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The New Major

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The New Major

Popular Culture & Texts—Introduction to English StudiesObjective and Learning Outcomes:

Popular Culture & Texts—Introduction to English Studies…………………………………………………….4Sample Syllabus:

Popular Culture & Texts—Introduction to EnglishStudies………………………………………...….6Further Suggested Units:

Popular Culture & Texts—Introduction to EnglishStudies…………………………………………….9

Additional Recourses, Stone

Reader………………………………………………………….….…10Additional Resources, Fires in the

Mirror……………………………………………………..…………...12What is English Studies Today?—Gateway to English StudiesObjective and Learning Outcomes:

What is English Studies Today?—Gateway to EnglishStudies…………………………………...14

Sample Syllabus:

What is English Studies Today?—Gateway to EnglishStudies……………………………………17

Further Suggested Units:

What is English Studies Today?—Gateway to EnglishStudies…………………………………....22Transnational Literatures in English Sequence

Common Objective and Learning Outcomes:Transnational Literatures in English

Sequence………………………………………………………..23

The Making of “English”: Literature, Language, and Culture Before1600

Sample Syllabus:

The Making of “English”: Literature, Language, and Culture Before1600…………………..25

Additional Objectives and Outcomes:

The Making of “English”: Literature, Language, and Culture Before1600…………………..27

Further Suggested Units

The Making of “English”: Literature, Language, and Culture Before1600…………………..29

17th- & 18th-Century Transatlantic Literatures

Sample Syllabus:

17th- & 18th-Century Transatlantic

Literatures…………………………………………………….……31Additional Objectives and Outcomes:17th- & 18th-Century Transatlantic

Literatures…………………………………………………….……34Further Suggested Units

17th- & 18th-Century Transatlantic

Literatures…………………………………………………….……3519th-Century Literatures of the British Empire & the AmericasSample Syllabus:

19th-Century Literatures of the British Empire & theAmericas……………………………..……36Additional Objectives and Outcomes:

19th-Century Literatures of the British Empire & theAmericas……………………………..……40Further Suggested Units

19th-Century Literatures of the British Empire & theAmericas……………………………..……41

20th- and 21st-Century Global Literatures in EnglishSample Syllabus:

20th- and 21st-Century Global Literatures in

English………………………………………………….42Additional Objectives and Outcomes:

20th- and 21st-Century Global Literatures in

English………………………………………………….46Further Suggested Units

20th- and 21st-Century Global Literatures in

English………………………………………………….47

Team Teaching Configurations

……………………………………………………….48

Some Suggested Language for Revising/Refining TransnationalObjectives/Outcomes…………………………….50What Next?

………………………………………………………..51Checklist for English Majors and Course Categories…………..……………………….......................

(separate document called “New Major Checklist,” 7 pages)

Compiled by Debbie Lee23 November 2004

POPULAR CULTURE & TEXTSIntroduction to English Studies

Common Objectives and Learning Outcomes

COURSE OBJECTIVES:The introduction to our major, this course will allow students to respond to a textor array of texts in popular culture, to practice an array of critical thinking andreading practices used in English studies, and to develop an array of writing andcommunication skills used in English studies, including creative assignments,expository prose, oral presentations, video production and web design.Popular Culture and Texts asks students to think about their own personaljourneys of reading and texts. Through this experience—or journey—studentswill also experience popular culture, texts, and themselves as constructed andrelational. The personal experience element of the course closes the gap

between high and low culture, between the so-called holders of knowledge andthe rest of us. It shows students that English studies is about developingknowledge and a critical practice we all share.

This introductory course focuses on popular artistic and linguistic productionsbecause it’s an integral part of culture in the United States and in the world.Popular Culture and Texts allows students to recognize and draw on theiralready existing literacies and the cultures they know in order to analyze andthink critically. The course also gives students skills to become informedcitizens: it moves them from being mere consumers of culture and to beingreaders, critics, and analysts who understand the way culture represents us.Popular Culture and Texts is designed to be participatory, creative, and dynamic.It is meant to “attract” English majors who already have an interest in the kinds ofimaginary world created by texts and who want to develop intellectually bythinking about how those worlds are created, and why.

Although instructors may develop different versions of this course, each oneshould include the following components:

• Discussion of the various strands of English studies as they are employedto analyze/understand popular culture: rhetoric/creative writing/literarystudies.• Use of research materials in the library and online.

• Preferably, the course should be organized around texts that exist inmultimedia, or texts that have been transformed from one medium to

another. (i.e. Virginia Woolf’s Mrs. Dalloway, Michael Cummingham’s TheHours, Stephen Daldry’s film and Philip Glass’s score.)

Learning OutcomesThis course has the following common learning outcomes. Students will:• Demonstrate an ability to read and think critically about literary and cultural

texts in various media.

• Show facility with the specialized terminology of literary and rhetorical forms.• Experience textuality as historically contingent.

• Demonstrate knowledge and understanding of the historical, cultural, political,

and aesthetic contexts that inform literary and cultural texts in various media.• Use sources of research in the library and online.

• Synthesize knowledge, understanding, and research by writing in a variety of

forms (interpretive, professional, creative), using appropriate technologies, fordiverse purposes and audiences.

SAMPLE SYLLABUSPopular Culture and Texts:Introduction to English Studies

English 2xx

STONE READER

Reading is the only thing that keeps me sane.

—Mark Moskowitz, Stone Reader

Course Content:This course will look at the relationship between readers and writers. It willconsider the nature of the book, as a physical object, as an object of

consumption, as a cultural production, as an object of critical and rhetoricalanalysis, and as an object of research. It will also consider the book’s ability tocreate community, to encourage solitude, to exist as part of a canon or alone. Atthe same time, It also considers the nature of narrative itself. What is story?

How is a filmed story different from a written story? It considers the creative act inmultiple genres: journalism, film, book. It will ask students to consider the bookor books that have most influenced them and why. What kind of personal canondoes each student have? Is it similar to others’ personal canons?Course Objectives: See below

INSTRUCTIONAL METHODOLOGYElicit responses to an array of texts in popular culture, to an array of critical

thinking and reading practices used in English studies, and to an array of writingand communication skills used in English studies, including creative

assignments, expository prose, oral presentations, video production and webdesign. Asks students to think about their own personal journeys of reading andtexts. May be team-taught.

REQUIRED ASSIGNMENTS: Written work to include on research paper, severalrhetorical analysis papers, typescript of an interview or interviews, oral

presentation, creative/documentary project using appropriate technologies.BASIS FOR EVALUATION:Rhetorical/Literary Analysis papers: 2 short papers. 20%Research paper on book of your choosing. 20%

Presentation of research. 20%

Interview(s) on literary topic: (i.e. one-book authors, the 60s in the newmillennium, etc.). 20%

Video or Website: Your own personal canon, journey with a book, literaryinspiration. 20%

Attendance, participation, in-class creative writing assignments. 20%

PRIMARY TEXTS/MEDIAMark Moskowitz, Stone Reader DVD, including interviews from AS Byatt, ToniMorrison, Leslie Fiedler

Reviews of the book and the film.

Dow Mossman The Stones of Summer Barnes & Noble Books, 2003Video recording and/or transcripts from the NPR Series Intersections: NPRLooks at Artists and Their Inspirations

Attend 2 literary readings—English Department/Visiting Writer Series, orUniversity of IdahoCourse OutlineWeek 1: View film, discuss various implications embedded in the film, reviews,original book.

Representing Writers and ReadersWeek 2: Based on the film, how are the following represented:Writers

FilmmakersCriticsStudentsReadersLibrarians

Literary Agents

What do these representations say about the representers and the viewers? Arethere any contradictions in these representations? How does the film speakabout the social context that produced it? How does it speak about the socialcontext of the 60s? How do the representations affect the lives of the people and

situations they represent, especially Dow Mossman himself? What kind ofgender and race issues play in this film?

Being Readers and WritersWeek 3:

Panel discussion: literary critics, rhetoric/comp specialists, and creative writersfrom our department on writing, reading, texts and canons, revision, inspiration,madness, technology.Rhetorical Analysis Due

Week 4: Investigating readers & writers in context:

Trevor Bond: MASC, and other research tools in the library and onlineWriting and Inspiration/Writing and MadnessWeek 5-6:

Revisit Mossman in the filmVoice from “Intersections”

Students investigate their own inspirations

Books and CommunityWeek 7-8: Discussion of Personal Canons, Public Canons.

Students create their own canons, compare to others. Discussion of writing andreading/community and solitudeLiterary Analysis Due

Objectivity? Journalism and the Documentary FilmWeek 8:

Discussion: the nature of narrative; evidence, “truth,” objectivityInterviewing skills

Literature in ContextWeek 9-10:

Exploring the Vietnam War in the context of this book. Other books: Catch 22.What does it mean for a book to be called “the voice of his/her generation?”The Personal Becomes FictionalWeek 11-13: Creating fiction from real events. In-class creative writingassignments.

Week 14: Presentation of researchConclusionsWeek 15: Present final creative projects.Final research papers due.

FURTHER SUGGESTED UNITS FOR INTRO TO ENGLISH: POPULARCULTURE & TEXTSVirginia Woolf and The Hours:

Making use of Virginia Woolf’s Mrs. Dalloway, Michael Cummingham’s The

Hours, Stephen Daldry’s film and Philip Glass’s score, Leonard & Virginia Woolfcollection in MASC, Hermione Lee’s biography.

History and Ourselves: In Search of American Identities

Making use of Anna Deavere Smith’s “Fires in the Mirror” and “Twilight: LosAngeles”

Botany, Literature and Film

Making use of Susan Orlean’s “Orchid Fever,” The New Yorker; Susan Orlean,The Orchid Thief; Charlie Kaufman “Adaptation” screenplay, Spike JonzeAdaptation film, Darwin Origin of the Species, and other scientific and literarytexts.

More on Stone Reader

Summary of the film Stone Reader

Filmmaker Mark Moskowitz finally reads a critically acclaimed novel he boughtback in 1972, and discovers that both the book and the author have long sincevanished. STONE READER documents Moskowitz's quest to find out why. As hesolves the mystery, the twists and turns of the journey reveal something more-thesingular bond literature can create among strangers.

1972, 18-year-old Mark Moskowitz buys a novel called The Stones of Summer byfirst-time author Dow Mossman, because an enthusiastic New York Times reviewpersuades him it is the book of a generation. Despite being an avid reader,Moskowitz can't get past the first 20 pages.

Twenty-five years later, Mark re-discovers the book, and this time he can't put itdown. Enthralled with its story and wonderful originality, Mark tries to buy copiesfor his friends and to look for other works by the author. He can't find the book.He can't find a record of the author. He can't find anyone who has heard hisname, let alone read the book.

The film chronicles filmmaker Mark Moskowitz’s long search for Dow Mossman.Pursuing answers to the literary mystery, he crisscrossed the country, meeting,among others, Robert Gottlieb, editor of Catch-22, Frank Conroy, head of theIowa Writers’ Workshop, and critic Leslie Fiedler.

Cinematic, humorous and obsessive, the journey is a wistful, powerful affirmationof reading and what it means to us. http://www.stonereader.net/synopsis.phpvtvtvtvtv

IN SEARCH OF A LOST NOVELIST: THE STONE READERMark Moskowitz, USA, 2002

Passionate reader Mark Moskowitz sets out to find the author of a novel hailedas a masterpiece 25 years ago. On the way he encounters Joseph Heller’spublisher and considers why some great books are forgotten.

http://www.bbc.co.uk/bbcfour/documentaries/storyville/stone-reader.shtmlvtvtvtvtv

Nick Fraser

Storyville Series Editor

I met Mark Moskowitz before he finished this film and he arrived at our meeting inNew York carrying a box-load of books. Reading and the disappearance ofliterature from our world is the theme of his film. If that sounds heavy, be

reassured. Mark has gone in search of a writer whose book he bought in 1972.The book, The Stones of Summer, disappeared without trace, and it takes Markall of a year and a half to track the author Dow Mossman down.

I won’t spoil the end of the story for you, but I will say that the film will probablydrive you back to reading the work of Joseph Heller; for my money, with MarkTwain, the funniest and most contemporary of American geniuses.

http://www.bbc.co.uk/bbcfour/documentaries/storyville/stone-reader.shtmlvtvtvtvtv

‘Stones of Summer’All Things Considered audioFeb. 20, 2003

NPR’s Melissa Block speaks with Mark Moskowitz, who made a documentaryfilm about a book he loved. He first tried to read the book The Stones of Summeras a young man, but he couldn’t get into it. Twenty-five years later, he picked itup again. This time, he was so taken by the book that he tried to find the author,Dow Mossman. The film is about that search.

http://discover.npr.org/features/feature.jhtml?wfId=117003712

More on Anna Deavere Smith’s “Fires in the Mirror” and “Twilight: LosAngeles”

Rhetorical/Literary/Creative/Cultural Studies topics to explore:African AmericansJews

Minstrel TraditionOral History

Narrative/CharacterRace Relations

Crown Heights, New YorkEthnic Identity

Resources:

Clines, Francis X.

\"Giving Voice to a Neighborhood's Anguish.\" (Anna Deavere Smith'sproduction of “Fires in the Mirror”) (Living Arts Pages) (Interview) NewYork Times v141 (Wed, June 10, 1992):B1(N), C1(L), col 3, 31 col in.

Favorini, Attilio.

“Fires in the Mirror”: Crown Heights, Brooklyn, and other Identities.\" (CityTheatre, Pittsburgh, Pennsylvania) (theater reviews) Theatre Journal v48,n1 (March, 1996):105 (3 pages).

Fitzgerald, Sharon.

\"Anna of a Thousand Faces.\" (Anna Deavere Smith's one-woman plays“Fires in the Mirror” and 'Twilight: Los Angeles, 1992' as part of her series'On the Road: The Search for the American Character' about African...American Visions v9, n5 (Oct-Nov, 1994):14 (5 pages).

“Fires in the Mirror” (television program reviews) Time v141, n18 (May 3,1993):81.

Goldberg, Robert.

“Fires in the Mirror” (television program reviews) Wall Street Journal(Mon, April 26, 1993):A12(W), A10(E), col 1, 21 col in.

Hupp, Steven L.

“Fires in the Mirror” (video recording reviews) Library Journal v119, n2(Feb 1, 1994):125.

Lewis, Barbara Lewis.

\"The Circle of Confusion: A Conversation with Anne Deavere Smith.\" TheKenyon Review vol. 15 no. 4. 1993 Fall. pp: 54-.

Lyons, Charles R.

\"Anna Deavere Smith: Perspectives on Her Performance within the

Context of Critical Theory.\" Journal of Dramatic Theory and Criticism, vol.9 no. 1. 1994 Fall. pp: 43-66.

Modleski, Tania.

\"Doing Justice to the Subjects: Mimetic Art in a Multicultural Society: TheWork of Anna Deavere Smith.\" In: Female Subjects in Black and White:Race, Psychoanalysis, Feminism / edited by Elizabeth Abel, BarbaraChristian, Helene Moglen. pp: 57-76. Berkeley: University of CaliforniaPress, c1997.

• PS153.N5 F45 1997 Main Stack)

Myers, Elizabeth M.

\"Performing Personal Narrative: Anna Deavere Smith's “Fires in theMirror.” English Journal v87, n2 (Feb, 1998):52 (6 pages).

O'Connor, John J.

\"American Playhouse: Fires in the Mirror.\" (television program reviews)New York Times v142 (Wed, April 28, 1993):B3(N), C18(L), col 5, 9 col in.

Reinelt, Janelle.

\"Performing Race: Anna Deavere Smith's “Fires in the Mirror” (Form andPerformance) Modern Drama v39, n4 (Winter, 1996):609 (9 pages).

Rich, Frank.

“Fires in the Mirror: Crown Heights, Brooklyn and Other Identities.\" (LivingArts Pages) (Joseph Papp Public Theater/the Susan Stein Shiva Theater,New York, New York) (theater reviews) New York Times v141 (Fri, May15, 1992):B1(N), C1(L), col 5, 24 col in.

Richards, David.

“Fires in the Mirror” (Joseph Papp Public Theater, New York, New York)(theater reviews) New York Times v141, sec2 (Sun, May 17, 1992):H5(N),H5(L), col 2, 10 col in.

Smith, Anna Deavere; Wolfe, George C.; Sherman, Robert; Shange, Ntozake;and others.

\"Defining Identity: Four Voices.\" (excerpts from “Fires in the Mirror”)(Column) New York Times v141, sec4 (Sun, May 24, 1992):E11(N),E11(L), col 2, 20 col in.

Spaid, Elizabeth Levitan.

“Fires in the Mirror” (television program reviews) Christian ScienceMonitor v85, n105 (Tue, April 27, 1993):13, col 5, 6 col in.

Sun, William H.

\"Masks or Faces Re-Visited: A Study of Four Theatrical Works ConcerningCultural Identity.\" TDR: The Drama Review: A Journal of PerformanceStudies vol. 38 no. 4 1994 Winter. pp: 120-32.

Wright, Damon.

\"A Séance with History.\" (Anna Deavere Smith in “Fires in the Mirror”)New York Times v141, sec2 (Sun, May 10, 1992):H14(N), H14(L), col 1,10 col in.Website that uses “Fires in the Mirror” for research assignments:http://library.ups.edu/instruct/ricig/theatre275/smith.htm14

WHAT IS ENGLISH STUDIES TODAY?

Gateway to English StudiesObjectives and Learning Outcomes

COURSE OBJECTIVES:This upper-division gateway course will be common foundation for students in allfour options and will replace English 302: Writing About Literature [W, M], ourcurrent gateway course.

The course draws connections among the content areas in the EnglishDepartment (Literature, Rhetoric and Composition, English Education,

Linguistics, and Creative Writing, ESL, DTC) and prepares students to makeinformed choices about their program of study and their careers.

The purpose of this Gateway course is to give students a chance to explore thenature of English Studies, both historically and currently, and to learn how eachof the different content areas within English Studies conceives of texts, images,readers, and writers, as well as research and interpretation. The course will helpstudents situate themselves within the contemporary study of texts and textuality(in their broadest meaning). It is designed to create students who actively makemultiple meanings for themselves.

Whether students are going on to graduate school, law school, teaching highschool, becoming a creative writer, or pursuing a job outside academia, theyneed to understand why textual studies are important to a liberal arts education,how scholars approach research and interpretation of texts, what significancethis kind of study can have beyond academia, and how to write and read withindifferent fields of discourse.

This course is required of all English majors, but not limited to them. This coursewould be of interest to students who are just thinking about being an Englishmajor.

METHODOLOGY: Up to five faculty will team-teach the course, covering at leastthree of the overlapping content areas of English studies in our department.In a tag-team teaching environment, students will witness and engage in theprocess of English Studies: they will experience how English Studies continuesto be built on a foundation of debate and controversy as well as reading andwriting. The course will offer a framework for understanding the conflicts andcontinuities among the different “Englishes” in English Studies as well as arespect for each area and those who chose to pursue each one.

The course requires students to operate on a cognitive and metacognitive level.Students will not only experience different content areas presented by each teamteacher, but they will also be asked to utilize metacognitive strategies to inquire:what is the relationship between this aspect of English Studies and the others?Where do I situate myself?

Metacognitive Level: The course will begin with some brief and often contrastingstories of the history of English Studies, and then focus on at least three of thecontent areas we offer in our department. Because the course will be inquiry-based, it will revolve around these questions:

• How does each area define readers, writers, texts, subjects, andinterpretation?

• What are the historical and philosophical bases for these definitions?• Where are the lines of conflict and connection among the areas?

• What roles do scholars, critics, writers, and teachers play in each area?• What primary methods of research are valued by each area? Why? Whatare the central purposes of research in each?Cognitive Level: After a brief introduction students will get at least three chancesto experience, participate in, and make meaning in specific content areas under awell planned conceptual category (such as “Representation and Identity,” “TheTransnational,” for example). Each team-teacher will teach his or her applicationof the conceptual category, using specific texts, assignments and inquiries (Seebelow). Each three-week segment will be its own unit, its own variation on thetopic, but will also be a specific site from which to discuss that particular area ofEnglish Studies at a metacognitive level.

At the conclusion of each three-week units, students will meet for one or twoclass periods with a teacher or teachers to return to the opening questions andparticipate in an assignment that will ask them to consider their own ever-changing relationship to the field.LEARNING OUTCOMES:The course will prepare students with knowledge of and experience with a rangeof print and non-print texts, media and technology, composition processes, andreading strategies. The course will therefore have the following learningoutcomes. Students will be able to:

• Think critically about complex print and non-print texts• Construct meaning from text and visual media

• Experience the conflicts of values and assumptions as a mode of inquiryfor at least three different content areas in English Studies

• Identify discourses written for a wide variety of purposes and audience.• Utilize sources of research and theory.

• Produce different types of written discourse, appropriate to a variety ofpurposes and audiences

• Respond to, analyze and interpret what is read using a variety of criticalapproaches (contextual, historical, structural)

• Reflect on their cognitive processes (metacognition)

SAMPLE SYLLABUS

What is English Studies Today?Gateway Course English 3xx

(replaces English 302)

REPRESENTATON AND IDENTITY

The boundaries that mark literary study off from creative writing, composition,rhetoric, communications, linguistics, and film . . . bespeak a history of conflictthat was critical to creating and defining these disciplines yet has never becomea central part of their context of study.

Gerald Graff Professing LiteratureINSTRUCTIONAL METHODOLOGYThe course require students to operate on a cognitive and metacognitive level.Students will not only experience the content of different strands presented byeach team teacher, but they will also be asked to utilize metacognitive strategiesto inquire: what is the relationship between this aspect of English Studies and theothers? Where do I situate myself? The course includes discussion, oralpresentation, a variety of writing assignments, and a final take-home exam orsynthesis paper.

REQUIRED ASSIGNMENTSPapers should be between 4 and 6 pages long, double-spaced, typed. Eachteam-teacher will provide you with further specifications about his or herparticular paper assignment as well as set the perimeters for the responses. Youare expected to come to class having done all the reading and be ready todiscuss and engage in activities and in-class writing assignments. There will bea final take-home exam.

BASIS FOR STUDENT EVALUATIONDaily personal journal/reader responses/5x8 cards reflecting on the assignedreadings: 20%

Inter-unit discussions: 10%

Attendance and class participation: 10%

Papers: 40%

Final Take-Home Exam: 20%PRIMARY TEXTS/MEDIACoursepack. (relevant journal articles that explore the history of English as adiscipline as well as articles addressing each content area of English Studiesspecifically)

David H. Richter, Falling Into Theory. Second edition.Peter Elbow What is English? Third edition.

COURSE OUTLINE FOR “REPRESENTATON AND IDENTITY”

I. Introduction:Victor Villanueva, Paula Coomer, Debbie Lee, Joddy MurrayWeek OPanel ne: Discussion with Instructors.Read: Kevin Hoskin“Education and the Genesis of Disciplinarity” in E. Messer-Davidow (ed)Knowledges. Minnesota: University of Minnesota Press and William Riley Parker,“Where Do English Departments Come From?” College English 28 (1967): 339-51.

II.

Victor Villanueva – Beginnings: RhetoricTexts: Aristotle’s Rhetoric (Penguin, E.P.J. Corbett)Assignments:

Responses: 5x8 cards reflecting on the assigned readingsRhetorical Analysis Paper

Week Two: Setting the context: Rhetoric: Intro to the first study of languageTexts: handouts

Due: 5x8 cards reflecting on the assigned readings after last session of the week.Week Three: Reading Aristotle’s Rhetoric. Bk I.The basics of written and spoken communication.

Due: 5x8 cards reflecting on the assigned readings after last session of the week.Week Four: Reading Aristotle’s Rhetoric. Excerpts Bk II and Bk IIIThe connections among rhetoric, philosophy, psychology

Style – no different today (for academic writing) than 2500 years ago.Due: Response Cards after last session of the week.

Rhetorical Analysis Paper

III.

Week 5: Discussion and in-class writing/activitiesRead: “The Rise of Creative Writing” by DG Myers (from The Journal of theHistory of Ideas); “The Future of Creative Writing Programs” by George Garrett(from Creative Writing in America)

IV.

Paula Coomer: Representation and Identity in Personal NarrativeTextsTexts:

Personal essays:

\"The Unwanted Child\" by Mary Clearman Blew; \"Portrait of My Body\" by PhillipLopate; \"Independence Day, Manley Hot Springs, Alaska\" by Lisa D. ChavezProcess analysis:

\"Memory and Imagination\" by Patricia Hampl; \"The Singular First Person\" byScott Russell Sanders; \"To Fashion a Text\" by Annie DillardAssignments:

Daily personal journal/reader responsesPersonal Essay

Week 6: Introduction to Memoir and the Personal Essay: the Self as IndexCase

Read Blew and Hampl

Discussion and exercise: \"Self-portraits—Connecting Visual and Small MotorFunction with Memory\"

Discussion and exercise: \"Journals are not Diaries\"

Week 7: Discovering and Claiming IdentityRead Lopate and Sanders

Discussion: \"Experience as Teacher\"Read Chavez and Dillard

Discussion and exercise: \"The Storm in the Brain—Letting the Self Tell Its Story\"Week 8: The Personal Essay and Non-linear StructureDiscussion: \"Braving the Workshop Process\"Workshop personal essaysDue: Personal Essay

Journal with process analysis essay

Week 9: Inter-Unit Discussion and Activities.Read: Raymond Williams, “The Future of English Literature,” (1983) from What ICame to Say (19) and Phyllis Franklin, “English Studies in America:

Reflections on the Development of a Discipline,\" American Quarterly 30 (1978):21-38.

VI.

Debbie Lee: Representation and “False” Identity in BritishRomantic LiteratureTexts: CoursepackAssignments:

Daily Response PapersLiterary Analysis

Week 10: Thomas Chatterton, Rowley poems and “African Eclogues”

Thomas Tyrwhitt, from Poems, Supposed to have been Written in Bristol byThomas Rowley and Others in the Fifteenth CenturyJohn Keats, “To Chatterton”

Percy Bysshe Shelley, from AdonisThomas DeQuincey, from Diary

Mary Robinson, “Monody to the Memory of Chatterton”

Coleridge, from Notebooks, and “Monoday on the Death of Chatterton”Due: Daily response papers to the readingsIn-class writing and discussion

Week 11: Coleridge, selection from Letters, Notebooks, and BiographiaLiteraria. Wordsworth, Preface to Lyrical Ballads, William Gilpin, ObservationsRelative chiefly to Picturesque Beauty, Captain Budworth, A Fortnight’s Rambleto the Lakes.

Due: Daily response papers to the readingsIn-class writing and discussion

Week 12: Coleridge, Morning Post articles, Wordsworth from The Prelude, JohnHatfield, A Scarborough Guide, Thomas DeQuincey, “Samuel Taylor Coleridge,”Tait’s Edinburgh Magazine, Coleridge “Dejection: An Ode,” excerpts fromcontemporary newspapers (Carlisle Journal, Scots Magazine)Due: Daily response papers to the readingsLiterary Analysis Paper

VII.

Week 13: Discussion and in-class writing/activitiesReading: “Building the Boundaries of English Studies,” by James Berlin (fromRhetorics, Poetics, and Cultures) and readings from Elbow and Richter.

VIII.

Joddy Murray: Representation and Identity in a Digital Age: BOOKCOVERS & AUDIENCE

Texts: The essays marked as “Reader” come from the text Convergences:Message, Method, Medium by Robert Atwan (Bedford/St. Martins 2002)

Assignments:

“Reading Response” listed in week 7 is in reference to the reading for that lessonby Allison.

“Method questions” refers to the set of questions under the heading Method onpage 16

In-class writing assignments

Rhetorical Analysis: Book Covers and AudienceWeek 14: Reader: “Silent Dancing” (25-32)Reader: Book Cover (32-33)

Reader: “Lessons of the Past” (34-5)

Reader: Allison’s \"What Did You Expect\" (12-16)On Photo as Surface (or cover)Discuss Readings

Due: Reading Response Method questions (16)

Week 15: Handbook: Ch 46 (231-240)

Bring to class an essay, book, and internet article of your choiceActivities: Quoting, Paraphrasing, SummarizingMLA Exercises

Reader: Reflections: Norman Rockwell (67-72)Handbook: Ch 47-48 (240-261)

Bring your book cover choice

Due: Reading Response Message prompt (72)Due: Rhetorical Analysis Paper

Take Home Final Exam: Final paper examining the different content areasof English Studies, situating yourselves within the discipline.

FURTHER SUGGESTED UNITS FOR ENGISH GATEWAY: WHAT ISENGLISH STUDIES TODAY?“The Transnational”

Michael Hanly, Peter Chilson, T.V. Reed, Camille Roman, Joan Burbick.“Technology and Writing”

Helen Burgess, Joddy Murray, George Kennedy, Patty Ericcson, Peter Chilson

TRANSNATIONAL LITERATURES IN ENGLISH SEQUENCE

Common Objectives and Learning Outcomes

1. The Making of “English”: Literature, Language, and Culture Before 16002. 17th- and 18th-Century Transatlantic Literatures

3. 19th-Century Literatures of the British Empire and the Americas4. 20th- and 21st-Century Global Literatures in EnglishCOURSE OBJECTIVESTransnational Literatures in English Sequence is a four-course core thatsituates literatures in English in their multiple, often conflicted, histories. Thissequence focuses on literature within the processes of cultural contact,

movement, and exchange. Special attention is also given to the social, political,and cultural forces that have constituted \"British\" and \"American\" literatures asobjects of study. The sequence does not pretend to an idea of comprehensive\"coverage\"; rather, each course explores a number of issues and problemsstaged within literary and cultural texts in the historical range underconsideration.

LEARNING OUTCOMESThe four-course sequence will employ a model that privileges particular,

participatory, dynamic, intimate, and precarious histories grounded in process forboth the student and the content.

The sequence will create students who are encouraged to actively make multiplemeanings for themselves from variety of texts and cultural productions. It willcreate pro-active readers, who are offered no easy solution, but rather are giventhe chance to make connections between apparently incongruous ideas, to askquestions of themselves, and/or to imagine worlds that have not yet come intobeing.

The courses in this sequence have the following common learning outcomes.Students will:

• Demonstrate an ability to read and think critically about complex literary and

cultural texts in various media.

• Demonstrate knowledge and understanding of the connections and

continuities among a broad range of historical and contemporary works ofAmerican, British, and world literatures in English.

• Show facility with the specialized terminology of literary and rhetorical forms.• Demonstrate knowledge and understanding of the historical, cultural, political,

and aesthetic contexts that inform literary and cultural texts in various media

• Use major sources of research and methods in the field.

• Synthesize knowledge, understanding, and research by writing in a variety of

forms (interpretive, professional, creative), using appropriate technologies, fordiverse purposes and audiences.

SAMPLE SYLLABUS

The Making of “English”: Literature, Language, and Culture Before 1600

English 3xx:

From Warriors to Clowns

Course Content:Forthcoming.

Instructional Methodology:

Discussion, small group work, online instruction and response, and some lecture.The course may be team-taught, depending on the interests and courseschedules of those teaching the course.

Course Objectives:

(see “Common Objectives and Learning Outcomes” and “Additional Objectivesand Learning Outcomes for “The Making of ‘English’”)

Required Assignments:

Minor homework assignments, online threaded discussion postings, in-class

quizzes or writings; two or three significant written projects of manageable length;two or three exams; class participation, group work, and other service to thelearning community.

Basis for Student Evaluation:

• Minor homework assignments, online threaded discussion postings, in-class quizzes or writings: 30%

• Two or three significant written projects of manageable length: 30%• Two or three exams: 30%

• Class participation, group work, and other service to the learningcommunity: 10%Primary Texts/Media:Forthcoming.

Sample Course Outline:

Week 1 — Language: Introduction to Anglo-Saxon.26

The Warrior: The Battle of Brunanburg, Dream of the Rood, Beowulf.Week 2 — The Warrior: Beowulf, Culhwch and Olwen, Malory excerpts.

Week 3 — The Warrior: Shakespeare: Henry V, Acts I, II, III.Week 4 — Shakespeare: Henry V, Acts IV, V.

The Invention of Love: Andreas Capellanus, The Art of Courtly Love (excerpts).

Week 5 — Language: Introduction to Middle English. Love: Lyrics, Chaucer, Parliament of Fowls. Project #1 due [10%.]Week 6 — Love: Marie de France, two Lais.Exam #1. [10%.]Week 7 — English Song: Middle English lyrics, motets, Elizabethan madrigals.Week 8 — Language: Introduction to Early Modern English.History of the Sonnet: selected sonnets from Petrarch, Wyatt or Surrey, Sidney.Week 9 — History of the Sonnet: selected sonnets from Shakespeare, Draytonor Daniel, Ronsard.

Week 10 — Exam #2. [10%.]The Development of Drama: The Second Shepherds' Play.Week 11 — Drama: Marlowe, Doctor Faustus.Humor and SatireWeek 12 — Humor and Satire: Anglo-Saxon Riddles, Chaucer, GeneralPrologue.

Week 13 — Humor: Sir Gawain and the Green Knight.

Week 14 — Humor: Shakespeare, Much Ado About Nothing, Acts I, II, III.Week 15 — Shakespeare, Much Ado About Nothing, Acts IV, V. Project #2 due. [20%.]Final Exam. [10%.]27

ADDITIONAL OBJECTIVES AND OUTCOMES: MAKING OF “ENGLISH”:LITERATURE, LANGUAGE & CULTURE BEFORE 1600The Making of “English”: Literature, Language & Culture Before 1600 is thefirst in a four-course core. In addition to the above course objectives, allinstances of this course will meet the following requirements:

• Required Texts:Beowulf

Chaucer, Canterbury Tales (selections)Two plays, one by ShakespeareSir Gawain and the Green Knight

Sonnets: Petrarch, Wyatt, Sidney, Shakespeare• Thread language and social history throughout• Required Themes:

War & Conflict—Beowulf, The Wife’s Lament May include: The Battle ofBrunanburg; Shakespeare, Henry V)

History of Love —May include: Lyrics; Andreas Capellanus, The Art ofCourtly Love (excerpts); The Romance of the Rose (excerpts), Chaucerselections; Marie de France, Lais; Shakespeare's Venus and Adonis;Marlowe's Hero and Leander; and this topic may intersect with Sonnetsand English song, below.

English Song (words & music)—May include: Middle English lyrics,motets, Elizabethan madrigals. Middle English: Sumer is icumen in,Fuweles in the frith, Edi be thu, Gabriel fram Heven-King, Stond WelModern Under Roode (all available in performances by the Hilliard

Ensemble on Harmonia Mundi France, HMC 901154, library call no. CDM486). Selected madrigals are available on many recordings in the library;especially recommended: Flora Gave Me Fairest Flowers (CambridgeSingers) CDM 4; What is Love? An Elizabethan Songbook (BostonCamerata) CDM 10; Gents (Gentlemen of the Chapel Royal) CDM20. The department also owns these useful discs (in the work room):Faire, Sweet & Cruell: Elizabethan Songs Performed by Chrstina Högman,voice & Jakob Lindberg, lute; Pleasures of Their Company (includingsongs by John Dowland), Kathleen Battle, soprano & Christopher

Parkening, guitar). Encourage students to attend performances by theWSU Madrigal Singers.

Development of Drama—A Shakespeare play. May include: a Medievalplay (e.g., The Second Shepherds' Play, The Crucifixion, Everyman);another Renaissance play (e.g., Marlowe, Faustus).

History of the Sonnet— Petrarch, Wyatt or Surrey, Sidney, Shakespeare.May include: Spenser, Drayton, Daniel, Ronsard.

Linguistic & Social Change— Beowulf, Dream of the Rood, or TheWanderer, Chaucer, General Prologue; Shakespeare

Continental Interactions—Italian and English madrigals. Also mightinclude English adaptations or appropriations of Castiglione, Erasmus,Montaigne (See History of Love above).29

FURTHER SUGGESTED CONCEPTUAL CATEGORIES/SUBCATEGORIES:MAKING OF “ENGLISH”: LITERATURE, LANGUAGE & CULTURE BEFORE1600Illustrative examples for consideration listed below each theme.Social Reform/UtopianismMay include Utopia)

Protestant poeticsMay include selections from The Faerie Queene, lyrics and psalm

translations by Mary Sidney Herbert.

Religious writing, dissent, heresyMay include excerpts from Tyndale, Foxe, Askew; selections from the

Book of Common Prayer; poetry by Robert Southwell, Mary Sidney Herbert,Spenser, Donne.

Colonial writingMay include Ralegh's Discovery of Guiana, Harriot's Brief and True Report

on the New Found Land of Virginia, etc.

Humor & SatireMay include: Anglo-Saxon Riddles, Chaucer selections, Shakespeare

comedy; poetry by John Skelton.

Arthurian RomanceMay include: Culhwch and Olwen, Sir Gawain and the Green Knight,

Malory excerpts.Celtic sourcesSocial OrganizationMay include: Chaucer, General Prologue.

Vernacular literacy & printingMay include vernacular renditions of Psalms; excerpts from Tyndale

and/or Foxe.

Women in LiteratureMay include: Margery Kempe; Marie de France; Christine de Pizan;

Chaucer, The Wife of Bath's Prologue and Tale; poetry by Isabella Whitney, MarySidney Herbert, Elizabeth Tudor; Book 3 of The Faerie Queene)

AnimalsMay include: Bird debate lyrics; Marie de France, Lais; Chaucer, The

Parliament of Fowls, The Nun's Priest's Tale; bestiaries.

Humanism and LiteratureMay include Utopia or Erasmus' Praise of Folly, which was popular in

16th-century England.

Court CultureMay include sections from Hoby's translation of Castiglione; poetry by

Wyatt; etc.

Magic and the OccultMay include Doctor Faustus.

Classical Mythology in Medieval/Renaissance LiteratureMay include Golding's Ovid; versions of the Troilus and Cressida story in

Chaucer or Shakespeare, etc.

Sexuality and the BodyMuch of Chaucer would work, particularly the oft-anthologized Wife of Bath'sPrologue and Tale, the Pardoner and his Prologue and Tale, the Miller's Tale.Shakespeare's Measure for Measure would work, but it's not a popular one toteach. Venus and Adonis would work.

SAMPLE SYLLABUS

17th- and 18th-Century Transatlantic Literatures

English 3xx

For God and Country:

Constructing Nations in 17th- and 18th- Century Literature

COURSE CONTENTIn this course we will cover two crucial strands of human experience during theseventeenth and eighteenth century, seeking to understand how men and

women understood their relationship to the worlds of spirit and earth. In particularwe will examine how the literature of this period on both sides of the Atlantic

helped construct the identities not only of its individual readers but also of nationsas a whole. Indeed, although we may treat them separately, thinking about Godand the spiritual world often (as we shall see) directly shaped how Europeansand later “Americans” came to understand both the lands of one’s birth and thoseas yet unsettled. We will find that individual and national identities are rarely

stable during this period, rather they undergo a continual and dynamic process ofchange and development, constructing from the materials of culture and literaturedeceptively stable categories and world views.

COURSE OBJECTIVES (see “Common Objectives and Learning Outcomes” and“Additional Objectives and Learning Outcomes for 17th- and 18th- CenturyTransatlantic”)

INSTRUCTIONAL METHODOLOGY Occasional lectures (often to providehistorical and background information); guided discussion involving questions,comments, participation in small group exercises, and presentations. The coursemay be team-taught, depending on the interests and course schedules of thoseteaching the course.

REQUIRED ASSIGNMENTSAlong with the daily expectations described in the previous section, this courserequires both a mid-term and a final exam. Occasional short response papers willbe supplemented by a longer “primary documents” paper which will ask you toread more thoroughly in the texts we cover (and those we don’t). Ultimately you’llbe asked to present a particular text (or section of the text) we have not read andargue specifically why it should be included in future versions of this course. Thiswill entail not only a deeper reading in our anthology but also research in eitherthe rare books or microfilm collection of the university.

BASIS FOR STUDENT EVALUATIONParticipation10%Documents Presentation10%Documents Essay10%Short Exam15%Final Exam25%Final Paper15%

Standard 90/80/70/65 grade scale for the letter grade minimums, and if you keepup with your assignments your grades should be relatively easy to calculate onyour own.

PRIMARY TEXTS/MEDIA:

Jehlen/Warner, The English Literatures of America

Manuscripts, Archives, and Special Collections early printed booksOnline resources (William Blake Archive)

COURSE OUTLINE

Week One: First Stages of European ExpansionMachiavelli, History of Florence (1525)

Letters—Columbus to the King and Queen of Castile (1493), Amerigo Vespuccito PierSoderini (1504)

Excerpts, Columbus' Diary of the First Voyage (*)

Week Two: Creating Great Britain—England, Scotland, IrelandHistorical material relating to King James I’s attempts at unifying Scotland andEngland

Lord Hay’s masque (1614)

excerpts from Spenser, A View of the Present State of IrelandWeek Three: Dramatizing A NationShakespeare, Cymbeline

Week Four: Constructing an “English Religion”Donne, selections from Sermons or Devotions, Holy Sonnets, Good Friday,1613. Satire III.

King James Bible (excerpts)

Week Five: The Forms and Function of 17th Century Religionselections from Vaughn and CrashawHerbert, Selections from “The Temple”

Milton, The Reason of Church Government (excerpts)

Weeks Six and Seven: Old and New EnglandJohn Winthrop, “A Model of Christian Charity” (1630)John Cotton, “God’s Promise to his Plantations” (1630)Roger Williams’ poems on the Native Americans

Material on the controversies regarding Anne Hutchinson and Roger WilliamsThomas Morton, New English Canaan (1634)

William Bradford, Of Plymouth Plantation (1630-1650)Week Eight: Midterm

Week Nine: Viewing and Conceiving a New LandHariot, A Briefe and True Report of the New Found Land of Virginia (1588)John Smith, The Generall Historic of Virginia (1624)William Wood, New Englands Prospect (1634)Thomas Morton, New English Canaan (1634)John Milton, Paradise Lost (excerpts)

Week Ten: Religion, Land, and the IndividualMary Rowlandson, The Soveraignty and Goodness of God (1682)Week Eleven: Developing an AnthologyPrimary Source Assignment/Paper

Week Twelve: New Identities, New SelvesAnne Bradstreet, selections to include “The Author to Her Book,” “To my Dearand Loving Husband,” “Prologue” and “Some Verses on the Burning of OurHouse”

Jonathan Edwards, “Personal Narrative”

Ukawsaw Gronniosaw, A Narrative of the Most Remarkable ParticularsBen Franklin, Autobiography (selections)Week Thirteen: Revolutions of the AmericasFranklin, An Edict by the King of PrussiaBurke, speech on conciliation with coloniesSmith, The Wealth of Nations (selections)Cugoano, Thoughts and Sentiments

A. Adams, letter to John Adams (on women)Paine, An Occasional Letter on the Female SexMaterial on the Haitian and Caribbean revoltsWeek Fourteen: New Selves, New LandsJohnson, Rasselas (excerpts)Swift, Gulliver’s Travels (excerpts) Week Fifteen: Course Conclusion

ADDITIONAL OBJECTIVES AND OUTCOMES:17TH- AND 18TH-CENTURYTRANSATLANTIC LITERATURES17th- and 18th-Century Transatlantic Literatures is the second in a four-course core. In addition to the above course objectives, all instances of thiscourse will meet the following requirements:

• cover both British and American literature, with the understanding thatgiven the available literature British will predominate

• include at least some seventeenth century religious poetry• include some life writing

• engage some non-fiction prose (and instruct students in its understanding)• encourage interdisciplinary work, either in actual texts or approach

FURTHER SUGGESTED CONCEPTUAL CATEGORIES/SUBCATEGORIES:17TH- AND 18TH-CENTURY TRANSATLANTIC LITERATURES* Enlightenment universalism and cultural particularism* The novel as a social form

* Tradition, revolution, and resistance in Britain and the Americas* The Black Atlantic and the middle passage

* Imagining the world: literatures of exploration, colonization, and travel* Forms of Life Writing

* Evolution of the Essay; Periodical Essays and Journalism; Ephemera* The Play as a Social Form

* Drama and Political/Religious/Gender Ideology* Land and Nationhood

* The Development of the \"Public Sphere\"* Knowledge, Science, and the Natural World* Individualism and Exceptionalism

SAMPLE SYLLABUS

19-Century Literature of the British Empire and the Americas

English 3xx

Frontiers and Contact Zones

COURSE CONTENTThis course will explore the concept of frontiers and contact zones in literary andartistic representations as well as in material and cultural artifacts during thenineteenth-century. We will also consider ideas from current histories, criticism,and theoretical works.

COURSE OBJECTIVES (see “Common Objectives and Learning Outcomes” and“Additional Objectives and Learning Outcomes for 19th-Century Literature”)INSTRUCTIONAL METHODOLOGY• The course may be team-taught, depending on the interests and courseschedules of those teaching the course.

• The course will be student-centered, including discussion, writingassignments, activities, web-assignments, small-group work,

presentations, portfolios, creative projects and investigations, rare-bookactivities and examinations that allow students to be participatory anddynamic learners who are capable of creating multiple perspectives forthemselves.PRIMARY TEXTS/MEDIA:

• Course pack, available at Cougar Copies, and possibly selectedcollections of printed materials not otherwise available

• Manuscripts, Archives, and Special Collections early printed books• Online resources:

o British literature: William Blake Archive Rossetti Archive, RomanticChronology, British Women Writer’s Project; the Victorian Web.o American literature: the Schomburg Collection of Nineteenth-Century African American Women Writers; the Making of AmericaProject at Cornell and Michigan; the Library of America's

multimedia sites on slavery, American music, and early Americanfilm; the Wright American Fiction project; other sites linked athttp://guweb2.gonzaga.edu/faculty/campbell/enl311/sites.htm

• Possible Field Trips.

REQUIRED ASSIGNMENTS:Will include the following:

1) Reader responses, either in the form of typed daily responses to literary

texts, daily cards on the readings, or daily in-class written responses (to bedetermined by the instructor)

2) A literary analysis paper 6-8 pages in length

3) A travel text or work-in-context group presentation and paper

4.) A final portfolio that includes 1-3 as well as a reflective piece and a

creative/investigative final project.

BASIS FOR STUDENT EVALUATIONGrade will come from two different sources:

Work during the course—40%Final Portfolio—60%

Work during the course (40%):

15 Reader Responses—15%Paper—15%

Travel Text Group Presentation—10%

Final portfolio (60%):

This will include STUDENT’S BEST WORK and have these elements

Reflective PieceRevised Paper

Creative/Investigative Project10 Reader’s ResponsesTravel Text Group Paper

COURSE OUTLINEPart I: Aesthetic and Imaginative Frontiers and Contact ZonesWeek 1: The Eye/I: Looking Outward and Looking In

Blake, “Marriage of Heaven and Hell” with engravingsKeats, “Ode to a Nightingale,” selected letters

Shelley, The Defense of Poetry, “Ode to the West Wind”

Coleridge, “Kubla Khan” and selections from the Biographia LiterariaSelections from 1802 \"Preface\" to Lyrical Ballads

Wordsworth, selected poems (\"Lucy\" poems \"Ode: Intimations ofImmortality\")Week 2: The Gothic: Dark Visions of the Self

Poe, \"Man of the Crowd,\" \"MS found in a Bottle\"

Week 3: American Transcendentalism

Selections from Carlyle

Thoreau, selections from Walden (or we might take another week and do

much more)

Emerson, Nature

Louisa May Alcott’s “Transcendental Wild Oats”

In the AML-web assignment or visual arts: The Hudson River School [web

assignment could be put into week 2 or 4]

Part II: Geographic Frontiers and Contact Zones:

Week 4: Travel, Trade, Migration and Colonization

Caribbean writers: Manzano, slave complaints, Prince

John Jea, Mungo Park, etc (African voices within British and Americanauthored texts)

Southeast Asia—Munshi Abdullah

British: Sidney Smith's 1818 essay; Anti-slavery poetry-Coleridge’s Rime; EastIndia Company—Lord Minto, John Leyden, Sir William Jones,

Week 5:

American: selections from Irving, The Sketch Book

Native America—Native America writers such as John Norton, George Copway,William Apess; the Cherokee memorials

The Journals of Lewis and Clark (field trip to the convergence of the Snake andClearwater in Lewiston; Nez Pierce interpretive center).Week 6:

Begin travel text project in MASC

Discuss how reconfiguring geography allows us to reconfigure textual choices.Introduce ideas from revisionary histories and theoretical books (Paul Gilroy'sBlack Atlantic, Anderson's Imagined Communities).Part III: The Social and Political Frontiers

Week 7: Slavery and AbolitionDouglass, A Narrative of the Life

Jacobs, Incidents in the Life (selections)

Other readings: speeches, tracts, etc. (Grimké sisters; Lincoln)

Week 8: IndustrialismDavis, Life in the Iron Mills

Readings from the Lowell Offering or Lucy Larcom's A New England GirlhoodMelville, “Bartleby, the Scrivener” or \"The Tartarus of Maids\"Kingsley, Alton Locke [A London Slum]

Week 9:

Dickens, Hard Times, and selections from Stowe, Uncle Tom's CabinWeek 10: Responses in Poetry: Engagement and DenialRossetti, \"Goblin Market\"Dickinson, [selected poems]Whitman, from Drum-Taps

E. B. Browning, \"The Runaway Slave at Pilgrim Point\"Tennyson, \"The Lotus-Eaters,\" \"Ulysses,\" \"Locksley Hall

Browning, \"My Last Duchess,\" \"The Bishop Orders his Tomb\"Arnold, \"The Function of Criticism\"; \"Dover Beach\"Week 11: Travel Text Presentations in groups in MASC

Part IV: Scientific Frontiers: \"Rational\" Approaches to Literature andEmpire

Week 12: Romanticism

Hawthorne, “Rappaccini’s Daughter,” “The Birthmark,” or “The Artist of theBeautiful.”Other works

Week 13: RealismJames, \"Daisy Miller\"

Eastman, From the Deep Woods to Civilization (selections)Crane, \"The Open Boat\"

Zitkala-Sa, autobiographical selections

Week 14: War, Technology, and Imperialism

Twain, \"To the Person Sitting in Darkness\" or \"The Fable of the Yellow Terror\";selections from A Connecticut Yankee in King Arthur's CourtHowells, \"Editha\"

Week 15

Presentation of Creative/Investigative project to class. Hand in Final portfolio.Student Meetings

Finals Week: Meet individually with instructors to pick up and discuss Finalportfolio.

ADDITIONAL OBJECTIVES AND OUTCOMES: 19th-CENTURYLITERATURES OF THE BRITISH EMPIRE AND THE AMERICAS19th-Century Literature of the British Empire and the Americas is the third ina four-course core. In addition to the above course objectives, all instances ofthis course will meet the following requirements:

• Sample both British and American literature and other available nationalliteratures in English (Caribbean, Creole, Indian)More Forthcoming.

SUGGESTED CONCEPTUAL CATEGORIES/SUBCATEGORIES: 19th-CENTURY LITERATURES OF THE BRITISH EMPIRE AND THE AMERICAS*Slavery and the Development of the Self*Naturalism and Realism

*Colonialism and Foreign Travel*Science and Exploration

*The Development of the Imagination

*Development of the Language: Political Rhetoric

*Revolutionary Forms: the Gothic and the Slave Narrative*Revolutionary Forms: the Lyric and the Ballad*Gender and Slavery*Colonial Voices*India

*Revolutions: France, Haiti, and Beyond*Regionalism

*Poverty, Vagrancy, and Wandering*Underworlds

*The Rights of Woman

*Gendered Spheres (gender and domesticity, the questionable nature ofthe \"separate spheres\" paradigm)

*Mapping the Nineteenth-Century World*Industrialization versus Nature

*Labor, Industry, the City and the Country*Pastoralism and Primitivism

*The Industrial Revolution and Nationalism

SAMPLE SYLLABUS

20- and 21-Century Global Literatures in English

English 3XX

Literatures of GlobalizationCourse Content:

This course will look at literary and cultural texts of the last hundred-plus yearsfor the ways in which they both shape ideas of and respond to the processes ofglobalization. We will pay close attention to the large-scale social and historicalevents that have accelerated the movement and circulation of ideas, people,communities, and things around the world: colonialism, war, consumer

capitalism, tourism, immigration, social movements. Our primary interest will bein the literature that speaks to and about these histories, the local literary andartistic interventions that give shape, texture, voice, and body to the largernarratives of twentieth- and twenty-first century history.

Instructional Methodology:

Ideally, this course may be team-taught by two faculty: one in American literatureand culture, and one in British/Anglophone literature and culture. While there willbe some necessity for background/introductory lectures, the majority of classtime will be spent in group discussion and experiential learning.

Course Objectives:

(see “Common Objectives and Learning Outcomes” and “Additional Objectivesand Learning Outcomes for 20th- and 21st- Century Global Literatures”)

Required Assignments:

ß To ensure that students are reading in a timely, meaningful way, each student

will be asked to make weekly entries in an online reading blog (to whicheveryone in the class will have access). Approximately five times during thesemester, at random, the instructors will evaluate student entries for thatweek.

ß At least once during the semester, each student will be required to make a

brief presentation on the day's reading, with the expectation that some

additional research will be brought to bear on the assigned reading material.Students will be expected to suggest lines for discussion for the class.ß One take-home midterm essay and one take-home final essay.

ß One major inquiry-based research project, which will allow students to choose

both a topic and a format for presentation. Possible permutations of thisassignment may include:

ß historical context paper: linking historical

event/movement/circumstance with primary text from the course

ß MASC museum exhibit: curate and write introduction for an \"exhibit\" ofrelated materials from MASC

ß multimedia web page on a selected topicß detailed lesson plan for HS classroom

ß creative \"translation\" of primary text from course in an updated or newcontext

Basis for Student Evaluation:

30% = Online reading blogs (entries periodically graded) 10% = Class presentation15% = Take-home midterm15% = Take-home final

30% = Inquiry-based research assignmentPrimary Texts/Media:Several novels.

Course pack available at Cougar Copies.Online image library.Sample Schedule:

Unit 1: Globalization: What? Where? When? How?Week 1ß selections from Stephen Kern's The Culture of Time and Space 1880-1918 (a

highly readable history that links cultural/political with aesthetictransformations)

ß selections from Roland Robertson's GlobalizationWeek 2ß Joseph Conrad, Heart of Darkness (could also be paired with Achebe, below)ß selections from Edward Said, Culture and ImperialismWeek 3ß W.E.B. DuBois, The Souls of Black Folk

Unit 2: The Shock of the New: Modernism and ModernityWeek 4ß selections of modernist poetry: Eliot, Yeats, Williams, Loy, HD, Moore,

Bishop.

ß other modernist artifacts: visual art, photography, film (materials in MASC on

Roger Fry and 1910 Post-Impressionist Exhibit in London)Week 5ß one canonical \"modernist\" novel from the following:

ß Joyce, A Portrait of the Artist as a Young Manß Woolf, Mrs. Dalloway

ß Faulkner, The Sound and the FuryUnit 3: War and the Traumas of HistoryWeek 6ß World War I poetry from Wilfred Owen, Siegfried Sassoon, and David Jonesß John Okada, No-No BoyWeek 7ß (something from Vietnam War era — suggestions from Joan?)Unit 4: Regionalism and Local \"Englishes\"Week 8ß Langston Hughes and other Harlem Renaissance poetryß Hurston, Their Eyes Were Watching Godß TAKE-HOME MIDTERMWeek 9ß Samuel Selvon, The Lonely Londoners

Unit 5: Decolonization, Cultural Nationalism, and NeoimperialismWeek 10ß Chinua Achebe, Things Fall Apart

ß selections from Ngugi wa'Thiongo, Decolonizing the Mind

Week 11ß Leslie Marmon Silko, Ceremony (or other American Indian texts: perhaps

something by our own Sherman Alexie)Unit 6: Postmodernism and the Information AgeWeek 12ß Pynchon, The Crying of Lot 49 or Ishmael Reed, Mumbo JumboWeek 13ß This seems like a good place for a film (TBD)

ß Michael Joyce, afternoon: a story (hypertext fiction)Unit 7: Borderlands and Shifting FrontiersWeek 14ß Gloria Anzaldúa, Borderlands/La Fronteraß PROJECT DUEWeek 15ß Salman Rushdie, \"Imaginary Homelands\"

ß contemporary Irish poetry by Seamus Heaney, Mebdh McGuckian, Paul

Muldoon, others.ß TAKE-HOME FINAL

ADDITIONAL OBJECTIVES AND OUTCOMES: 20th- & 21st-CENTURYGLOBAL LITERATURES IN ENGLISH20TH- & 21ST-CENTURY GLOBAL LITERATURES IN ENGLISH is the fourth in afour-course core. In addition to the above course objectives, all instances of thiscourse will meet the following requirements:

Forthcoming.47

SUGGESTED CONCEPTUAL CATEGORIES/SUBCATEGORIES/UNITS: 20th-& 21st-CENTURY GLOBAL LITERATURES IN ENGLISHtravel and tourism

changing gendered and sexual identitiesDiaspora/the Black Atlanticthe historical novel\"global\" citiesthe Pacific Rim

New Worlds and Voices:

AustraliaAlaska

Canada StudiesPhilippinesArctic Studies

Caribbean ExplorationsHistory as ProcessBritish Ethnic Diversity

Team Teaching Configurations

Team-teaching varies in levels of “integration.” There appear to be two broadkinds of team teaching: In the first, two or more instructors are teaching the samestudents at the same time within the same classroom; in the second theinstructors work together but do not necessarily teach the same groups ofstudents nor necessarily teach at the same time.

I. Two or more instructors are teaching the same students at the same timewithin the same classroom

Traditional Team Teaching: Teachers actively share the instruction of contentand skills to all students.

Collaborative Teaching: Team teachers work together in designing the courseand teach the material not by the usual monologue, but rather by exchanging anddiscussing ideas and theories in front of the learners. The course uses grouplearning techniques for the learners, such as small-group work, student-leddiscussion and joint test-taking

Complimentary / Supportive Team Teaching: One teacher is responsible forteaching the content to the students, while the other teacher takes charge ofproviding follow-up activities on related topics.

Parallel Instruction: The class is divided into two groups and each teacher isresponsible for teaching the same material to her/his smaller group.

Differentiated Split Class: The class is divided into smaller groups according tolearning needs. Each teacher provides the respective group with the instructionrequired to meet their learning needs.

Monitoring Teacher: One teacher assumes the responsibility for instructing theentire class, while the other teacher circulates the room and monitors studentunderstanding.

II. The instructors work together but do not necessarily teach the samegroups of students nor necessarily teach at the same time.

Relay or Tag Teaching: Team members meet to share ideas but functionindependently. This version of cooperative teaching entails meetings andcoordination.

Teams of teachers sharing common material. Teachers instruct classesindependently, but share materials such as lesson plans, supplementarytextbooks and activities.

A team in which members share a common group of students, share the

planning for instruction but teach different sub-groups within the whole group.One individual plans the instructional activities for the entire team.The team members share planning, but each instructor teaches his/her ownspecialized skills area to the whole group of students.

Some Suggested Language for Revising/Refining TransnationalObjectives/OutcomesThere are two approaches (many more, I'm sure): one that leaves brackets forfaculty to \"fill in\" their specialty or focus/topic of a course while maintaining asome structure; the other that tries to encapsulate \"periods\" or groups of authorsor some kind of chunking technique in order to be general enough to allow manyperspectives while being specific enough to provide some kind of intellectualidentity for the course.

To take the example of English 3xx: 17th/18th Century Lit

Students will:

1. Describe how [what kind of] people understood the [what kind of

literature or text] of the 17th century by [doing what kinds of activities orproducing what products].

2. Describe how [what kind of] people understood the [what kind of]literature of the 18th century by [doing what kinds of activities orproducing what products].

3. Describe how identities of individuals and identities of nations from a variety of[or a specific minimum number] geographic regions by explaining how suchidentities are dynamic and related to material issues, even despite theirperceived stability.

4. Read and write about literature from at least [some number] of cultures foreach century, summarizing and paraphrasing from this body of work [in whatway] for each class discussion.

5. Compare course readings of fiction, poetry, and drama from the 17th and 18thcentury with contemporary issues. Be prepared to compare such similarities anddifferences with literatures across culture and time in order to [have whatconsequences].(from Joddy Murray)

WHAT NEXT?December 2004

• Faculty (hopefully) approves six new courses for temporary status in2005-2006 catalog.• Paul Brians submits paperwork and sample syllabi to catalog committeeJanuary to May 2005

• Faculty continues dialogue about requirements for New Major. Biggerquestions: What do we stand for as a department? What kind of

experience do we want our students to have? What is possible for us asfaculty? What will attract new majors? How innovative can we be and stillretain stability?• Transnational sequence groups continue to meet (two or three moretimes) to design “Additional Objectives and Outcomes” that are contentspecific. Share teaching ideas. Continue dialogue about New Majorrequirements.• Professional Writing and Rhetoric Group continues to meet to design newoption and submit new courses for temporary status.September 2005

• Teach new courses. Refine objectives and outcomes.October 2005

• Submit new courses for permanent status.And Beyond…

• Graduate Studies Committee and Undergraduate Studies Committeediscuss conjoining some 400-500 level courses.

Recommendations:

• Appoint someone to follow up and continue these revisions of the Major.• Build into the colloquium series a time when faculty and instructors canshare teaching ideas.• Set up a Department website dedicated to teaching and pooling ideas aswe collaborate on these new courses.• Keep the English Major as requirement-free as possible to ensure thegreatest agency for students and faculty. Build requirements into courseobjectives and outcomes instead (i.e., a grammar unit in the FoundationCourse, certain British or American Literature texts into the TransnationalSequence). Don’t make the Major a collection of everyone’s personalhobby-horses.• The one requirement many would like to see remain is the DiversityRequirement.• Consider getting an outside evaluator to assess our program before wesolidify it completely, so that we make sure we meet accreditationstandards.• Remember that curriculum design is an ongoing process.

Thank you! To everyone for being so open & hardworking & full of ideaseven though we’re all so busy.

REQUIREMENTS FOR THE NEW MAJOR:

PRINCPLES: SIMPLICITY, FLEXIBILITY, CLARITYChecklist for English Major—Literary Studies

FOUNDATION COURSES

ENG 2xx Pop Culture & Texts___ or ENG 199___ or ENG 108____ENG 302 Gateway: What is English Studies Today?B

TRANSNATIONAL SEQUENCE

ENG 3xx The Making of “English”:Literature, Language & Culture Before 1600ENG 3xx 17th- & 18th-Century Transatlantic Literatures

ENG 3xx 19th-Century Literatures of the British Empire & the AmericasENG 3xx 20th & 21st-Century Global Literature in EnglishC

LITERATURE/HUMANITIES ELECTIVES

1_____________________________________________2_____________________________________________3_____________________________________________4_____________________________________________5_____________________________________________6_____________________________________________D

LITERATURE ELECTIVES—CONJOINT COURSES

1_____________________________________________2_____________________________________________

Checklist for English Majors—English Teaching

FOUNDATION COURSES

ENG 2xx Pop Culture & Texts___ or ENG 199___ or ENG 108____ENG 302 Gateway: What is English Studies Today?B

TRANSNATIONAL SEQUENCE

1_____________________________________________2_____________________________________________3_____________________________________________C

TEACHING CONCENTRATION

ENG 323 Approaches to the Teaching of EnglishENG 324 Rhetoric & Composition for TeachingENG 325 Applied Grammar for TeachingENG 326 Young Adult LiteratureD

CREATIVE WRITING/LITERATURE/HUMANITIES ELECTIVES1_____________________________________________2_____________________________________________3_____________________________________________4_____________________________________________5_____________________________________________

Checklist for English Majors—Creative Writing

FOUNDATION COURSES

ENG 251 Introduction to Creative Writing

ENG 302 Gateway: What is English Studies Today?ENG 446 Form & Theory of Creative WritingB

TRANSNATIONAL SEQUENCE

ENG 3xx 20th & 21st-Century Global Literature in EnglishC

INTERMEDIATE CREATIVE WRITING WORKSHOPS1_____________________________________________2_____________________________________________D

ADVANCED CREATIVE WRITING WORKSHOPS

1_____________________________________________2_____________________________________________E

PROFESSIONAL TRAINING FOR WRITERS

1_____________________________________________2_____________________________________________F

LITERATURE/HUMANITIES ELECTIVES OR TRANSNATIONAL1_____________________________________________2_____________________________________________3_____________________________________________4_____________________________________________G

ELECTIVE*

1_____________________________________________

*to be determined and approved by advisor

Checklist for English Majors—Professional Writing & Rhetoric*

FOUNDATION COURSES

ENG 2xx Pop Culture & Texts___ or ENG 199___ or ENG 108____ENG 302 Gateway: What is English Studies Today?

BTRANSNATIONAL SEQUENCE

1_____________________________________________2_____________________________________________

COTHER REQUIREMENTS, TBA

*this option is in the process of being designed by Victor, Patti, Amanda, & Bob

COURSE CATEGORIES FOR THE NEW MAJOR

FOUNDATION COURSESENG108ENG199ENG2xxENG3xxENG251ENG446

Introduction to LiteratureHonors Composition & LiteraturePop Culture & Texts

Gateway: What is English Studies Today?Introduction to Creative WritingForm & Theory of Creative Writing

TRANSNATIONAL SEQUENCEENG3xxENG3xxENG3xxENG3xx

The Making of “English”:Literature, Language & Culture Before160017th- & 18th-Century Transatlantic Literature

19th-Century Literatures of the British Empire & the Americas20th & 21st-Century Global Literature in English

TEACHING CONCENTRATIONENG323ENG324ENG325ENG326

Approaches to the Teaching of EnglishRhetoric & Composition for TeachersApplied Grammar for TeachersYoung Adult Literature

INTERMEDIATE WRITING WORKSHOPSENG351ENG352ENG353ENG357.1

Intermediate Prose Fiction WritingIntermediate Poetry WritingIntermediate Literary NonfictionGenre Writing

ADVANCED WRITING WORKSHOPSENG451ENG452

Advanced Prose Workshop Advanced Poetry Workshop

PROFESSIONAL TRAINING FOR WRITERSENG357.2ENG355ENG402ENG405

Professional Magazine EditingMultimedia Authoring

Technical & Professional WritingTechnical & Professional Editing

LITERATURE/HUMANITIES ELECTIVES*ENG 4xx/5xxconjoint

ENG 4xx/5xxconjoint

ENG 4xx/5xxConjoint

ENG 4xx/5xxconjoint

ENG 4xx/5xxConjointENG 4xxENG 305ENG 306ENG 4xxENG 3xxHUM 101HUM 103HUM 302HUM 303HUM 304HUM 335

Renaissance Romance

18th-C & 19th-C Afro-American Lit17th-C PerformanceTheory & RhetoricLinguistics

Asian American LitTransatlantic NaturalismsShakespeare Before 1600Shakespeare After 1600ChaucerPoetics

The Ancient WorldMythology

Middle Ages & Renaissance

Reason, Romanticism & RevolutionThe Modern WorldBible as Literature

*Many of these courses are total fictions, made up simply for the purpose ofillustrating what such a curriculum might look like.

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