Mario René Padilla, PhD
Syllabus
ENGLISH 2 ( Winter ‘06)
CRITICAL ANALYSIS AND INTERMEDIATE COMPOSITION
Dr. Mario R. Padilla Office: DRSCHR 311V
MTWTh 10:15p-12:20p, DH 211 #1226 (3 units) Padilla_Mario@smc.edu 12:30p-2:35p, DH 211 #1228 (3 units) http://homepage.smc.edu/padilla_mario/
The Bedford Introduction to Literature, 6th ed.
I Know Why The Caged Bird Sings by Maya Angelou
Writing Essays about Literature, (recommended)
A Writer's Reference, 5th ed. D. Hacker (recommended)
A composition book is required, college ruled, 101/4 in. x 7 7/8 in (minimum)
A word processor is necessary to complete all written work.
COURSE DESCRIPTION
This course is designed to help students develop their critical thinking and writing skills beyond the level achieved in English 1. The course emphasizes the application of logical reasoning, analysis, and strategies of argumentation in critical thinking and writing using literature and literary criticism as subject matter. The course consists of three units: poetry, the short story and the drama or novel. Each day you will have a reading or writing assignment or both. Please read each assignment carefully, preferably twice, so that you can participate in class discussions. There will be "spontaneous" quizzes to ensure that everyone is reading the material carefully and regularly. Remember that active student participation is essential for the successful completion of this course. Close attention will be paid as well to the development of critical writing skills, and some classroom time will be devoted to the methodology of essay writing and critical strategies for reading.
LEARNING OBJECTIVES
1. To develop an understanding of literature as an art form through close analytical reading of selected short stories, poems, a play or a novel.
2. To generate lively dialogues in class over matters of interpretation.
3. To develop skills of analytical and persuasive thinking and writing, to read carefully and with comprehension, to develop and command a clear and effective prose style, and finally, to use the resources of the library, compile a working bibliography, avoid plagiarism, and write a literary essay that incorporates secondary sources (research). Towards this objective, students will develop their writing skills through journal writing on weekly reading assignments, discussion of works read, three explications, an essay, and several lectures on MLA style guidelines and citation procedures. A final exam (identification and explication) will be given on poetry.
COURSE REQUIREMENTS
Success in this class will require active involvement in written and oral expression; thus, attendance is important. After three absences for whatever reasons, except documented serious illness you are subject to being dropped from the class. Class discussion of the literature will comprise an important portion of your grade, so make every effort to attend class. Please note the due dates for assignments and incorporate them into your schedule. Late papers (without a medical excuse) will be lowered one full grade. It is extremely important that you always keep a copy of your paper assignments before submitting the work on the due date. The student is responsible for all “lost” papers. Please note: if you had to put the final draft in my office mail box, the paper is late. Never put late papers in the campus mail; please put them in my office mailbox in DH311. Also be advised: if your writing falls below English 2 standards, you must take the initiative of seeking tutorial help. Your final draft must be free of errors in syntax, grammar, spelling, and punctuation. Proofreading is a must. Please note: I will stop editing any final draft after numerous uncorrected spelling, punctuation and grammar errors. After the “Stop Edit” notation, I will continue to read but will no longer correct the paper. Learn to use a dictionary and a handbook for college writers (see Hacker handbook). I teach under the assumption that, as English 2 students, you have gained the necessary proficiency in the mechanics of writing: grammar, punctuation, spelling and the capacity to write a complete, coherent sentence. Nevertheless, my editing and corrections, as well as class discussion regarding MLA procedures for incorporating quotations into a literary essay will further help in these fundamentals. For proper MLA manuscript design, see pp. 2180-2184 in Bedford text.
WRITTEN WORK
1. Journal assignments. The purpose of the journal is to help generate ideas and to give the student an informal arena in which to state reactions to the works read, to record initial explications of key passages, to talk about connections between the works and his or her personal life, and most importantly, to help the student think about the work as a whole and how its components work together (see Griffith's Writing Essays about Literature, pp. 4, 169). I'll ask to see the journals periodically or ask you at random to read from your journals to stimulate reactions to the reading assignments. During the final exam, I'll read them, and record the fact that you have made a real effort towards completing journal entries for all works studied. Please use a separate notebook for journal assignments; they must be college ruled composition books. In order to receive full credit, you must have completed all assignments in a thorough manner: one full page, single space for short stories, one-half page single space for poetry entries, two full pages, single space for the novel and play..
2. Two papers: explications/critical analysis, 2-3 pages typewritten, one on a short story and one on a poem.
3. A 5-7 page typewritten formal academic essay incorporating secondary sources (research material) on I Know Why The Caged Bird Sings.
4. An identification/explication final exam will be written covering all of the poetry assigned during the semester and on the play.
IN-CLASS EDITING
In-class editing sessions will be conducted where you will be asked to respond to the works read by your peers. Please bring four copies of your typed draft for each session, which will be organized in groups of four. If you fail to participate in the editing session or do not have copies of your work, your final paper will be lowered one-half grade. Quizzes may be given periodically to insure the class is reading the assigned material in a thorough manner; your performance in these areas will be reflected in your "class participation" grade.
PLAGIARISM
Plagiarism--the use of another's ideas or words as if they were one's own--is a serious offense. Be sure that you write your own papers. A piece of work that is plagiarized will receive an F and subsequently reported to the chair of the English department for disciplinary action. Write your own paper! If you borrow the ideas or the words of critics you must: express the idea in language that is thoroughly your own and acknowledge the borrowing through documentation of the source: footnotes or works cited. These procedures will be explained in class. Your textbook shows you how to document a source beginning on page 2165. For a more detailed study of proper citation technique consult The MLA Style Manual, Achtert and Gibaldi, a copy of which is on file in the library. For proper MLA manuscript design, see pp. 2180-2184 in Bedford text.
GRADING SYSTEM
Class participation and attendance (quizzes) 15%
Journals 10%
Two papers (2-3 pages) 15% each 30%
5-7 page critical essay with research 25%
Final Exam 20%
Jan 3: "Introduction to Course"
Discuss key literary elements, literary analysis strategies, and MLA manuscript format, Bedford pp. 43-63, 2146. Refer to story analysis examples with regards to proper literary analysis language and technique: pp.16, 59, 516, 2155. Also, a sample research paper on a story can be found on p. 2165. Refer to these pages as a guide towards writing literary criticism.
We will read and discuss Kate Chopin's "Story of an Hour," p. 12. Please note: Always read in Bedford the introductory material for each element to be discussed; for example, when reading this weeks assignment on "theme," you will be expected to read 247-250. For additional information on the key literary elements, consult Writing Essays about Literature. After class, write in your journal a one-page response to "Story of an Hour.”
Jan 4: "Theme"
Read "Soldier's Home" by Ernest Hemingway, p.152 and “Lust” by Susan Minot, p. 304 in Bedford. Before class, write in your journal a one-page response to one of the stories. (Note: single space all journal entries)
Jan 5: "Theme and Plot"
Read "Killings" by Andre Dubus, p. 84 and “A&P” by John Updike, p. 606.You might take into consideration the recent movie In The Bedroom which was based on Dubus’ story. Is it a faithful rendition or not? Before class, write in your journal a one-page response to one of the stories.
Jan 9: "Point of View"
Read "The Lady with the Pet Dog" by Anton Chekhov, p.187 in Bedford. Also read "The Lady with the Pet Dog," by Joyce Carol Oates, p. 201 in Bedford. Before class, write in your journal a one-page response to one of the stories or perhaps a comparison and contrast of Oates' story with Chekhov's original version.
Jan 10: "Symbolism"
Read "Love in L.A." by Dagoberto Gilb, p. 263 and “The Secret Lion” by Alverto Alvaro Ríos, p 223 in Bedford. Before class, write in your journal a one-page response to one of the stories.
Jan 11: "Character"
Read "The Judge's Wife" by Isabel Allende, p.612 and “The Horse Dealer’s Daughter” by D. H. Lawrence, p. 586 in Bedford. Before class, write in your journal a one-page response to one of the stories.
Jan 12: "Symbolism"
Read “Battle Royal" by Ralph Ellison, p. 231. Before class, write in your journal a one-page response to the story. We will also review procedures and techniques for writing a literary analysis on a work of prose fiction.
Jan 17: In-class Editing Session
Choose from any one of the stories we have read and write a two-three page short analysis. Bring four copies for an in-class editing session during the second hour of class.
Jan 18
Introduction to poetry. Read chapter 20 and 21 in Bedford for general information on reading and writing about poetry. Also, continue to refer to the following paper samples regarding the critical analysis of a poem: pp. 679, 712, 943, 991, and 2147. Read "Western Wind," p. 688; Robert Hayden’s “Those Winter Sundays” p. 672; Shakespeare's "My mistress' eyes...," p. 891; Dylan Thomas' "Do not go gentle...," pp. 895; e. e. cummings,' "l(a," p. 687; William’s “This Is Just to Say,” p. 1190. Before class, select two poems and write in your journal a one-half page response to each poem. Final draft of explication # 1 due.
Jan 19
Read chapter 22, "Word Choice, Word Order, and Tone," pp. 715-721 in Bedford. In class we will focus on the carpe diem (seize the day) theme: Herrick's "To the Virgins, to Make Much of Time, p. 726; Marvell's "To His Coy Mistress," p. 728; Wilbur's "A Late Aubade," p. 731; Shakespeare’s “That time of year,” p. 1181. Before class, select two poems and write in your journal a one-half page response to each poem.
Jan 23
Read chapter 23, "Images,” p. 752 in Bedford. Then read Santiago Baca’s “Green Chile,” p.759; Frost's "The Road Not Taken," p. 1000, and Owen’s “Dulce et Decorum Est,” p. 764. Read chapter 24, "Figures of Speech " pp.777-781 in Bedford. Then read Castellanos’ “Chess,” p. 781; Plath's "Mirror," p. 789. Before class, select two poems and write in your journal a one-half page response to each poem.
Jan 24-26
Read chapter 25, "Symbol, Allegory, and Irony." Then read Sharon Olds' "Sex without Love," p. 739; Ríos’ “Seniors,” p. 703, and Adrienne Rich's "Living in Sin,” p. 1180. We will also begin discussing poems from the handout. Before class, select two poems and write in your journal a one-half page response to each poem—for all three days. We will also review procedures and techniques for writing a literary analysis on a work of poetry.
Bring to class a 2-3 page typed explication/analysis (four copies) on one of the poems for an in-class editing session. The poem must be listed on the syllabus or included in the handout.
Novel Unit
Jan 31
Review formal academic essay writing procedures and MLA guidelines for works cited in preparation for writing on the novel. Introduction to I Know Why The Caged Bird Sings.
Final draft of explication # 2 on poetry due today.
Feb 1
Read I Know Why The Caged Bird Sings, chapters 1-20. Before you come to class, write in your journal a 2 page response to the assigned chapters.
Feb 2
Read I Know Why The Caged Bird Sings, chapters 21-end. Before you come to class, write in your journal a 2 page response to the assigned chapters.
Drama Unit
Feb 6
Read Henrik Ibsen’s A Doll House, p. 1567. Before you come to class, write in your journal a two-page response to the play. Bring to class a typed draft of your essay on the novel for an in-class editing session. Remember that you are writing a formal academic essay (a literary essay/critical analysis) and not an explication; although a certain degree of explication occurs during your critical study/analysis of the novel, you must approach the work choosing one or more of the literary elements previously discussed.
Feb 7
Review for final exam. Read chapter 55 in Bedford pp. 2185. The exam will be an identification/explication exam.
Final draft of essay due today.
Final exam on poetry. Very Important! Bring your journals.
You must bring
your journals
Feb 9
Class cancelled for grading papers and exams.
