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English 175-­‐02: Introduction to Literary Genres

Instructor: Aaron Schab 209 Brink Hall Department of English University of Idaho Course Meets: Life Sciences South 163 Monday/Wednesday/Friday 9:30 am – 10:20 am January 9, 2013 – May 10, 2013

Course Description

In this class, we will learn about the basic conventions and terms used to understand and discuss the three major genres of literature: fiction, poetry, and drama. This class will help you understand the sometimes baffling world of literature, and is intended to provide the general student with basic experience in literary analysis. Additionally, I hope this class will lead you to a lifelong appreciation for (and engagement with) reading literature. Although this class features extensive reading and writing, it is not necessary for you to be a bookworm or a writing superstar to succeed in this class – if you are willing to put in the time and effort to study, faithfully attend class, keep up on your reading and writing assignments and engage in our discussions and activities, you should have no trouble thriving in this course.

Learning Outcomes By the end of the semester, students enrolled in English 175 should achieve the following learning outcomes. 1. Speak intelligently about literature, and discuss literature using the terminology of the discipline. 2. Explain how literature “works.” 3. Make connections between literature and their own lives in ways that enlarge their understanding of the human condition. 4. Understand the continuing relevance of literature to society. 5. Love reading great literature.

General Philosophy

I expect students to be passionate about their college education. That means that I expect students who are driven, dedicated, hard working, focused, willing to learn, willing to teach, and always prepared for class in an adult environment. (Failing that, I expect students to at least not be obnoxious).


The Norton Introduction to Literature, eds. Booth and Mays. 10th Edition. ISBN 0393934268. Available from the University of Idaho Bookstore and other fine retailers. Important note: Make certain that you purchase the full 10th edition of this text – the “portable” edition will not work for this class, nor will any of the earlier editions. Please bring your textbook to class. Although you will need to rely on your own memory (and study habits) for quizzes and exams, most in-­‐class discussions and activities rely on you having the textbook handy as a reference.

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Other Required Materials • • • A pen for taking notes and quizzes, working on group discussion assignments, doodling, scratching your nose, etc. A notebook or some other source of paper suitable Computer (and internet) access for out-­‐of-­‐class writing assignments.

Basic Requirements

For each class, you should: 1. Read the assigned selection from The Norton Introduction to Literature. 2. Study the key terms. 3. Be prepared to discuss the reading in class. (Bring your textbook!) 4. Be prepared for a small group discussion activity based on the reading. 5. Be prepared to take a quiz covering the reading selections and key terms. In addition to the above list, each week you will post an entry to your Reading Journal (on our Blackboard Learn site). There is an exam at the end of each unit (fiction, poetry, drama). You are also responsible for a substantial literature essay towards the end of the semester.

Productive Learning Environment

This is primarily a discussion-­‐based class, and I expect students to be engaged, not passive. We don’t need distractions. Please leave children, pets, chewing tobacco, cell phones and other gadgets at home (or “off” in the last two cases), and do not chatter during lectures, discussions, quizzes, exams, or student questions—be polite and respectful of others. Believe it or not, you can make it 50 minutes without stuffing your face with Skoal or texting your mom.

Because of abuse (and because they’re completely unnecessary for this class), I do not allow the use of laptops or tablet computers in class. Period.

Also: Text-­‐messaging in class is the fastest way to get on my bad side. Don’t do it. Please.

If you have a problem with any of the policies above, please drop this class now. You've been warned.

Office Hours Brink 209

Monday: 11 am – 3 pm Tuesday: 7 am – 10 am Wednesday: By appointment only Thursday: 7 am – 10 am Friday: By appointment only My office hours are available for English 175 questions as well as any other concerns you may wish to discuss with me. Feel free to visit for any reason. You are always welcome to drop by my office during office hours, but it’s prudent to make an appointment in case I have a prior commitment.


Email is the best way to reach me away from class. Please note that I rarely check my email between 8 pm and 6 am. Any email sent during that time frame will be attended to the following day. If you have a

question that you think might benefit the entire class, you can always post it on the Discussion Board on our Blackboard Learn site.

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Blackboard Learn

All important class documents (this syllabus, the literary essay assignment sheet, etc.) and supplementary materials are posted on our Blackboard Learn (aka “BbLearn”) course site for easy reference throughout the semester. Additionally, your weekly Reading Journal will be submitted via BbLearn in an effort to save paper and add convenience for all of us. The Essay Proposal and Literary Essay will also be submitted via BbLearn. You can also use BbLearn to check your grades and ask questions on the Discussion Board.

Make-­‐Up Quizzes, Late Assignments, and Extra Credit

To keep things fair for everyone, there are no make-­‐up quizzes, late assignments, or extra credit assignments in this class. It is your responsibility to pay attention to the class schedule and manage your time accordingly. The major due dates are listed on the reading schedule and on BbLearn – you have the due dates far in advance and need to be responsible enough to meet the deadlines.

On the other hand, there are extra points built into the course, so you can miss one quiz or reading journal assignment without hurting your overall grade. Each quiz includes a bonus question just for fun, which can result in additional extra points. Tips for Success To help you manage your time, the reading schedule is available from the very beginning of the semester. Although the reading schedule is reasonable for a college-­‐level literature class, it is ambitious. Once you fall behind, it is very difficult to get caught back up. Do your best to keep on top of your reading assignments. If you plan ahead and are wise about time management (read a little bit every day, if possible), you should have no trouble.

The due dates for the Reading Journals, Exams, Essay Proposal, and Literary Essay are listed on the schedule at the end of this syllabus. These due dates are not negotiable. If you plan ahead and are wise about time management, you should have no trouble meeting the deadlines.

Class Grading and Course Components The course is divided into the following sections, which cover the three major genres of literature: Unit 1: Fiction Unit 2: Poetry Unit 3: Drama This course is graded according to a simple points system. A: 450 -­‐ 500 points B: 400 – 449 points C: 350 – 399 points D: 300 – 349 points F: 0 – 299 points

Course Grade: Your grade is weighted as follows: Components

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Percentage 15% 15% 30% 30% 10% 100%

Final 75 points 75 points 150 points 150 points 50 points 500 points

Reading Journal (15 assignments at 10 points each) Group Discussions/Activities (25 assignments at 3 points each) Quizzes (15 assignments at 10 points each) Exams (3 assignments at 50 points each) Essay (10 points for proposal/40 points for final essay) Final Grade


Attendance in this class is mandatory. Because this is an active, discussion-­‐based class (rather than a passive, lecture-­‐based class), it is vital that you are in class (on time!) each and every class session. Although I do not assign a grade for attendance, you earn points in every class session (either via a quiz or a group discussion/activity). If you miss class, you lose those points and cannot make them up (except for official excused absences, of course). However, I have built extra points into the class so that you can miss two class periods without hurting your grade. Students who will miss class for official, sanctioned university activities (traveling for athletics, academic competitions, field trips, etc.) must make arrangements with me in advance (including official documentation excusing the absence) in order to avoid losing credit.

If you miss a class, you are responsible for knowing before the next class what you missed and what work is due the day you return. Ignorance is not an excuse. Ask another student what was covered in class (your discussion groups can help you out with this) and check BbLearn for assignments and due dates.


This class requires active participation. You must be prepared for class and ready to volunteer rather than expecting me to call on you. Participation includes being prepared (do your reading assignments in advance!), bringing your textbook to class, being ready to share ideas, and willing to engage in the group discussions/activities.

Reading Journal

Each week, you will write an entry in your online Reading Journal on BbLearn. This is a place for you to write your initial reactions, responses, and thoughts about the literature you are reading each week. No one can see your Reading Journal except for you and me, so it is a space where you can express yourself freely.

I will provide writing prompts for each Reading Journal assignment (on BbLearn) – some will ask specific questions, while others will require you to make connections on your own. Your Reading Journal is due each Friday by midnight.

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Group Discussions/Activities

Although this course is designed to emphasize individual effort, it is important for students in college-­‐ level courses to engage in collaborative learning. Beginning the second week of class, students will be divided into smaller work groups in order to better connect with peers and engage with the material. The work groups will be remixed periodically, so you will have an opportunity to interact with a large cross-­‐section of your classmates. Group Discussions/Activities will come in a number of forms. I may ask your group to answer a specific question about the reading material and present the answer to the rest of the class, or to write an imitation of specific literary style, or perform a short act from a Shakespeare play while juggling live sockeye salmon. There will be a Group Discussion/Activity in nearly every class session, so make certain to always be prepared and have the reading assignment finished before coming to class.


At least once a week, you will complete a ten-­‐point quiz focused on reading selections, key terms, and in-­‐class discussions and lectures. The quizzes are intended to test your reading comprehension as well as the material covered in the classroom. The questions will be an assortment of multiple choice, true/false, fill-­‐in-­‐the-­‐blank, and short answer. Quizzes are not (usually) announced in advance, and getting a quiz on Monday doesn’t necessarily mean there won’t also be a quiz on Wednesday or Friday.


You will take three exams in this course, one for each genre unit: fiction, poetry, and drama. Each exam includes the following sections: 1. Multiple choice (reading comprehension and key terms), 2. Short answer (reading comprehension, key term definitions, passage identification/significance), and 3. Essay question. The essay questions build upon the work you’ve done with your Reading Journal and Group Discussions. There is no midterm for this class, and the Final Exam is simply Exam 3 (Drama), taken during our designated Final Exam Period.


An important component of learning about literature is writing about literature, which is why this course is geared toward active learning (writing and discussing the works you read). Although the essay is a substantial project (5 to 7 pages), it does not stand alone as an isolated project. Rather, the essay serves as a capstone for the course – all of your writing, thinking, and analysis in the journals, group discussions/activities, and essay questions will help you build the skills necessary to write an excellent literature essay. You will submit an Essay Proposal a few weeks before the Essay itself is due. This will allow us to work together to make certain you are on the right track with your ideas and research.

Plagiarism Policy Each semester, there are certain students who either do not understand what plagiarism is or simply think they can get away with it. I am very adept at detecting plagiarism, and I will not hesitate to penalize any student who is guilty of academic dishonesty in this course.

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013) The Two Main Forms of Plagiarism


1. Using someone else's work as your own, without citing the source. This includes direct copying, rephrasing, and summarizing, as well as taking someone else's idea and putting it in different words. 2. Not indicating directly quoted passages or ideas even while citing the work as a general source. The Consequences of Plagiarism

If any of your course work involves intentional plagiarism, I am empowered by regulation 0-­‐2 of the University Bulletin to award you a failing grade in the course. In addition, I will always refer the case to the Dean of Students who will bring charges against you for violating Article II of the UI Student Code of Conduct.

How to Avoid Plagiarism

The easiest way to avoid plagiarism is to refrain from using online sites (Wikepedia, SparkNotes) as study guides, thus removing the temptation to simply rewrite or summarize what someone else has said about a work of literature. Although it is important that you strive to write in a thoughtful and perceptive manner, it is much better to submit mediocre work written by you than to submit excellent work stolen off of the Internet. Although mediocre work results in a mediocre grade, work stolen off of the Internet results in you earning an F and disciplinary action from the Dean of Students Office. It’s really very simple: Do your own work. This class is all about YOU becoming immersed in the three major genres of literature, and the class is designed for YOU to learn through reading, writing, and interacting with your instructor and your classmates. You do everyone in the class a disservice when you cheat, copy material from other websites, or attempt other academically dishonest shortcuts.

Disability Support Services

Reasonable Accommodations Statement: Reasonable accommodations are available for you if you have a documented disability. Please notify me during the first week of class regarding accommodation(s) needed for the course. (If you delay notifying me, it can be difficult to make the necessary arrangements, and I cannot make retroactive accommodations). All accommodations must be approved through Disability Support Services located in the Idaho Commons Building, Room 312 (885-­‐7200; email at; see also

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Reading Schedule for English 175, Spring Semester 2013 Below is the list of required readings for the course, along with required tasks and important due dates. Please note that you are expected to read all of the explanatory material in each chapter as well as the specific stories, poems, and plays listed below. The reading assignments are due by the day listed. (So, for example, the reading assignment listed for Friday is due to be read by class time on Friday, and not after class that day).

Unit 1: Fiction Week One (Jan. 9 – Jan. 11): Introduction to the Course Reading Assignment: Wednesday | No reading assignment. Friday | pp 1-­‐9 – Introduction Required Tasks: Reading Journal (due Friday, Jan. 11, by midnight) Week Two (Jan. 14 – Jan. 18): Fiction (Reading, Responding, Writing) | Plot Reading Assignment: Monday | pp 12-­‐49: Fiction (Reading, Responding, Writing) – “The Elephant in the Village of the Blind” “20/20,” Linda Brewer / “The Shabbat,” Marjane Satrapi / “Cathedral,” Raymond Carver / “Sample Writing” supplementary material Wednesday | No new reading. Friday | pp 79-­‐114; pp 123-­‐126: Plot – “The Shroud,” Jacob and Wilhelm Grimm / “The Jewelry,” Guy de Maupassant / “Sonny’s Blues,” James Baldwin / “Happy Endings,” Margaret Atwood Required Tasks: Reading Journal (due Friday, Jan. 18, by midnight)

Week Three (Jan. 21 – Jan. 25): Initiation Stories: An Album | Narration and Point of View Reading Assignment: Monday | Class does not meet. (University of Idaho is closed for MLK Jr. Holiday). Wednesday | pp 128-­‐135; pp 149-­‐155: Initiation Stories – “Stepdaughters,” Max Apple / “A&P,” John Updike Friday | pp 156-­‐178: Narration and Point of View – “The Cask of Amontillado,” Edgar Allan Poe/ “Hills Like White Elephants,” Ernest Hemingway / “How,” Lorrie Moore / “Girl,” Jamaica Kincaid Required Tasks: Reading Journal (due Friday, Jan. 25 by midnight) Week Four (Jan. 28 – Feb. 1): Character | Setting | Suburbia: An Album Reading Assignment: Monday | pp 179-­‐198; pp 791-­‐800: Character – “Barn Burning,” William Faulkner / “Why I Live at the P.O.,” Eudora Welty

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Wednesday | pp 225-­‐269: Setting – “The Lady with the Dog,” Anton Chekhov / “Flowering Judas,” Katherine Anne Porter / “A Pair of Tickets,” Amy Tan Friday | pp 271-­‐307: Suburbia – “The Country Husband,” John Cheever / “Long Ago Yesterday,” Hanif Kureishi / “The Lost World,” Michael Chabon Required Tasks: Reading Journal (due Friday, Feb. 1 by midnight) Week Five (Feb. 2 – Feb. 8): Symbol and Figurative Language | Theme Reading Assignment: Monday | pp 308-­‐350: Symbol and Figurative Language – “The Birth-­‐Mark,” Nathaniel Hawthorne / “The Thing in the Forest,” A.S. Byatt / “A Wall of Fire Rising,” Edwidge Dancticat Wednesday | pp 782-­‐791: Symbol and Figurative Language “The Prophet’s Hair,” Salman Rushdie Friday | pp 351-­‐394: Theme – “The Open Boat,” Stephen Crane / “A Very Old Man with Enormous Wings,” Gabriel Garcia Marquez / “Love Medicine,” Louise Erdrich / “The Grasshopper and the Bell Cricket,” Yasunari Kwabata Required Tasks: Reading Journal (due Friday, Feb. 8 by midnight) Week Six (Feb. 11 – Feb. 15): The Longer Work (Melville and Kafka) | Critical and Historical Contexts: Women in Turn-­‐of-­‐the-­‐Century America Reading Assignment: Monday | pp 429-­‐457: The Longer Work – Bartleby, the Scrivener, Herman Melville Wednesday | pp 457-­‐489: The Longer Work The Metamorphosis, Franz Kafka Friday | pp 602-­‐642: Women in Turn-­‐of-­‐the-­‐Century America – “The Story of an Hour,” Kate Chopin / “The Yellow Wallpaper,” Charlotte Perkins Gilman / “A Jury of Her Peers,” Susan Glaspell / Plus the contextual selections at the end of the chapter Required Tasks: Reading Journal (due Friday, Feb. 15 by midnight) Week Seven (Feb. 18 – Feb. 22): Cultural and Historical Contexts: The Jazz Age | Critical Contexts: William Faulkner’s “A Rose for Emily” Reading Assignment: Monday | Class does not meet. (University of Idaho is closed for Presidents’ Day Holiday). Wednesday | pp 643-­‐678: The Jazz Age – “Babylon Revisited,” F. Scott Fitzgerald / “Echoes of the Jazz Age,” F. Scott Fitzgerald / Plus the contextual material at the end of the chapter Friday | pp 679-­‐715: Critical Contexts – “A Rose for Emily,” William Faulkner / Plus the critical selections that follow Faulkner’s story in the chapter Required Tasks: Reading Journal (due Friday, Feb. 22 by midnight) Exam 1 (Fiction): In class on Friday, Feb. 22.

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Unit 2: Poetry Week Eight (Feb. 25 – March 1): Poetry (Reading, Responding, Writing) | Romantic Love: An Album Reading Assignment: Monday | No new reading. Wednesday | pp 820-­‐844: Poetry (Reading, Responding, Writing) – “How Do I Love Thee?,” Elizabeth Barrett Browning / “The Tally Stick,” Jarold Ramsey / “love poem,” Linda Pastan / “Married Love,” Liz Rosenberg / “On My First Son,” Ben Johnson / “The Vacuum,” Howard Nemerov / “Fifth Grade Autobiography,” Rita Dove / “The Fury of Overshoes,” Anne Sexton / “Mid-­‐Term Break,” Seamus Heaney / “On Her Loving Two Equally,” Aphra Behn / Plus the two Sample Writing selections at the end of the chapter Friday | pp 846-­‐853: Romantic Love – “The River-­‐Merchant’s Wife: A Letter,” Ezra Pound / “[Stop all the clocks, cut off the telephone],” W.H. Auden / “To My Dear and Loving Husband,” Anne Bradstreet / “[Let me not to the marriage of true minds],” William Shakespeare / “Last Night,” Sharon Olds / “The Sun Rising,” John Donne / “[Women have loved before as I love now],” Edna St. Vincent Millay / “[I, being born a woman and distressed],” Edna St. Vincent Millay / “Porphyria’s Lover,” Robert Browning / “Of the Theme of Love,” Margaret Cavendish, Duchess of Newcastle Required Tasks: Reading Journal (due Friday, March 1 by midnight) Week Nine (March 4 – March 8): Theme and Tone | Speaker | Situation and Setting Reading Assignment: Monday | pp 854-­‐865: Theme and Tone – “Barbie Doll,” Marge Piercy / “Leaving the Motel,” W.D. Snodgrass / “In the Time of Plague,” Thom Gunn / “Hard Rock Returns to Prison from the Hospital for the Criminally Insane,” Etheridge Knight / “London,” William Blake / “Woodchucks,” Maxine Kumin / “Aunt Jennifer’s Tigers,” Adrienne Rich Wednesday | pp 878-­‐893: Speaker – “The Ruined Maid,” Thomas Hardy / “In a Prominent Bar in Secaucus One Day,” X.J. Kennedy / “Death of a Young Son by Drowning,” Margaret Atwood / “Soliloquy of the Spanish Cloister,” Robert Browning / “A Certain Lady,” Dorothy Parker / “She Dwelt among the Untrodden Ways,” William Wordsworth / “Hanging Fire,” Audre Lorde / “To a Louse,” Robert Burns / “We Real Cool,” Gwendolyn Brooks / “[I celebrate myself, and sing myself],” Walt Whitman / “Tu Do Street,” Yusef Komunyakaa Friday | pp 912-­‐939: Situation and Setting – “Daystar,” Rita Dove / “To a Daughter Leaving Home,” Linda Pastan / “Dover Beach,” Matthew Arnold / “[Full many a glorious morning have I seen],” William Shakespeare / “The Good-­‐Morrow,” John Donne / “Morning Song,” Sylvia Plath / “Morning,” Billy Collins / “Cherrylog Road,” James Dickey / “The Flea,” John Donne / “To His Coy Mistress,” Andrew Marvell Required Tasks: Reading Journal (due Friday, March 8 by midnight)

Week Ten (March 11 – March 15): Spring Break No reading assignment or journal this week. You are welcome to work on your Essay Proposal and the other Week Eleven tasks if you don’t have more delightful Spring Break plans.

Week Eleven (March 18 – March 22): Language | The Sounds of Poetry | Words and Music Reading Assignment: Monday | pp 947-­‐993: Language – “[The golf links lie so near the mill],” Sarah Cleghorn / “Slim Cunning Hands,” Walter de la Mare / “My Papa’s Waltz,” Theodore Roethke / “Sex without Love,” Sharon Olds / “At the San Francisco Airport,” Yvor Winters / “Lies,” Martha Collins / “[I dwell in Possibility—],” Emily Dickinson / “The Red Wheelbarrow,” William Carlos Williams / “This Is Just to Say,” William Carlos Williams / “Rorschach,” Jeanne Marie Beaumont / “[That time of year thou mayest in me behold],” William Shakespeare / “Marks,” Linda Pastan / “A Red, Red Rose,” Robert Burns / “[Shall I compare thee to a summer’s day?]” William Shakespeare / “The Leap,” James Dickey Wednesday | pp 994-­‐1014: The Sounds of Poetry – “The Word Plum,” Helen Chasin / “What the Motorcycle Said,” Mona van Duyn / “Dirge,” Kenneth Fearing / “Metrical Feet,” Samuel Taylor Coleridge / “[There was a young girl from St. Paul],” Anonymous / From “The Charge of the Light Brigade,” Alfred, Lord Tennyson / “Song,” Sir John Suckling / “To the Memory of Mr. Oldham,” John Dryden / “The Raven,” Edgar Allan Poe / “[Like as the waves make towards the pebbled shore],” William Shakespeare / “[A narrow Fellow in the Grass],” Emily Dickenson / “Mr. X,” Catherine Bowman Friday | pp 1016-­‐1023: Words and Music – “Dear John, Dear Coltrane,” Michael Harper / “Mr. Tambourine Man,” Bob Dylan / “123rd Street Rap,” Willie Perdomo Required Tasks: Reading Journal (due Friday, March 22 by midnight) Essay Proposal due by midnight, Friday, March 22. Week Twelve (March 25 – March 29): Internal Structure | External Form Reading Assignment: Monday | pp 1024-­‐1051: Internal Structure – “Mr. Flood’s Party,” Edwin Arlington Robinson / “Church Going,” Philip Larkin / “The Goose Fish,” Howard Nemerov / “Sonrisas,” Pat Mora / “The Victims,” Sharon Olds / “The Dance, “ William Carlos Williams / “Heaven,” Cathy Song / “Poetry,” Stephen Dunn / “Ode to the West Wind,” Percy Bysshe Shelley / “Deathfugue,” Paul Celan / Sample Writing Wednesday | pp 1052-­‐1082: External Form -­‐-­‐ “Do Not Go Gentle into That Good Night,” Dylan Thomas / “Poetry,” Marianne Moore / “Sestina,” Elizabeth Bishop / “Beware : do not read this poem,” Ishmael Reed / “Ars Poetica,” Archibald MacLeish / “Ballad of Birmingham,” Dudley Randall / “[My lady’s presence makes the roses red],” Henry Constable / “Nuns Fret Not,” William Wordsworth / “A Sonnet Is a Moment’s Monument,” Dante Gabriel Rossetti / “On the Sonnet,” John Keats / “On the Grasshopper and the Cricket,” John Keats / “The New Colossus,” Emma Lazarus / “Range-­‐Finding,” Robert Frost / “Design,” Robert Frost / “[When our two souls stand up],” Elizabeth Barrett Browning / “[What lips my lips have kissed, and where, and why],” Edna St. Vincent Millay / “[I shall forget you presently, my

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


dear],” Edna St. Vincent Millay / “[My mistress’ eyes are nothing like the sun],” William Shakespeare / “Sonnet,” Billy Collins / “[l(a],” e.e. cummings / “[Buffalo Bill

‘s],” e.e. Cummings Friday | No new reading. Required Tasks: Reading Journal (due Friday, March 29 by midnight) Week Thirteen (April 1 – April 5): The Longer Work (Beowulf, Coleridge and Eliot) Reading Assignment: Monday | pp 1083-­‐1098: The Longer Work – from Beowulf, Anonymous Wednesday | pp 1098-­‐1114: The Longer Work – The Rime of the Ancient Mariner, Samuel Taylor Coleridge Friday | pp 1115-­‐1124: The Longer Work – “The Love Song of J. Alfred Prufrock,” T.S. Eliot / Sample Writing Required Tasks: Reading Journal (due Friday, April 5 by midnight) Exam 2 (Poetry): In class on Friday, April 5.

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Unit 3: Drama Week Fourteen (April 8 – April 12): Drama (Reading, Responding, Writing) Reading Assignment: Monday | No new reading. Wednesday | No new reading. Friday | pp 1382-­‐1436: Drama (Reading, Responding, Writing) – Trifles, Susan Glaspell / The Real Inspector Hound, Tom Stoppard / Responding to Drama Required Tasks: Reading Journal (due Friday, April 12 by midnight) Week Fifteen (April 15 – April 19): Elements of Drama Reading Assignment: Monday | pp 1437-­‐1447; pp 2128-­‐2193 (out of sequence): Elements of Drama – Death of a Salesman, Arthur Miller Wednesday | No new reading. Friday | No new reading. Required Tasks: Reading Journal (due Friday, April 19 by midnight) Essay due by midnight on Friday, April 19. Week Sixteen (April 22 – April 26): Tragedy and Comedy Reading Assignment: Monday | pp 1557-­‐1597: Tragedy and Comedy – Oedipus the King, Sophocles Wednesday | No new reading.

English 175-­‐02: Introduction to Literary Genres (Schab) Syllabus and Reading Schedule (Spring 2013)


Friday | pp 1597-­‐1640: Tragedy and Comedy – The Importance of Being Earnest, Oscar Wilde Required Tasks: Reading Journal (due Friday, April 26 by midnight) Week Seventeen (April 29 – May 3): Shakespeare Reading Assignment: Monday | pp 1641-­‐1700: Shakespeare – A Midsummer Night’s Dream, William Shakespeare Wednesday | No new reading. Friday | No new reading. Required Tasks: Reading Journal (due Friday, May 3 by midnight) Week Eighteen (May 6 – May 10): Finals Week No reading assignment or journal this week. Class does not meet except for during our Final Exam Period, which is listed below. Required Tasks: Final Exam Period Exam 3 (Drama): In class on Monday, May 6, from 10:00 am – Noon.…...

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...Educational Needs 137 PA RT I I Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Learning and Motivation Learning and Cognitive Processes 179 Knowledge Construction 217 Complex Cognitive Processes 249 Behaviorist Views of Learning 285 Social Cognitive Views of Learning 323 Motivation and Affect 361 PA RT I I I Chapter 12 Chapter 13 Chapter 14 Chapter 15 Classroom Strategies Instructional Strategies 413 Creating a Productive Learning Environment 459 Classroom Assessment Strategies 503 Summarizing Students’ Achievement and Abilities 553 Appendix A: Describing Associations with Correlation Coefficients A-1 ISBN 0-558-65860-1 Appendix B: Determining Reliability and Predictive Validity B-1 Appendix C: Matching Book and MyEducationLab Content to the Praxis® Principles of Learning and Teaching Tests C-1 iv Educational Psychology: Developing Learners, Seventh Edition, by Jeanne Ellis Ormrod. Published by Allyn & Bacon. Copyright © 2011 by Pearson Education, Inc. Contents Preface x Special Topics xix Chapter 1 1 Vygotsky’s Basic Assumptions 39 ● Critiquing Vygotsky’s Theory 42 ● Considering Diversity from the Perspective of Vygotsky’s Theory 43 ● Contemporary Extensions and Applications of Vygotsky’s Theory 44 Teaching and Educational Psychology 1 CASE STUDY: Picture Yourself Language Development 49 Teaching as Evidence-Based Practice 2 Understanding Research 4 Quantitative Research 5 ● Qualitative Research 7 ●......

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...After reading a couple chapters of this book I have came to the conclusion that it shows you a lot of strong points on how Thomas L Friedman thinks about the world. He explains why it all is happening and how the international system is transforming the world affairs. It also shows you all the things that he said in his book that they would come true and some of those things actually did come true. This books helps you understand about how globalization is working and why it is happening. It also shows and tells you how the world reacts to it and what the bad and good thing about globalization. In the first part of the book of the books it explains what the title ‘Lexus’ and ‘’olive tree’’ means. The Lexus stands for half the world emerging from the Cold War and people intent on building a better Lexus, modernizing economies in order to thrive globalization. The olive tree stands for the other half who are still caught up in the fight over who owns which "olive tree." The Lexus stands for the emerging of new things like 300 new Lexus being built everyday and people are moving on from the Cold War. The Olive tree represents our roots, anchors us, and identifies us. The Olive Tree also represents people fighting over who own what. That was the main thing in the beginning because it tells you what the title is all about. After that it goes into more detail about other things about globalization. It asks what a golden straightjacket it the golden straightjacket is an...

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...A Great Story I read the books A Child Called It, The Lost Boy, and A Man Named Dave. The reason I choose these books is because they are true stories which keeps me interested. From the beginning it had me hooked. I had to keep reading because I wanted to know what was going to happen next. I learned some things about these books but one thing stood out to me the most and that is how the legal system was very different back then than it is now. I believe Dave Pelzer is a very strong individual to be able to survive what he went through and I think it is great that he has become the person he is today. David James (Dave) Pelzer was born December 29th 1960 in San Francisco California. He is an American Author, best known for his 1995 memoir of childhood abuse, “A Child Called It”. Dave is born 3rd out of 5 boys. Dave wrote in his book that as a child, he was continually abused, mistreated, and beaten by his mother, who thought of it as a game. His teachers stepped in and on March 1973 Dave Pelzer was placed in foster care. He joined the Air Force in 1979 and later became an author. The book “A child called it” caused a dispute in his family, one of his brothers said it was not true, however his other brother who is an author wrote a book “A Brother’s Journey” which confirms Dave’s story. Dave has written two books, “A Child called it” and “The Lost Boy”, which is about his life after he was placed in foster care. Dave currently lives in a different state with...

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...Burroughs In this book there were many characters involved that had different parts. The main was Augusten, a young boy caught in the middle of a family falling apart. His mother Deidre who is a poet, she at times at has psychotic breakdowns. Other characters were Dr.Finch who is Deidre’s therapist which who later becomes augustens legal guardian. Neil Bookman, one of Dr Finches patient and also Augustens first lover who is much older then him. Also there is Natalie; she is one of Dr.Finch’s daughters. She and Augusten become best friends towards the end. Few other people in the book are Fern, Deidre’s first lover, Dorothy, Deidre’s second lover, and Hope the oldest daughter of Dr. Finch. This story takes place in Massachusetts, Augusten goes from living in a wonderful clean big home to living with the therapist in a rundown old Victorian home in Northampton, the house has no order what so ever, its far from being clean, Dr. Finch feels he doesn’t need to tell everyone living with him what they should do, which include his wife and children and a few of this patients. Augusten begins to live with the Finch family have the separation of his mother and father, she believes she well be unable to be good parent. He deals with many different things and learns a lot by leaving at the Finch residence. I’m not really sure how I felt about the book, it was interesting at points but I mainly read it because a friend told me I should and loaned me the book to read. There......

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...McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOW/DOW 1 0 9 8 7 6 5 4 3 ISBN MHID 978-0-07-802552-5 0-07-802552-4 Senior Vice President, Products & Markets: Kurt L. Strand Vice President, Content Production & Technology Services: Kimberly Meriwether David Director: Tim Vertovec Brand Manager: Donna M. Dillon Executive Director of Development: Ann Torbert Development Editor II: Katie Jones Director of Digital Content: Patricia Plumb Digital Development Editor: Julie Hankins Senior Marketing Manager: Kathleen Klehr Senior Project Manager: Diane L. Nowaczyk Content Project Manager: Rachel Townsend Buyer II: Debra R. Sylvester Senior Designer: Matt Diamond Cover Designer: Kay Lieberherr Cover Image: SuperStock Lead Content Licensing Specialist: Keri Johnson Media Project Manager: Ron Nelms Typeface: 10.5/12 Times New Roman Compositor: MPS Limited Printer: R. R. Donnelley All credits appearing on page or at the end of the book are considered to be an extension of the copyright page. Library of Congress Cataloging-in-Publication Data Lanen, William N. Fundamentals of cost accounting / William N. Lanen, University of Michigan, Shannon W. Anderson, University of California at Davis, Michael......

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...for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First edition 1999 Second edition 2003 Published by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 1-4039-1135-5 A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 12 11 8 7 10 09 6 08 5 07 4 06 3 2 1 05 04 03 Acknowledgements The author would like to thank the following: TMP Worldwide Research, 32 Aybrook Street, London W1M 3JL (tel. 0171 872 1500), for permission to reproduce their data on ‘soft skills’ and employment. Lynn Chiswick, for her full encouragement and support for Skills for Success when all I had to show her were a few pencil-and-paper sketches and a lot of enthusiasm. Robert Simpson, Pam Dixon and David Gosling for helpful comments on the first edition of the Handbook. The many lecturers at UEL who used Skills for Success and the other materials......

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...are contemporary and are constructed from first hand research with a number of international cruise companies providing a real world insight into this industry. Each case study is followed by questions that are intended to illuminate issues and stimulate discussion. The structure of the book is designed so the reader can either build knowledge cumulatively for an in-depth knowledge of managerial practices and procedures onboard a cruise ship, or they can ‘dip in' and make use of specific material and case studies for use within a more generic hospitality or tourism learning context. * Comprehensive overview of hospitality services and operations written specifically for the cruise industry* Uses contemporary examples to illustrate the unique aspects of this industry providing a clear understanding of managing operations onboard * Flexible format enables readers to build knowledge cumulatively or jump in and make use of specific material within a hospitality or tourism learning context DOWNLOAD Hospitality and Tourism An Introduction to the Industry, , Nov 3, 2003, Business & Economics, 445 pages. CD-ROM contains files that correspond to each chapter of the book. These files include keywords with definitions, related websites, review questions and slides that highlight. GCE AS Travel and Tourism Double Award for Edexcel , Alan Marvell, 2006, Tourism, 352 pages. This is a collection of all the units you need......

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...of electricity. It is these basic principles of game design that we cover in this book—design distilled down to its basic essence. Not surprisingly, many of today’s greatest game designers got their start playing and designing non-digital games, and some still use paper prototyping in their present-day designs. When thinking of game design, think in terms of the board game Go, a Chinese game thousands of years old (see Figure 1.2). It requires no computer programming or polygon models to play. Yet its rules, simple as they are, allow for a depth of strategy so great that it is still played heavily today. While many of the games enjoyed today may not be as popular as Go a thousand years from now, there is no reason why such a game could not be created. FIGURE 1.2 Go board. Image from the Wikipedia Commons Chapter 1 The Basics T YPES OF 5 D ESIGN Just as there are many types of games, there are many types of game design, too. World design is the creation of the overall backstory, setting, and theme of the game. While it’s generally performed by the lead or sole designer, it often determines the scope of the other design tasks listed below. System design is the creation of rules and underlying mathematical patterns in a game. This is the only game design task that is common to all games, because all games have rules. Therefore, most of the challenges in this book involve system design. In particular, Chapters 2, 5, 6, 7 and 8 give a......

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...database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOC/DOC 1 0 9 8 7 6 5 4 3 2 1 0 ISBN 978-0-07-337789-6 MHID 0-07-337789-9 Vice President & Editor-in-Chief: Brent Gordon Vice President EDP/Central Publishing Services: Kimberly Meriwether David Editorial Director: Stewart Mattson Publisher: Tim Vertovec Executive Editor: Richard T. Hercher, Jr. Editorial Coordinator: Rebecca Mann Associate Marketing Manager: Jaime Halteman Project Manager: Robin A. Reed Design Coordinator: Brenda A. Rolwes Cover Designer: Studio Montage, St. Louis, Missouri Buyer: Nicole Baumgartner Media Project Manager: Balaji Sundararaman Compositor: MPS Limited, A Macmillan Company Typeface: 10/12 Times Roman Printer: R. R. Donnelley All credits appearing on page or at the end of the book are considered to be an extension of the copyright page. Library of Congress Cataloging-in-Publication Data Johnson, P. Fraser. Purchasing and supply management / P. Fraser Johnson, Michiel R. Leenders, Anna E. Flynn.—14th ed. p. cm. Rev. ed. of: Purchasing and supply management / Michiel R. Leenders . . . [et al.]. 13th ed. 2006. ISBN......

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...person who reads has had a chance to do each of them, and lots more, because when you read a book, you don’t just read it, you live it, you imagine yourself as the character of the book, you see yourself dealing with every situation that the character deals with and THAT EXACTLY is the magic of reading. Kristin Martz once said, “We lose ourselves in books. We find ourselves there too.” Now, the first question that might pop into your head is, “Why should I lose myself in a book when I can easily lose myself in my phone or computer?” The answer is that you might be able to lose yourself in your gadget but you won’t find yourself there. Books can make you imagine so much more, they can enhance your vocabulary, develop your personality and most important they can make you gizmos. Books think out of the little box which you are confined to because of your gadgets and will not only help you with your linguistic abilities but also with your communication skills. Conversations will always be interesting if you can talk well and that can only happen if you are well read. Books have a way to speak to you, in ways no one and nothing else can. They are the best remedy to boredom, to escape reality, to live a life which will be way more than interesting than your own. So, today, on the occasion of the world book day, I want to take the opportunity to urge all of you to just simply read. Go grab a book and lose yourself to it and I can vouch for it that exactly where you lost yourself,......

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...FAHRENHEIT 451 by Ray Bradbury This one, with gratitude, is for DON CONGDON. FAHRENHEIT 451: The temperature at which book-paper catches fire and burns PART I IT WAS A PLEASURE TO BURN IT was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black. He strode in a swarm of fireflies. He wanted above all, like the old joke, to shove a marshmallow on a stick in the furnace, while the flapping pigeon-winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning. Montag grinned the fierce grin of all men singed and driven back by flame. He knew that when he returned to the firehouse, he might wink at himself, a minstrel man, burntcorked, in the mirror. Later, going to sleep, he would feel the fiery smile still gripped by his face muscles, in the dark. It never went away, that. smile, it never ever went away, as long as......

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...employ a programmer to develop its new system, as well as a full-time IT specialist to keep the system running. It is also unsure of what needs to be done in managing the systems development process. One of the things particularly troubling Mr De Lago, the part owner of Encosta Memories, is the possibility of investing capital now and having to do so again in a couple of years time as technology changes. However, he does not mind spending a large sum now if the system is a long-term answer, since, as De Lago himself said, ‘Once the system is acquired then the business can get back to normal and do what it does best — take photos — without having to spend money on IT.’ In light of the details you have about Encosta Memories, prepare a discussion in relation to the following questions: 1. (a) Is this De Lago’s statement correct: ‘Once the system is acquired then the business can get back to normal and do what it does best — take photos — without having...

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...brings out the Economic and the Functional Classification of the Central Government’s Budget which is also presented to the Members of both the Houses of Parliament. The publication presents an estimate of the savings of the Central Government and its departmental undertakings, gross capital formation and the magnitude of the development and consumption expenditure broken up under broad functional heads. External Sector (Trade and BOP) Money and Financial Markets 1.7 The External Sector (Trade and BOP) Units monitor and review the emerging trends in India’s foreign trade and balance of payments position, respectively. External Sector (Trade) Unit is associated with the Department of Commerce in various consultations and discussions relating to Import & Expor t Policy of the Gover nment, multilateral trade negotiations, trade liberalization and economic cooperation. External Sector (BOP) Unit is concerned with International economic issues of the IMF, IBRD, WTO and other international agencies. It is responsible for monitoring and effective management of external debt and planning for sustainable future borrowing levels. External Sector (BOP) Unit also assists in the preparation of the Working Group Report on Balance of Payments for the five year plans. External Sector(BOP) provides periodic shor t-ter m assessment on BOP parameters through the short-term BOP Monitoring Group. The External Sector (Trade) Unit also monitors and reviews the......

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