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SyllabusProfessor Len von Morzé English 206/2, TuTh 10:00-11:15, Wheatley Spring 2007; Class # 11626; Course ID # 5511; 3 units Office Hours: TuTh 2:15-3:30, F 11-12, & by appt., Wheatley 06-0091 E-mail: Leonard.vonMorze@umb.edu Office (Voicemail): (617) 287-6531 Course website: http://www.litandwriting.umb.edu (account creation required for full access)
Six American Writers Course Description, Policies, and Schedule
The Nitty-Gritty
For general education in the College of Liberal Arts, and the College of Science and Mathematics :
(See the University Advising webpage for clarification: http://www.uac.umb.edu/degreq.html.)
For English majors :
(See the English Handbook, available outside the English department office, for further information.)
Note that English 102 is a prerequisite for this course for all students, regardless of college or major.
Required Texts
Melville, Herman Melville’s Short Novels Ed. Dan McCall Norton Critical 0-393-97641-6 ≈ $16
Wharton, Edith The House of Mirth Ed. Anna Quindlen New American 0-451-52756-9 ≈ $5
Pynchon, Thomas The Crying of Lot 49 Harper Perennial 0-060-93167-1 ≈ $12
Morrison, Toni Sula Plume 1-400-03343-8 ≈ $13
Six American Poets Ed. Joel Connaroe Vintage 0-679-74525-4 ≈ $15
total cost ≈ $61
Texts are available at the Campus Bookstore. In choosing editions for the course, I have attempted to balance considerations of quality and cost. Thus, while the edition of Melville is a few dollars more than some other available editions, it contains supplementary materials that will be required reading for the class. On the other hand, the edition of Wharton is by far the cheapest available. Please be sure to purchase the correct editions of these texts. If you cannot obtain them, please let me know immediately. All course texts are available in Healey Library; but, since publishers are constantly issuing new editions, only Morrison’s Sula is available in exactly the same edition we are using in this course. Description
Through a careful examination of drama, poetry, and novels and novellas, this course offers an introduction to key concepts in literary culture in the United States since its founding. Though we will move through our texts in historical order and pay attention to the contexts of their production and reception, we will also investigate their value: what gives these authors their enduring power to speak to distinct audiences? Several key themes unite our ten authors. Our first four writers—Royall Tyler (The Contrast), Phillis Wheatley, Herman Melville (“Bartleby the Scrivener” and Benito Cereno), and Walt Whitman (Leaves of Grass)—consider, among other things, the problems of social unity and national identity in a new republic. Emily Dickinson, Edith Wharton (The House of Mirth), and Toni Morrison (Sula) will serve as introductions to the poetics of sex, marriage, and property. Finally, Langston Hughes, Wallace Stevens, and Thomas Pynchon (The Crying of Lot 49) will turn our attention to the problem of defining “modernism” and “postmodernism” in literary art. This course will be writing-intensive, as you will regularly be asked to submit contributions to ongoing conversations in the course, and Because this class is a prerequisite to further studies in English, I emphasize skills that will translate effectively to other courses in the major. In particular, I will ask you to sharpen your skills of critical reading. We will carefully distinguish between observation, analysis, and argument, talking about how critics move from one to the next. All good critics—yourselves included—start as good readers.
Classroom Rules; or, What You Must NOT Do
In class, you are expected NOT to do the following: talk on your cell phone (please turn cell phones off before class), sleep, chat with your friends, use your computer to do anything other than take class notes, eat (drinks are fine), read the paper, do homework for other classes, or be disruptive in any way.
Course Grading; or, What You Must Do
Short Writing Assignments
During the first four weeks of the course, you will turn in brief responses to very specific topics on the reading every Thursday morning, at the beginning of class. The topics will generally be handed out on Tuesday. (Accordingly, the first of these topics will be distributed today, and your assignment will be due Thursday. The due dates are February 1, 8, 15, and 22.) These four short assignments will be awarded Ö (credit), Ö+ (outstanding), Ö- (low pass) or NC (no credit).
Beginning March 1, you will be asked to participate in group discussions on the course website. You will interact with other students as you propose and explore discussion topics. In your posts, you will need to identify scenes, images, sentences in the text that strike you as provocative, significant, thematically illuminating, textually daring, revealing, or even frustrating. If you don’t notice any of these moments as you read, you probably are not reading closely enough. Further details on this part of the course will be announced soon.
Short Writing Assignments—20% of your final grade.
Formal Essays
Your two formal essays will be approximately five to six pages. They will be graded on a letter scale (A, A-, B+, B, etc.). In order to encourage you to think of one of your essays for possible inclusion in the portfolio option for the Writing Proficiency Requirement, one of these essays will require you to deal with two texts.
You are welcome, and encouraged, to submit drafts of your papers to me, provided that that you leave me enough time to respond (at least two days).
Late paper policy: For every day an essay is late, I will deduct 1/3 of a letter grade. (An A paper would become an A- the next day, a B+ the following day, etc.) I cannot guarantee when late papers will be returned to you. You cannot make up missed in-class work, such as quizzes.
Two Essays—30% of your final grade (15% Essay 1; 15% Essay 2).
Reading Quizzes
We will have several reading quizzes. These will be announced in the class session previous to the day of the quiz. I will not update absent students about upcoming quizzes; it is your responsibility to ask someone else in the class. I will drop the lowest quiz grade. MISSED QUIZZES CAN BE MADE UP.
Regular Quizzes—15% of your final grade.
Class Participation and Attendance
English 206 is not a distance-learning or independent study class; attendance is mandatory. Your prompt and regular attendance is essential not only to your own progress but also to the success of the entire course. It is important to exchange contact information, such as an e-mail address, with other students who can tell you about any assignments missed. If you miss a class, you will be expected to have completed any assignments required for the next class. For every session that you miss beyond six classes, your final grade will be lowered by one-third of a grade; an inordinate number of absences will result in an F for the course.
In order to redress natural differences in our levels of confidence in class participation, I will freely make reference to your writings during the semester, asking you to elaborate on strong points you may have made in your short assignments, or to pose to the class questions that may have come up in those writings. I also reserve the right to distribute anonymous copies of your work to the class. By doing this, I do not intend to pick on anyone, just to give you an opportunity to get involved in the class. I will also have you do some in-class writing from time to time. You cannot make up missed in-class writings.
This course has a tough reading schedule. I cannot imagine a worse classroom experience than sitting through class if you haven’t done the reading. You won’t even have a basis for deciding whether anything your teacher and other students say makes sense. I’ll have occasional quizzes to check how the reading is going. More importantly, it helps to learn to read actively. This means that you should take notes somewhere, either in the margins or in a notebook after you have read a good chunk of text. Otherwise you’ll spend hours searching for quotations during paper writing, or when you want to introduce evidence into class discussion.
Class Participation (including in-class writing)—15% of your final grade. Final Exam
A series of identification questions, as well as a chance to reflect on the course materials.
It is your responsibility to take the final exam at the scheduled time and to know the location of the exam. You need to make alternative arrangements AT LEAST THREE WEEKS IN ADVANCE if you have a legitimate reason for not being able to take an exam at the scheduled time, and to provide appropriate explanation and documentation for your absence.
Final Exam—20% of your final grade.
Keeping in Touch
I will hold three and one-half office hours every week, at the regular times announced at the top of this document. For appointments, I am usually available during the afternoons. I generally prefer class days, but can occasionally make myself available on other weekdays as well. Extra office hours will be announced, and may be requested, during especially busy periods of the semester. I would like to see all of you during office hours at least twice this semester.
Disability Accommodations
Section 504 and the American with Disabilities Act of 1990 offer guidelines for curriculum modifications and adaptations for students with documented disabilities. Students may obtain adaptation recommendations from the Lillian Semper Ross Center (617-287-7430). They must present these recommendations to each professor by the end of the Add/Drop period.
Basic Guidelines for Papers
Your papers should be typed in 12 point font, double spaced, with 1” margins. Please put your name, the date, and the paper assignment in the top corner of the first page. I’d rather you not waste paper on a cover page. I am grateful to students whose papers are kind to my eyes. Please do not make your font smaller than that on this page. I don’t mind if you decide to use a larger font, as long as it’s within reason.
While short writings do not need to be titled, essays should be. Titles ideally have a “sexy” and a “substantive” part: they should draw the reader’s attention, but also give a strong indication of your argument.
Course Website
For your convenience and mine, all of the course assignments and handouts will be posted on the course website given at the top of this syllabus within twenty-four hours of the class session. If you’re missing a handout because you missed class or any other reason, please check the website before asking me for a paper copy.
Please note that course readings, on the other hand, will probably not be available on the website, because I generally don’t have time to scan them into the computer. If I have extra copies of these readings, I will leave them on my office door at Wheatley 06-091. I will try to bring those extra copies to class, but I will not always be able to do so.
Academic Honesty
The University of Massachusetts defines violations of academic honesty to include, but not be limited to, the following:
A. Submitting an author’s published or unpublished work, in whole, in part, or in paraphrase, as one's own without fully and properly crediting the author. This includes, but is not limited to, submitting unattributed published work, e.g. material from a journal, newspaper, encyclopedia, etc. without proper acknowledgment. B. Submitting as one’s original work materials obtained from an individual or agency. C. Submitting as one’s own original work material that has been produced through unacknowledged collaboration with others. D. Using any unauthorized material during an examination, such as notes, tests, calculators, etc. E. Obtaining answers to examination questions from another person with or without that person's knowledge; furnishing answers to examination questions to another student; using or distributing unauthorized copies of or notes from an examination. F. Submitting as one’s own an examination taken by another person; or taking an examination in another person’s place. G. Gaining or seeking to gain unauthorized access to the computer files of a student or faculty member, or staff member, or altering or destroying those files.
Succeeding in English 206
This is an intensive course requiring much reading and a high degree of involvement in class discussions based on that reading. You will need to set aside enough time to read our class texts thoroughly, marking them as you go, jotting down questions and notes, and returning to sections you find interesting and/or difficult. I will expect you to come to class prepared to discuss material, share ideas, and ask questions. You should bring your books to class with you every day so that you can take part in the large and small-group discussions that will form the backbone of the class. If you attend every class and participate thoughtfully, you will have made an essential step toward success in the course.
Class Schedule
Tu, Jan 30 Course Introduction
Th, Feb 1 Tyler, The Contrast (pub. 1787) acts 1 & 2 (handout) First Short Assignment Due (see end of this Syllabus)
Tu, Feb 6 Tyler, The Contrast acts 3 & 4 & 5 (to end) Judith Sargent Murray’s poem on the play (handout)
Th, Feb 8 Wheatley, poems (pub. 1773) (handout) Second Short Assignment Due
ADD/DROP PERIOD ENDS MONDAY, FEB 5
Tu, Feb 13 Whitman, “Proto-Leaf” (1860 version) in Whitman packet at University Graphics, Quinn Administration Building, Lower Level (available by 2/7), and on electronic reserve (pw:grass) Th, Feb 15 Whitman, “Walt Whitman” (1860 version), in above packet (compare with “Song of Myself” (1892 version), in Connaroe) Third Short Assignment Due Tu, Feb 20 Melville, “Bartleby, the Scrivener” (pp. 3-34) Supplementary readings from Melville criticism TBA
Th, Feb 22 Melville, Benito Cereno, pp. 34-75 Fourth Short Assignment Due
Tu, Feb 27 Melville, Benito Cereno, pp. 75-102 (end)
Th, Mar 1 Melville, Benito Cereno, con’t. Supplementary readings from Melville criticism TBA
Tu, Mar 6 Civil War poetry: Melville and Whitman Whitman (publ. 1866): in Connaroe, pp. 42-58 Melville: “The Portent,” “Misgivings,” “The House-Top”(publ. 1866) Th, Mar 8 Dickinson (all poems in Connaroe); and four extras on handout Tu, Mar 13 Dickinson, con’t.
Th, Mar 15 Dickinson, con’t. First Paper Due
MARCH 17 – 25 SPRING BREAK – Consider getting started on The House of Mirth!!!
Tu, Mar 27 Wharton, House of Mirth (publ. 1905), bk.1, chs. 1-8 (pp. 1-102) Th, Mar 29 Wharton, House, bk.1, chs. 9-15 (pp. 102-89)
Tu, Apr 3 Wharton, House, bk.2, chs. 1-7 (pp. 191-275)
Th, Apr 5 Wharton, House, to end (pp. 275-350)
Tu, Apr 10 Hughes, all poems in Connaroe
Th, Apr 12 Stevens, “Sunday Morning” (in Connaroe, pp. 117-21), “Anecdote of the Jar” (122), “Thirteen Ways of Looking at a Blackbird” (125-27) THURSDAY, APRIL 12 PASS/FAIL DEADLINE THURSDAY, APRIL 12 COURSE WITHDRAW DEADLINE
Tu, Apr 17 Pynchon, The Crying of Lot 49 (publ. 1966), chs. 1 & 2 (pp. 1-30) Th, Apr 19 Pynchon, Lot 49, chs. 3 & 4 (pp. 31-79)
Tu, Apr 24 Pynchon, Lot 49, ch. 5 (pp. 80-119)
Th, Apr 26 Pynchon, Lot 49, ch. 6 (pp. 120-52)
Tu, May 1 Morrison, Sula (publ. 1973), pp. 3-48
Th, May 3 Morrison, Sula, pp. 49-85
Tu, May 8 Morrison, Sula, pp. 89-137
Th, May 10 Morrison, Sula, pp. 138-74 (to end)
Tu, May 15 Wrap-Up; Last Day of Class Second Paper Due First Short Assignment
Read the first two acts of Royall Tyler’s The Contrast (pages 826-45). Then write a two-page, double-spaced response to the following question:
What do you see as the central “contrasts” Tyler wants to establish at the beginning of the play? How does Tyler establish pairs of characters as “foils” or contrasts to one another? What do such contrasts reveal about Tyler’s view of American national culture? How do such contrasts illuminate Tyler’s view of social class, for example, or of national identity?
Be sure to cite evidence for your answer. Refer to specific page numbers and specific passages.
A couple of tips: The language of Tyler’s play may be unfamiliar to you, and you may be tempted to think that you need to know something about the eighteenth century to understand him. Let me assure you that you don’t have to! Don’t sweat the historical context. Also, don’t worry about finding “right” answers. You are insightful and should trust your instincts, but you should test them against the text to make sure the text sustains your impressions. Whatever happens, you’ll have interesting things to say.
Your response is due Thursday, February 1, at the beginning of class. ************************************************************************************* Supplementary note for the reading for Tuesday, February 6 On pages 848-50, Jonathan describes having seen a play by the Irish playwright Richard Sheridan called The School for Scandal. One of the most famous plays of the eighteenth century, The School for Scandal was first produced at the Drury Lane Theater in London on May 8, 1777. It may help to know a little about the plot of this play. For that reason, I’m including a short summary of the play from www.theatrehistory.com here:
This lady is attempting through lies and letters written by the forger, Snake, to break up the love affair between Charles Surface and Sir Peter's ward, Maria, hoping to get Charles for herself. To this end she has joined forces with Charles' brother, Joseph, a hypocritical youth who enjoys an excellent reputation in contrast to his brother's wild and extravagant habits. Joseph has his eye on the fortune that will one day come to Maria and is backed in his suit by Sir Peter who has been utterly fooled by the young man's righteous exterior. Maria sees through Joseph, however, and turns a cold ear in spite of her guardian's expressed wishes. Meanwhile Sir Oliver Surface arrives unexpectedly from Australia. He hears such conflicting reports of his nephews and prospective heirs that he decides to look them over before he makes his arrival known. He approaches Charles in the guise of a money lender and in the famous "auction" scene buys the family portraits. Throughout the transaction he is impressed with Charles' high sense of honor and obligation to those less fortunate. When he approaches Joseph as a poor relation begging help, Joseph is revealed in his true colors. Now gossip has linked Lady Teazle's name with that of Charles Surface, but in reality she has been indulging for fashion's sake in an affair with Joseph. The rumors about Lady Teazle and Charles come at last to Sir Peter's ears and, much distressed, he goes to Joseph's apartment to consult with him. Lady Teazle, who is enjoying a tryst with Joseph, sees Sir Peter's arrival and hastily hides behind a screen. Sir Peter, in turn, hides in a closet, when Charles unexpectedly arrives. The latter inadvertently reveals Lady Teazle behind the screen and Sir Peter, coming out of his closet, revises his estimate of Joseph. Lady Teazle throws herself on Sir Peter's mercy with the frank confession that she was pretending to an affair because it was the fashion, but admits that her only real interest is in her own husband. Sir Oliver, meanwhile, has rounded up Snake, the forger. His confession brings about a reconciliation between Charles and Maria, and Sir Peter gladly withdraws his objections to this match.
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THE middle-aged and wealthy bachelor, Sir Peter Teazle, has married the young and comely daughter of a country squire. The fashionable society of which Lady Teazle through through her marriage becomes a part, occupies itself mainly with malicious gossip whose arrows no one, however chaste, can completely escape. By far the most dangerous of these backbiting cliques is the one led by Lady Sneerwell.