULL INSTRUCTIONS. At the beginning of the course, students will sign up to give a brief presentation on one assigned text of their choosing (if possible). The presentation will consist mainly in your engagement with a scholarly article or other critical text dealing with the literary work you chose to present on. In other words, if you chose Jane Austen's Persuasion, you will be categorizing, summarizing and constructively criticizing/building on what some other critic has written about some aspect of that Jane Austen novel. As your listeners, we will get a sense of what sort of criticism we are dealing with, what specifically the author is claiming, and whether and to what extent you find it valuable as something to build on in your own right. Several days after sign-up I will post a schedule on the Presentations page. Once we arrive at the literature portion of the course, each session will most likely feature several presentations. Required: At least five days in advance of your presentation, email me as full a draft as possible of what you intend to say in class. I will email you back with advice. If I suggest developing the remarks further, email me a revised version at least one day before your in-class presentation. I won't judge students on their rhetorical skills during the presentation, but rather on evidence of prior preparation and consultation as well as on the written draft. How to do well on this assignment: meet with me or email me as required, and send a final written version; good critics challenge and pose questions, so craft your presentation to invite discussion; aim for spontaneity and a personal touch; speak up, but don't rush things. (20% of course grade.)
JOURNALS REQUIREMENT: LINK TO FULL INSTRUCTIONS. Keep a running journal on your thoughts about criticism pertaining to the assigned readings. Three separate journal sets (one for criticism on Austen, one for criticism on Shakespeare, and one for criticism on some of the Romantic poems we read) will be due by email as specified below in the session schedule. At base, the journal entries (which will probably run to about 1 Â½ or 2 pages single-spaced per article or study that you include, which would make each entire set run 5-6 pages) should be much like the content of the single presentation you will be giving: for each of three scholarly articles, you will want to categorize the type of criticism involved, summarize the argument, explain its strengths and weaknesses and, ultimately, how it fits in with your own view of the literary text being covered. As with the presentation and term paper, for this assignment using commercial online notes is not acceptable: you must use scholarly sources from journals or books. Electronic format required. I will not mark journal sets down unless they are late (maximum grade = B), incomplete, or so brief and derivative as to suggest evasion of intellectual labor: they should consist of honest responses, not "yes-or-no" style answers, quotation of the assigned texts without further comment, or secondary material pasted from Internet sources. How to do well on this assignment: read the instructions; complete entries as you go through each text; send sets on time, making sure I verify receipt; respond thoughtfully to the readings: use your own words and refer to the texts' and critics' specific language. (30% of course grade.)
8-10 PAGE TERM PAPER REQUIREMENT: LINK TO FULL INSTRUCTIONS. By the beginning of Week 13 (Monday 4/14) a one-paragraph description addressing the general topic and specific argument of the projected paper, along with a brief description of at least one of the sources you think you will be referring to, will be due by email. (Full rough drafts are also encouraged.) Not providing this description on time may affect the final draft grade. Please read the term paper instructions carefully since they contain the general prompt and advance draft comments. I reserve the right to require proof of the final paper's authenticity, such as notes or an early draft. Final draft (8-10 pages) due as specified towards the bottom of the syllabus page. The point of the essay will be to incorporate and work with at least three scholarly secondary sources on the assigned text of your choosing (these sources CANNOT consist of material from professional notes obtained online but must instead be journal articles or book-length critical studies), identifying the strengths and weaknesses of those sources while also establishing and presenting your own perspective. CSUF academic integrity policies apply (see UPS 300.021). See CSUF Library. How to do well on this assignment: send required advance paragraph on time and incorporate advice I send; allow time for revision; proofread and follow MLA formatting and style guidelines; avoid exhaustive coverage and stale generalities: instead, develop a specific, arguable set of claims, demonstrating their strength by showing how they enhance our understanding of specific language, structures, and themes; document your online/print sources; read instructions and take advantage of Resources/Guides/Writing Guides: MLA, Grammar, Deductive (see especially), Citing, Analyzing, and Editing. (30-35% of course grade.)
FINAL EXAM REQUIREMENT: LINK TO FULL INSTRUCTIONS. The exam will consist of mix-and-match questions about some of the rhetorical concepts and style points we will have covered in the Graff and Kane texts as well as my own Grammar Guide (print out a copy from ); you will also be asked to identify the basic type of criticism represented in given passages from scholarly articles or other critical material, and finally, you will match key lecture points about the literary works we cover with substantive quotations from the assigned texts. No books or notes will be allowed during any portion of the exam. Exam date: see below. How to do well on this assignment: read the online prep sheet; take good notes and ask questions/make comments; above all, enjoy the works rather than thinking of them only as test material, and be willing to "talk back" to the criticism you read rather than just accepting its premises. (15-20% of course grade.)
EMAILING JOURNALS, TERM PAPER, PRESENTATION DRAFTS TO E307 at AJDRAKE.COM. Email journals, presentations, and term paper as attachments. Don't send more than one document in the same email. Label subject lines appropriately: "E307 Journal 1, Jane Smith" etc. You can paste journal sets into a regular email and/or send them as an attachment. (Journal "sets" include responses to several critical studies, but do not send entries on each critic separately â€“ entries for the set you are emailing should be combined into one document.) Contact me if you don't receive an email confirmation within approximately two days.
SESSION SCHEDULE: FOLLOWING WORKS DISCUSSED ON DATES INDICATED
Wed. 01/22. Course Introduction.
Wed. 01/29. Graff/Birkenstein's They Say, I Say Part 1, "They Say." Ch. One, "They Say: Starting with What Others Are Saying" (19-29). Kane's New Oxford Guide to Writing, Part II: The Essay, Ch. 8 "Beginning" (37-46).
Wed. 02/05. Graff/Birkenstein's They Say, I Say Part 1, "They Say." Ch. Two, "Her Point Is: The Art of Summarizing" (30-41) and Ch. 3, "As He Himself Puts It: The Art of Quoting" (42-51). Kane's New Oxford Guide to Writing, Part III: The Expository Paragraph, Ch. 12 "Basic Structure" (67-70) and Ch. 13 "Paragraph Unity" (71-78).
Wed. 02/12. Graff/Birkenstein's They Say, I Say Part 2, "I Say." Ch. Four, "Yes/No/Okay, But: Three Ways to Respond" (55-67) and Ch. Five, "And Yet: Distinguishing What They Say from What You Say" (68-77). Kane's New Oxford Guide to Writing, Part III: The Expository Paragraph, Ch. 14 "Paragraph Development: (1) Illustration and Restatement" (79-84) and Ch. 15 "Paragraph Development: (2) Comparison, Contrast, and Analogy" (85-92).
Wed. 02/19. Graff/Birkenstein's They Say, I Say Part 2, "I Say." Ch. Six, "Skeptics May Object: Planting a Naysayer in Your Text" (78-91) and Ch. Seven, "So What? Who Cares?: Saying Why It Matters" (92-101). Kane's New Oxford Guide to Writing, Part III: The Expository Paragraph, Ch. 16 "Paragraph Development: (3) Cause and Effect" (93-97).
Wed. 02/26. Film of Jane Austen's novel Persuasion. (BBC Production starring Amanda Root and Ciaran Hinds, approx. 1 hour 45 min.)
Wed. 03/05. Jane Austen's Persuasion, Chs. I-IX (Norton 3-58). Graff/Birkenstein's They Say, I Say Part 3, "Tying It All Together." Ch. Eight, "As a Result: Connecting the Parts" (105-20) and Ch. Nine, "Ain't So/Is Not: Academic Writing Doesn't Always Mean Setting Aside Your Own Voice" (121-28). Kane's New Oxford Guide to Writing, Part III: The Expository Paragraph, Ch. 17 "Paragraph Development: "Paragraph Development: (4) "Definition, Analysis, and Qualification" (98-108).
Wed. 03/12. Jane Austen's Persuasion, Chs. X-XVIII (Norton 59-122). Graff/Birkenstein's They Say, I Say Part 3, "Tying It All Together." Ch. Ten, "But Don't Get Me Wrong: The Art of Metacommentary" (129-38). Kane's New Oxford Guide to Writing, Part IV: The Sentence, Ch. 18 "A Definition" (109-18).
Wed. 03/19. Jane Austen's Persuasion, Chs. XIX-XXIV plus Original Ending (Norton 122-88). Graff/Birkenstein's They Say, I Say Part 4, "In Specific Academic Settings." Ch. Eleven, "I Take Your Point: Entering Class Discussions" (141-44) and Ch. Twelve, "What's Motivating This Writer?: Reading for the Conversation" (145-55). Kane's New Oxford Guide to Writing, Part IV: The Sentence, Ch. 19 "Sentence Styles" (119-39).
JOURNAL SET 1 DUE BY EMAIL MONDAY 03/24; SEE INSTRUCTIONS. (Reminder: this set includes entries on three pieces of criticism about Austen's Persuasion. I will verify receipt by email within a few days.)
Wed. 03/26. Film of Shakespeare's The Tempest. (Julie Taymor production starring Helen Mirren, approx. 1 hr. and 50 mins.)
Wed. 04/02. Spring Break. No classes.
Wed. 04/09. Shakespeare's The Tempest, Acts 1-2 (Norton 3-41). Kane's New Oxford Guide to Writing, Part IV: The Sentence, Ch. 20 "The Well-Written Sentence: (1) Concision" (140-46) and Ch. 21 "The Well-Written Sentence: (2) Emphasis" (147-62).
Wed. 04/16. Shakespeare's The Tempest, Acts 3-5 (Norton 42-77). Kane's New Oxford Guide to Writing, Part IV: The Sentence, Ch. 22 "The Well-Written Sentence: (3) Rhythm" (163-70) and Ch. 23 "The Well-Written Sentence: (4) Variety" (171-74).
JOURNAL SET 2 DUE BY EMAIL MONDAY 04/21; SEE INSTRUCTIONS. (Reminder: this set includes entries on three pieces of criticism about Shakespeare's The Tempest. I will verify receipt by email within a few days.)
Wed. 04/23. Selected British Romantic Poems: William Blake and Lord Byron. Read Blake's "Chimney Sweeper" (362 and 371), "Holy Thursday" (361 and 371),"London" (368), "Nurse's Song" (360 and 369),"The Tyger" (369). Byron's "Prisoner of Chillon" (202-12). Kane's New Oxford Guide to Writing, Part V: Diction, Ch. 24 "Meaning" (177-89).
Wed. 04/30. Selected British Romantic Poems: William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "The Solitary Reaper" (387), "Three Years She Grew" (15), "Tintern Abbey" (264) and your choice of two other Wordsworth poems. Coleridge's "Dejection: an Ode" (332), "Frost at Midnight" (259), "Kubla Khan" (8) and your choice of two other Coleridge poems. Kane's New Oxford Guide to Writing, Part V: Diction, Ch. 25 "Clarity and Simplicity" (190-202).
Wed. 05/07. Selected British Romantic Poems: Percy Bysshe Shelley and John Keats. Shelley's "Mont Blanc" (310), "Ode to the West Wind" (347), "Ozymandias" (441), "To a Skylark" (26), and your choice of one other Shelley poem. Keats' "On First Looking Into Chapman's Homer" (438), "To Autumn" (25), "Ode on a Grecian Urn" (343), "Ode to a Nightingale" (341) and your choice of one other Keats poem. Kane's New Oxford Guide to Writing, Part V: Diction, Ch. 26 "Concision" (203-12).
JOURNAL SET 3 DUE BY EMAIL ON DAY OF FINAL EXAM, WEDNESDAY 05/14; SEE INSTRUCTIONS. (Reminder: this set includes entries on three pieces of criticism about selected Romantic poems â€“ each of the three entries should be on a different poet. I will verify receipt by email within a few days.)
Final Exam Date Wednesday, May 14, 2014 from 5:00-6:50 p.m. Due by email by Sunday, May 18: Term Paper. (I must turn in grades by May 23, 2014.) For your other courses, check CSUF's Final Exam Schedule.