ࡱ> ~g hbjbjVV hr<r<`h 33333$WWWPDlW.Wm4|||w.y.y.y.y.y.y.$03.3|||||.33. |&33w. |w. -h?.` (k-c..0.{-`4 :`4 ?.`43?.$|| |||||.. |||.||||`4||||||||| ! : San Jos State University English Department English 193, Literature of Self Reflection. Spring 2011 Instructor:Susan ShillinglawOffice Location:Faculty Offices 118Telephone:408-924-4487Email:Susan.shillinglaw@sjsu.eduOffice Hours:Tues./Thurs 1:30-2:45 Class Days/Time:Tues/Thurs: 3:00-4:15Classroom:DMH 354Course Description The first aim of this course is reflective: You will consider your years as an English major, rereading essays youve written, reflecting on your development as a writer and a reader, considering the reasons that you chose to be an English major. Each student will also consider the ways in which reading and class discussions have enriched his or her appreciation of literature. As a class, we shall review the departments list of Student Learning Goals, and each student will consider to what extent those goals have been met. A second goal, related to the first, is to reflect on your futures: We will consider career options; resume building; graduate school options; reading and book groups; texts and the internet. The third aim of this course is literary: The class will consider a broad theme, the shifting notions of family and how family has been defined and imagined in literature. We will consider a number of questions: Historically, what constitutes a family? How have definitions shifted? What is the responsibility of each member to a family unit? How is the nuclear family envisioned in various texts? Alternative families? How are gender roles defined? How important is birth order in consideration of these works? Parent/child relationships? Husband/wife? Sibling rivalries? In considering these and other questions, we will also discuss how each readers experiences impact his/her appreciation of family dynamics. The fourth aim of the class is creative: A portfolio will be assembled that contains papers from your undergraduate literature courses, collected and organized with a dominant metaphor in mind. Chose your metaphor, one that best describes your progress, the way youve assembled your essays; how you see yourself as a writer; Each student will write a 3-page reflective essay about your work over 3+ years and bring portfolio, essay (with a title that reflects your metaphor) to conference with instructor. Required Texts/Readings Mary Ann Shaffer and Annie Barrows, The Guernsey Literary and Potato Peel Pie Society William Faulkner, The Sound and the Fury Anne Tyler, Dinner at the Homesick Restaurant August Wilson, Joe Turners Come and Gone J.M. Coetzee, Disgrace Alison Bechdel, Fun Home: A Family Tragicomic Anne Fadiman, At Large and At Small Texts for group work, 3-4 in each group (copies from Amazon). Groups determined by February. a. This Boys Life, Tobias Wolff/A River Runs Through It, Norman Maclean (father/son) b. Sometimes a Great Notion, Ken Keesey (family saga, place) c. The Glass Castle, Jeannette Walls and Angelas Ashes, Frank McCort (family and poverty) d. My Family and Other Animals, Gerald Durrell/Running in the Family, Michael Ondaatje (childhood in Corfu/Sri Lanka [Ceylon]) e. The Road, Cormac McCarthy/Amy and Isabelle, Elizabeth Strout (singlets) f. Dreams from My Father, Barack Obama/The Color of Water, James McBride (memoirs about race in America) g. The Professor and the Housekeeper, Yoko Ogawa/ A Pale View of Hills, Kazuo Ishiguro (Japanese characters: memory, dreams, mother/child) Classroom Protocol Please come to each class prepared; read the assignment for each day carefully and, on Thursdays, have your reading response ready to turn in at the beginning of class. Please hand in hard copies of all essays; I do not accept online submissions unless I give a student specific permission to hand in an essay online. Late papers will receive lower grades; failure to attend class will result in lower participation grades as well. Please do not bring computers to classthis is a seminar, and attentive participation is expected of all. Assignments I. Reading journal, 25%. Each student will write weekly reading responses that I will collect at the beginning of class on Thursday; entries will be returned the following Tuesday. In 250-350 words (1-1 and1/2 page) either relate the weeks reading to your own experience or write a focused analytical piece, considering a character, image, theme or a theoretical perspective on the reading. Note that these are two different activities: roughly half of your writing responses should be personal, the other half analytical and theoretical. Please remember that you cannot possibly discuss broad issues in 2 pages without focusing on a particular scene or character that represents the issue you feel is significant. In addition, when writing your personal entries, please make the connection between reading youre your personal response clear in these entries by noting specific sections of the text that you found significant to your experience. Please identify each entry as personal, analytical, theoretical. Every reading response, whether personal, analytical, or theoretical must demonstrate active engagement in the text and in ideas generated by that text. By the end of the semester, each student will have at least 10 entries. That allows everyone to skip a few Thursday assignments. No late journal entries will be accepted. Entries will be graded on a 1-10 scale. Points will be subtracted for egregious grammatical errors. 2: Two Self-reflective essays, 20%. One essay will discuss your own writing as an English major and the second will focus on the departments Student Learning Goals (see on the web on English Department site). LEARNING GOALS: Students will write a 750-1000 word essay on your responses to the departments list of student learning goals, posted on the web. Please select three of the goals which are most significant to you, and explain why, citing vivid examples to show why each goal resonates for you. Please be specific. Examples should be lively, personal, significant. YOUR ESSAYS: each student will write a 750 word essay about the papers you have written as an English majorreactions, strengths of your writing, favorite essay, weakest essay, which you would revise and why. 3: Group presentations/papers, 25%. Working in groups of 3 or 4, you will select a pair of books from the additional reading list. Each person in the group is responsible for reading both novels by October 12; that gives you approximately 6 weeks to read both works; if the group needs more time for longer books, please discuss with me. Groups will meet in class on October 12 and discuss the books generally and set up a time for further discussion and to meet with me, perhaps over coffee. Groups will decide on key ideas they wish to investigate. Each member of the group will read at least two scholarly articles on a text (not biographical, although you may read biographical materials in addition to the two scholarly articles). Please focus on issues related to family dynamics. On the day of your presentation, each student will hand in a 5-6 page essay which will cover the following: Part I: A central issue related to family important in both texts. Part II: Relate that issue to one other work we read in class. Part III: Suggestions for book groups; how might you organize a successful book group when you graduate? What is most important to a successful discussion? Is scholarly research essential? How important is biographical information to your understanding of the text? Part IV: Working in your group family--positive, needs improvement, suggestions. Your grade for this assignment will be based on the following, each receiving equal weight: a. Quality of the teams group work (self-assessment on sheet attached to final essay) and oral presentation based on professor and peer reviews (ie. voice projection, enthusiasm for material, ideas generated, integrated research) b. Quality of scholarly research and how well that research is integrated into Parts I and II of your essay. c. Originality of the essay: clarity, specificity, lucid examples, etc. 4: 5-7 page essay: Reconsidering your prose/new directions in prose, 20%. Each student will compile essays from 91Թ and community college English classes and write a 3-page reflective essay about your work (see above). In the first three weeks of the semester each student will have a conference with the professor to discuss the that work, and at the time of the conference will select one of the following options: a. Substantial revision of one paper. For this option, the student will read at least two additional essays on the text, the author, or the theoretical approach (all from scholarly journals or books) and revise with three specific goals in mind. Those goals will articulated on a cover sheet of the paper. Students will hand in both the original essay and the revised essay. b. Writing a Familiar Essay modeled on Anne Fadimans essays. Select a topic that is important to youit can be a hobby, an academic interest, an author, a summer jobalmost anything, as Fadimans book suggests. This essay is in part personal and in part factual, based on research. Each familiar essay will include at least 3 sources and quote more than once from each source. 5. Creative final exam. 5% 6. Participation: 5%. Students are expected to read and discuss assigned material, and to fill out peer evaluations on all presentations. Grading: The Department of English reaffirms its commitment to the differential grading scale as defined in the official 91Թ Catalog (The Grading System). Grades issued must represent a full range of student performance: A=excellent; B=above average; C=average; D=below average; F=failure. In this course, as in all English Department courses, I will comment on and grade the quality of writing (grammar, organization, clarity, specificity, etc.) as well as the quality of the ideas being conveyed. All student writing should be distinguished by correct grammar and punctuation, appropriate diction and syntax, and well-organized paragraphs. Academic policies and English Department Student Learning Goals You are responsible for reading the 91Թ academic polices available online: HYPERLINK "http://www.sjsu.edu/english/comp/policyforsyllabi.html"http://www.sjsu.edu/english/comp/policyforsyllabi.html Student Learning Goals [SLG on syllabus] In the Department of English and Comparative Literature, students will demonstrate the ability to 1. read closely in a variety of forms, styles, structures, and modes, and articulate the value of close reading in the study of literature, creative writing, and/or rhetoric; 2. show familiarity with major literary works, genres, periods, and critical approaches to British, American and World Literature; 3. write clearly, effectively, and creatively, and adjust writing style appropriately to the content, the context, and the nature of the subject; 4. develop and carry out research projects, and locate, evaluate, organize, and incorporate information effectively; 5. articulate the relations among culture, history, and texts. Schedule January 27: Introduction. Robert Frost: Home Burial (on syllabus) February 1: Fadiman: Preface and Procrustes and the Culture Wars, 75-94; Reader: David Brooks, History for Dollars [Note: The Reader will be available the first week of class; I will Xerox this first entry] [SLG: 1,2,5] February 3: The Guernsey Literary and Potato Peel Pie Society, 1-50. Discussion of book groups. Conferences on portfolios held from February 10-March 3. Bring to the conference a copy of Reflection on my undergraduate essays (See 2.b above) and your ideas about 4, above. [SLG: 1,2,3,5] February 8: The Guernsey Literary and Potato Peel Pie Society. Groups for outside reading determined by this date; 15 minutes for in-class meeting. [SLG 1, 4] February 10: The Guernsey Literary and Potato Peel Pie Society; Fadiman, The Unfuzzy Lamb [SLG 1, 3] February 15: Robert Frost: The Hill Wife, The Silken Tent, Two Look at Two [SLG 1,2] February 17: Tyler, Dinner at the Homesick Restaurant, Chapters 1-2. [SLG 1,2,3] February 22: Tyler, Dinner at the Homesick Restaurant, Chapters 3-5; ESSAY ON ENGLISH DEPARTMENT LEARNING GOALS ON WEB (See 2.a above). [SLG 1, 3] February 24: Tyler, Dinner at the Homesick Restaurant, Chapters 6-7. Reader, Brooks, The Medium is the Medium and Reader, Fadiman, True Womanhood [SLG: 1, 2, 3, 5] March 1: Dinner at the Homesick Restaurant, Complete; Reader: Ayelet Waldman, (excerpt from) Bad Mother: A Chronicle of Maternal Crimes, Minor Calamities, and Occasional Moments of Grace; They Grow up so Quickly, Dont they? [SLG 1,2] March 3: Bookgroup meeting: 20 minutes. Fadiman, Coleridge the Runaway, 95-110; Reader, Frost at Midnight. [SLG 1, 2, 3, 5] March 8: Faulkner, The Sound and the Fury, Benjy [SLG 1, 2] March 10: Faulkner, The Sound and the Fury, Benjy/Quentin (1/2) [SLG 1, 2, 3] March 15: Faulkner, The Sound and the Fury, Quentin (complete)/Jason [SLG 1, 2] March 17: Faulkner, The Sound and the Fury, Dilsey[ SLG 1, 2, 3] March 22: Bookgroup meeting 45 minutes; class from 3:45-4:15, response to first bookgroup in-class writing. Fadiman, Ice Cream [SLG 3,4] March 24: Fadiman, Collecting Nature Mail and Night Owl [SLG 1, 3, 5] SPRING BREAK, March 25-April 1 April 5: Bookgroup meeting 45 minutes. Joe Turners Come and Gone[SLG 1, 2] April 7: Joe Turners Come and Gone [SLG 1, 2, 3] April 12: Joe Turners Come and Gone [SLG 1, 2] April 14: Coetzee, Disgrace, Chapters 1-6. [SLG 1, 3, 5] April 19: Rough draft of revision/familiar essay due. In-class workshop. [SLG 3] April 21: Coetzee, Disgrace, Chapters 7-14 [SLG 1, 2, 3, 5] April 26: Coetzee, Disgrace, complete. [SLG 1, 2, 5] April 28: Fadiman, Moving, 127-141, A Piece of Cotton 143-156. Bookgroup presentation I. Considering the future: Teaching? [SLG 1, 3,4] May 3: Bookgroup presentation II. Final draft of revision/familiar essay due. Reader, Forward: On Rereading. Considering the future: Graduate School? [SLG 1, 3,4] May 5: Bookgroup presentation III. Fadiman, Coffee. Under Water Considering the future: Resume Workshop. [SLG 1, 3,4] May 10: Bookgroup Presentation IV. Fun Home, Chapters 1-4. [SLG 1, 3,4] May 12: Bookgroup Presentation V. Fun Home, Complete [SLG 1, 3,4] May 17: Reader, Frost, Death of a Hired Man; Fadiman, The Arctic Hedonist, [SLG 1]. Handout on creative final exam. . Poems by Robert Frost HOME BURIAL He saw her from the bottom of the stairs Before she saw him. She was starting down, Looking back over her shoulder at some fear. She took a doubtful step and then undid it To raise herself and look again. He spoke Advancing toward her: "What is it you see From up there always? -- for I want to know." She turned and sank upon her skirts at that, And her face changed from terrified to dull. He said to gain time: "What is it you see?" Mounting until she cowered under him. "I will find out now -- you must tell me, dear." She, in her place, refused him any help, With the least stiffening of her neck and silence. She let him look, sure that he wouldn't see, Blind creature; and a while he didn't see. But at last he murmured, "Oh" and again, "Oh." "What is it -- what?" she said. "Just that I see." "You don't," she challenged. "Tell me what it is." "The wonder is I didn't see at once. I never noticed it from here before. I must be wonted to it -- that's the reason. The little graveyard where my people are! So small the window frames the whole of it. Not so much larger than a bedroom, is it? There are three stones of slate and one of marble, Broad-shouldered little slabs there in the sunlight On the sidehill. We haven't to mind those. But I understand: it is not the stones, But the child's mound ----" "Don't, don't, don't, don't," she cried. She withdrew, shrinking from beneath his arm That rested on the banister, and slid downstairs; And turned on him with such a daunting look, He said twice over before he knew himself: "Can't a man speak of his own child he's lost?" "Not you! -- Oh, where's my hat? Oh, I don't need it! I must get out of here. I must get air.-- I don't know rightly whether any man can." "Amy! Don't go to someone else this time. Listen to me. I won't come down the stairs." He sat and fixed his chin between his fists. "There's something I should like to ask you, dear." "You don't know how to ask it." "Help me, then." Her fingers moved the latch for all reply. "My words are nearly always an offense. I don't know how to speak of anything So as to please you. But I might be taught, I should suppose. I can't say I see how. A man must partly give up being a man With womenfolk. We could have some arrangement By which I'd bind myself to keep hands off Anything special you're a-mind to name. Though I don't like such things 'twixt those that love. Two that don't love can't live together without them. But two that do can't live together with them." She moved the latch a little. "Don't -- don't go. Don't carry it to someone else this time. Tell me about it if it's something human. Let me into your grief. I'm not so much Unlike other folks as your standing there Apart would make me out. Give me my chance. I do think, though, you overdo it a little. What was it brought you up to think it the thing To take your mother-loss of a first child So inconsolably -- in the face of love. You'd think his memory might be satisfied ----" "There you go sneering now!" "I'm not, I'm not! You make me angry. I'll come down to you. God, what a woman! And it's come to this, A man can't speak of his own child that's dead." "You can't because you don't know how to speak. If you had any feelings, you that dug With your own hand -- how could you? -- his little grave; I saw you from that very window there, Making the gravel leap and leap in air, Leap up, like that, like that, and land so lightly And roll back down the mound beside the hole. I thought, Who is that man? I didn't know you. And I crept down the stairs and up the stairs To look again, and still your spade kept lifting. Then you came in. I heard your rumbling voice Out in the kitchen, and I don't know why, But I went near to see with my own eyes. You could sit there with the stains on your shoes Of the fresh earth from your own baby's grave And talk about your everyday concerns. You had stood the spade up against the wall Outside there in the entry, for I saw it." "I shall laugh the worst laugh I ever laughed. I'm cursed. God, if I don't believe I'm cursed." "I can repeat the very words you were saying: 'Three foggy mornings and one rainy day Will rot the best birch fence a man can build.' Think of it, talk like that at such a time! What had how long it takes a birch to rot To do with what was in the darkened parlour? You couldn't care! The nearest friends can go With anyone to death, comes so far short They might as well not try to go at all. No, from the time when one is sick to death, One is alone, and he dies more alone. Friends make pretense of following to the grave, But before one is in it, their minds are turned And making the best of their way back to life And living people, and things they understand. But the world's evil. I won't have grief so If I can change it. Oh, I won't, I won't!" "There, you have said it all and you feel better. You won't go now. You're crying. Close the door. The heart's gone out of it: why keep it up? Amyl There's someone coming down the road!" "You -- oh, you think the talk is all. I must go -- Somewhere out of this house. How can I make you ----" "If -- you -- do!" She was opening the door wider. "Where do you mean to go? First tell me that. I'll follow and bring you back by force. I will! --" THE HILL WIFE It was too lonely for her there, And too wild, And since there were but two of them, And no child. And work was little in the house, She was free, And followed where he furrowed field, Or felled log. She rested on a log and tossed The fresh chips, With a song only to herself On her lips. And once she went to break a bough Of black alder. She strayed so far she scarcely heard When he called her - And didn't answer - didn't speak - Or return. She stood, and then she ran and hid In the fern. He never found her, though he looked Everywhere, And he asked at her mother's house Was she there. Sudden and swift and light as that The ties gave, And he learned of finalities Besides the grave. THE SILKEN TENT She is as in a field a silken tent At midday when the sunny summer breeze Has dried the dew and all its ropes relent, So that in guys it gently sways at ease, And its supporting central cedar pole, That is its pinnacle to heavenward And signifies the sureness of the soul, Seems to owe naught to any single cord, But strictly held by none, is loosely bound By countless silken ties of love and thought To every thing on earth the compass round, And only by one's going slightly taut In the capriciousness of summer air Is of the slightlest bondage made aware. TWO LOOK AT TWO Love and forgetting might have carried them A little further up the mountain side With night so near, but not much further up. They must have halted soon in any case With thoughts of a path back, how rough it was With rock and washout, and unsafe in darkness; When they were halted by a tumbled wall With barbed-wire binding. They stood facing this, Spending what onward impulse they still had In One last look the way they must not go, On up the failing path, where, if a stone Or earthslide moved at night, it moved itself; No footstep moved it. 'This is all,' they sighed, Good-night to woods.' But not so; there was more. A doe from round a spruce stood looking at them Across the wall, as near the wall as they. She saw them in their field, they her in hers. The difficulty of seeing what stood still, Like some up-ended boulder split in two, Was in her clouded eyes; they saw no fear there. She seemed to think that two thus they were safe. Then, as if they were something that, though strange, She could not trouble her mind with too long, She sighed and passed unscared along the wall. 'This, then, is all. What more is there to ask?' But no, not yet. A snort to bid them wait. A buck from round the spruce stood looking at them Across the wall as near the wall as they. This was an antlered buck of lusty nostril, Not the same doe come back into her place. He viewed them quizzically with jerks of head, As if to ask, 'Why don't you make some motion? Or give some sign of life? Because you can't. I doubt if you're as living as you look." Thus till he had them almost feeling dared To stretch a proffering hand -- and a spell-breaking. Then he too passed unscared along the wall. Two had seen two, whichever side you spoke from. 'This must be all.' It was all. Still they stood, A great wave from it going over them, As if the earth in one unlooked-for favour SUGGESTIONS: Workshops Work on one project all semester: sm groups. Stanfords: Research based and culminate in a substantial piece of original work. SCU Northridege: Intensive study of a major Br. Or Am author or of a literary theme or genre. Defend portfolio in oral examNew MX State --List of texts that students can vote on first day of class. Resume/job search workshop.. Grad school workshop Read critical esasys as early as possible Assign structured study questions. Organize less traditional discussion formsoutdoors, coffee shops Research assignment about hte graduate program or career of their choice Research options about familyin theme based course Reflection on where be tomorrowas well as where have been Articles about reading literaturewhy valuable Short papers: Why I Became an English Major, How Successful Have I been as an English Marjor, Where can the English Major Take me Bk by Tim LemireIm an English MajorNow What Develop new projects: concentrate on chosen focus of interest from academic careersor write a familiar essay on a particular topic of interest to the student. 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