Syllabus
World Literature: 18th Century to the Present

Syllabus Sections

Publish Date

02/27/2011 10:03:18

World Literature: 18th Century to the Present

ENGL-2333

Spring 2011
01/18/2011 - 05/15/2011

Course Information

Section 006
Distance Learning
ONL CYP
Beverly Tinsley

Office Hours

No office hours have been entered for this term

Course Requirements

Spring 2011

World Literature 2

     Dr. Beverly B. Tinsley

    btinsley@Austincc.edu

 

 Course Syllabus, World Literature 2

    Enrollment in any literature course requires completion of English 1301 and English 1302 or their equivalent; instructor will verify.

Course Description:  World Literature 11 is a study of the literature of America, England, Europe, South America, Asia, and Africa in the context of historical and cultural perspectives.

English 2333, World Literature from 1500 to the Present, studies a wide variety of representative literature from many of the world’s cultures.

Course Objectives

·    To provide a working knowledge of the characteristics of various literary genres.

·   To develop analytical skills and critical thinking through reading, discussion, and written assignments.

·   To broaden a student’s intercultural reading experience.

·    To deepen a student’s awareness of the universal human concerns that are the basis for literary works.

·     To stimulate a greater appreciation of language as an artistic medium and of the aesthetic principles that shape literary works.

·   To understand literature as an expression of human values within an historical and social context.

Course Requirements/Grading

·     Writing assignments, including analytical essays and tests, will constitute at least two-thirds of the student’s final grade.

·     The instructor may count other types of class projects, together accounting for no more than one-third of a student’s final grade.  Projects might include quizzes, readings, dramatizations, journal writing, brief literary writing exercises, oral book readings, reports on authors, or other activities.

·      The instructor will provide more specific course objectives and requirements.  A student not complying with these requirements may be withdrawn from the course at any time up to the last official withdrawal date.  These are included at arious places in the course, including the Course Daily Assigments and Schedule.

Scholastic Dishonesty

Acts prohibited by the College for which discipline may be administered include scholastic dishonesty, including but not limited to cheating on an exam or quiz, plagiarizing, and unauthorized collaboration with another in preparing outside work.  Academic work submitted by students shall be the result of their thought, research, or self-expression.  Academic work is defined as, but not limited to, tests and quizzes, whether taken electronically or on paper; projects, either individual or group; classroom presentations; and homework. 

Students with Disabilities

Each ACC campus offers support services for students with documented physical or psychological disabilities.  Students with disabilities must request reasonable accommodations through the Office for Students with Disabilities on the campus where they expect to take the majority of their classes.  Students are encouraged to do this three weeks before the start of the semester. 

Student Freedom of Expression

Each student is strongly encouraged to participate in class.  In any classroom situation that includes discussion and critical thinking, there are bound to be many differing viewpoints.  These differences enhance the learning experience and create an atmosphere where students and instructors alike will be encouraged to think and learn.  On sensitive and volatile topics, students may sometimes disagree not only with each other but also with the instructor.  It is expected that faculty and students will respect the views of others when expressed in classroom discussions.

Withdrawal Policy

The Texas State Legislature passed a bill stating that students who first enroll in public colleges and universities beginning in fall 2007 and thereafter may not withdraw from more than six classes during their undergraduate college career. See ACC Student Handbook for further information.

Keep your attention focused on when the last date for withdrawing from any course as announced on the official ACC calendar.

 

 

Attendance 

Regular signing on to Blackboard is expected and required.  Excessive lengths of time when no attention is given to this course may result in a lowered grade or even removal from the class. 

There is also a program at ACC into which your name may be entered so that you may be contacted and offered help should you not respond to my emails.

Online tutoring is available through Smarthinking. Contact your instructor or Online Support at ACC for instructions.

Grading

There will be a possible total of 1000 points in this class.  In this total will be quizzes, a midterm exam, a persuasive paper/project of at least 4 pages to be submitted at the end of the course, an individual report on your author to be presented as part of your final project, a working bibliography, also part of your final project, an individual author report or a pair report done with a classmate.

The points are divided as follows:  (These are subject to change slightly as circumstances dictate in this class.)

Quizzes:      800 points. (Total approx.)

Initial Discussion Board:   25 points

Other Discussion Boards:  100 points total

Individual or Pair Report on author or period: 100 points

Poetry Festival Interpretation (each as part of a pair): 75 points each

 

 

 

Final Paper/Project:    200 points total

See breakdown of points for final paper below:

       

          Written Analysis of author and work :  150 points

             Research/MLA/sources/DB proposal for paper and project:   50 points

             

Textbook:  The Norton Anthology of World Literature, 2nd Edition, Vols. D, E, F

Grade of

                 90-100 percent =A

                  80-89  percent = B

                  70-79  percent = C

                   60-69 percent = D

A point total below 60 percent earns an F.

Professor Information

          Dr. Beverly B. Tinsley

          

  

Readings

 

World Lit II Reading List and Schedule

Dr. Beverly B. Tinsley   btinsley@austincc.edu

Important Notes:

Each of you is assigned to a smaller learning community or group which has been given a name like Enlightened Thinkers or Swift’s Swift Ones.  You are to contact these group members via email.  You have the capability to do live chats via the group pages.  You will break the group down into pairs, or in a few cases, you may work alone or in threes for the Poetry Festival.

Post your Introduction on the Discussion Board as soon as possible. To access the DB, go to the opening page of this course, click on Communications, then on Discussion Board when the list isgenerated.

Discussion Board 1:  Introduce yourself.  See suggestions for your  personal content on Discussion Board site  You access the Discussion Board by clicking on Course Tools on the Main Menu; then from that list that appears choose Discussion Board; click on Discussion Board 1,“Introduce yourself” and enter information about yourself. This is worth 25 points. Post these bios by Sunday night, Week 2 for credit.

 

Choose your author for a special report and email me your choice.

There are 30 choices for author reports.  There are also a few single/pair reports on periods or movements in literature.  Instructions for the Reports are in the Reports, Papers, and Projects section of this course. You do not do both an Author Report and a Single/Pair Report.  Choose one.

Week 1-2: January 18-30

You should soon be well into the following assigned readings and activities very soon.  The course moves fast.  E-texts of these early readings are included in the Course Document section of this course if you do not have a book yet.

 

Read:

1.    Lecture One, “Enlightenment” in Lectures on Main Menu.

2.   Moliere, Tartuffe, in your Norton Anthology text or as e-text found in Course Documents Section if you don’t have your text yet.

Course Documents:       a. Always read the accompanying Course Document for each selection assigned,   as these will help you to understand the material we are reading.  These articles are links to material which contains what scholars say about the works we read, what the significance is of the author and his work, and guidance as to what the meaning is.

b. Sometimes there are summaries to allow you to check your comprehension, but these summaries do not take the place of reading the originals.

c. These course documents are extremely important in that they take the place of in-class lectures.

Take:

Quiz 1 (Enlightenment) (Quiz section, Main Menu)

Quiz 2 on Tartuffe(Quizzes section on Main Menu)

Take these quizzes by Midnight Sunday, Week 2.

Extra Credit:There are several movies of Tartuffe in the library of ACC or though an online service like Netflix. You can have one delivered to the campus nearest you if you wish to see it or have one sent to your computer or your home..  You may earn 10 points extra credit if you watch the movie and write a 75-100-word reaction to it and email it to me before mid-semester.

Write: (Repeat)

Discussion Board 1:  Introduce yourself.  See suggestions for your  personal content on Discussion Board site  You access the Discussion Board by clicking on Course Tools on the Main Menu; then from that list that appears choose Discussion Board; click on Discussion Board 1,“Introduce yourself” and enter information about yourself. This is worth 25 pointsPost these bios by Sunday night, Week 2 for credit.

`

Examine:

Author Report sample entry on Moliere in this course inReports, Papers andProjects Section, Main Menu. List of all reports there as well.

Choose:

Choose your author and email me immediately.

Choose your author for a special reportand email me your choice.  Instructions for the Author Report are in the Reports, Papers, and Projects section of this course. (Repeat)

Whoever chooses an author first prevails.  Look at your personal schedule to decide whether you want to present your report early or later in the semester.  Information on each author is found in the Course Documents sectionin thefolder with the author’s name.  All Author reports are due by Wednesday midnight of the week we read that author.

Week 3: January 31-February 6

Read:

  1. Swift, “A Modest Proposal,” text oras e-text inCourse Documents if you haven’t gotten your text yet;
  2. Read:  “Satire” and “Utopia  inDefinitions Folder
  3. Read: Material in Course Documents Folder  on Swift  and “A Modest Proposal”;   these articles take the place of in class lectures and can help you understand Swift and the timesd.
  4. Read:  Alexander Pope, “The Rape of the Lock” Cantos 1, 2 and 3 and summary of Cantos 4 and 5 in Course Documents.  See Course documents (Pope Folder) for help with the plot, satire, definition of Mock Epic and meaning of the selection.

 

Author Report 1on Swift, done by a class member, is also intended to help your understanding of Swift and his World in the England of the Enlightenment.


Repeat:  All author reports are due by Wednesday midnight of the week we read these authors. For example, Swift report is due Wednesday of this week, Week 3.  Reports are posted on the Discussion Board under the heading of the author.

See AuthorReports Sectionof this course under Main Menu:   Reports, Papers, Projects for specific instructions.  Post onDiscussion Board,

Author Report 1:  Swift (Week 3, Wednesday midnight)

Author Report 2:  Pope(Week 3, Wednesday midnight)

Take:

Quiz  3 on Swift and Pope (Quizzes Section, Main menu) Must be taken by Sunday midnight of Week 3

 

Week 4: February 7-13

 

Read:

  1. Voltaire, Candide, 517 – 580; 2. Course Documents in folder on Voltaire and Candide; 3. Rousseau, Confessions ( Vol. E, pp. 660—672

 

Take:

Quiz 4a, 4b:  Candide and Confessions

Author Report 3: Voltaire (Due Week 4, Wednesday midnight).

Author Report 4:  Jean Jacques Rousseau (due Wednesday midnight)

Week 5: February 21-27

Chinese and Japanese Literature (See Folder in Course Documents)

Read:

  1. (Japanese)Basho, The Narrow Road of  the Interior;
  2. Kojima Nobuo, “The American School” (20th century Japan)  Work is in Vol. F of your text
  3. Lu Xun, “Diary of a Madman,” 1917 - 1938 ;  Vol. F (20th century China)
  4. a. Course Documents on all authors and works.  b. See example of importance of translations in world literature using Basho, Narrow Road of the Interior as an example

Author Report 5: Basho (Week 5);

Author Report 6: Kokima Nubuo (Week 5); Author Report 8:  Lu Xun (Week 5)

Quiz 5 must be finished by the end of week 7

Week 6-7:  February 28-March 6

This week of our Poetry Festival will be a slightly lighter one so you can catch up on any work you have fallen behind on.

Read:

Lecture 2:  a. Revolution and Romanticism in Europe and America

b. Introduction, Norton text, 651-661 Vol. E;

c. Course Documents in How to Analyze a Poem and Poetic Terms folders.

Poetry Festival

Notes/help with interpretation/biography/technical details on all the poems and poets below are found inCourse Documents Section and in the Norton text’s heading of the author’s work.   Take these steps as soon as you can:

  1. Pick a partner from your group, or choose a poem to work on alone.      Groups with four or six members, will most often form groups of two.  Groups with five often form two groups of two, and one works alone.
  2. Readthe Assignment, which states that pairs of students will interpret a poem by an author listed below and post their joint interpretation on the Discussion Board under the name of the author listed there.  The same is true if a student chooses to work alone.
  3. Divide the work for the report.  One or both of the members will want to provide a bit of background and biography to put the work in a context, but both students should share responsibility for the interpretation and the analysis of its poetic elements. Your work must include internal citations and a Works Cited done in MLA style.
  4. Your reading assignmentis the group of poems chosen for interpretation.  You quiz should be taken at the end of Week 7.  You should read all poems chosen, read the reports posted on the Discussion Board, and respond to at least five of them.

Specific Instructions on How to Interpret a Poem:

Consult:                  ;

Course Documents Folder,Poetry Festivalon this Assignment.

Read:

  1. The information on “How to Interpret a Poem” using Blake’s poemsas an example.  The poems used are “The Lamb,” “The Chimney Sweeper” (2 poems) and ”The Tyger.”  Poems found in your text:  Blake, "The Lamb" p. 783 and "The Tiger" p.786.

You may organize your analysis in paragraph(s) form or in numbered form as in the Blake examples.

Write:

Your report will be a bit different from the examples, however, in that it will have a short biographical or historical element which will be a separate section.   It must have a Works Cited and internal citations using MLA style.

These are the poems and poets you and your partner(s) will choose from:

English Romantics

Extra credit possible if you choose both poems when two listed.

1.  William Wordsworth, "The World Is Too Much with Us" p.  800 and/or “Lines Composed a Few Miles Above Tintern Abbey” (two students will work on the interpretation and include a bit of bio and information about the English Romantic period to put the poem in a context).

2.  Samuel Taylor Coleridge, "Kubla Khan," pp. 813-814 (two students) and     a bit of bio and history of drug use to put the poem in a context.

3.  John Keats, "Ode on a Grecian Urn" and/or “La Belle Dame Sans       Merci,” pp. 829-833 (bio for context) (Two students).

4.     Percy Bysshe Shelley,  ”England in 1819” and/or “Ode to the West Wind,”  (analysis plus bio for context) (Two students).

German/European Romantics

 

  1. Johann Wolfgang von Goethe, “Prologue in Heaven,” from Faust, op. 681
  2. Frederich Holderlin, Germany "The Half of Life," p. 836 (1 student on Holderlin, working as a pair with student working on Novalis below.  (Pair gives some information on German romanticism and bio for context)
  3. Novalis, Germany, “Yearning for Death” (1 student, working as a pair with student doing Holderlin above)
  4. Heinrich Heine, “The Silesian Weavers” (2 students) p. 845n (bio and context)
  5. Rosalia de Castro, Spain (1 student)"As I Composed this Little Book," p. 859 (student working with student doing Bunina below ( bios, context of women in poetry in this time in history, etc )
  6. Anna Petrovna Bunina, Russia (1 student) "From the Seashore"p. 840 (1 student working with student doing de Castro above; see #8)
  7. Victor Hugo (France), “Ex nos facto est” (2 students).  (Bio and context)

 

American Romantics and Later

 

  1. Edgar Allan Poe, “The Raven” AND “Ulalume” (2 students with note on arts in America + bio) E-texts in Course Documents section
  2. Walt Whitman, (2 students + bio and state of American romanticism) E-text of poems in Course Documents section
  3. ***Emily Dickinson; (three students and must cover at least five poems):#216, 449, 465, 712, 1564 (a group with similar theme); (one student each poem as needed) 1129, 585, 1207, 1564, 632, 328, 1084 Texts of additional poems in Dickinson folder.  Information on New England and its poets in the American romantic era.
  4. T. S. Eliot, “The Love Song of J. Alfred Prufrock”

 

English Victorians and Edwardians

 

  1. Alfred Lord Tennyson, "Ulysses" p. 887. (2 students + bio and info about Victorian period)
  2. Robert Browning, "My Last Duchess" pp, 910-911 and “the Bishop Orders his Tomb” (three students + bio and definition of dramatic monologue for context) and include Elizabeth Barrett Browning, “How Do I Love Thee,”  e-text in Course Documents.  Women in Victorian England and her love of Robert Browning (bio). (three students)

 

European Symbolism/Decadence and Later

 

  1. Charles Baudelaire, Paris Spleen or The Flowers of Evil; “To the Reader” or  “One O’clock in the Morning” (2 students)
  2. Stephen Mallarme,  “The Afternoon of a Faun” (1 or 2 students)
  3. Paul Verlaine, “Autumn Song” or “Moonlight” (1 or 2 students)
  4. Arthur Rimbaud, “The Drunken Boat” (1 or 2 students)
  5. Ranier Maria Rilke, “The Swan” (2 students)

 

Non-Western Poetry

 

  1. Alfonsina Storni, “Squares ad Angles” p. 2123 (2 students)
  2. Leopold Sedar Senghor,  “Letter to a Poet” p. 2506
  3. Rabindrasnath Tagoe,  “The Golden Boat” p. 1681
  4. Derek Walcott, “Sea Cranes,” p.  2967
  5. Lorna Goodison, “The Pictures of My New Day” p. 3138
  6. Yehuda Amanchi, “If I Forget Thee Jerusalem” p.  2795
  7. Kamau Braithwaite, “Limits”  p. 2985
  8. Any poet or poem in our text not mentioned above

 

The first group to email me a choice of poet will have him or her.

Your final reading list will be those poems chosen for interpretation.

Post your Discussion Board Interpretation by Wednesday, Midnight of Week 7.  Read the poems chosen by your classmates and then their postings. You must respond to at least 10 poems before midterm in about 50-word posting in the Discussion Board under the main entry for that poem.

There will be a quiz over the poems covered in the poetry festival at the end of Week 8.

Take:

Quiz 5: Poetry Festival; must be completed by Sunday Midnight of Week 8.

 

Before mid semester, read the chosen poems and prepare for the quiz at the end of Week 8.  You must respond to at least 20 of your classmates’ Poetry Interpretation postings on the Discussion Board before spring break.

Week 8: March 7-13

There will be no official midterm examination.

This is what must be finished by the end of Week 8:

  1. Author Reports 1-8 must have been posted on the Discussion Board on the date assigned. (50 points) Late work will be penalized 10 points
  2. Students must have read and responded to the Author Reports 1-8 on the Discussion Board (5 points each response)
  3. Students (pairs or singly) must have posted Poetry Interpretation and author notes on Discussion Board (50 points) Late work will be penalized 10 points.  Must use MLA style with internal citations and  a Works Cited.
  4. Students must read these Poetry Interpretation reports and respond to them (must respond briefly to at least 15) on the Discussion Board under the heading of the poet and poem.
  5. Must have completed quizzes 1-5.

Spring break March 14-26

Begin Second Half in Week 9:

A New Beginning; No work from the first half of this course will be accepted.

Week 9: March 21-March 27

Read:

Leo Tolstoy, “The Death of Ivan Ilyich;  Course Documents in Russian AuthorsFolder

Author Report 9:  Leo Tolstoy,

Anton Chekhov, The Cherry Orchard (drama)See Course Documents, Russian Authors Folder

Author Report 10:  Anton Chekhov

Henrik Ibsen, Hedda Gabler . (drama)See Course Documents in Ibsen Folder; see note on extra credit above

Author Report11:  Henrik Ibsen

Single/Pair Report 2:  Realism in European Drama and Fiction (19th century); especially  stressing the masterwriters of Germany and other European countries

Quiz 7:  Tolstoy, Chekhov, Ibsen

Extra Credit: Movies of both dramas (The Cherry Orchard and Hedda Gabler are available through the ACC Library or Netflix.  Extra Credit 5points each; must submit short report (100 words) with your reactions.

 

Week 10:  March 28-April 3

Read:

Introduction: Norton Text, The Modern World:  Self and Others in Global Context,  and Timeline, Vol. F, (1572-1607)All works continue to be accompanied by relevant Course Documentswhich you should read to help with each of the works

Czechoslovakia:      Franz Kafka, “The Metamorphosis” and CourseDocuments in European Literature Folder to help with understanding.

Author Report 12:  Franz Kafka

Italy:  Pirandello, Six Characters in Search of an Author (drama)  (1721-1765)

Author Report 13:  Pirandello

Pairs/Single Report 3:  Surrealism in Literature (source of the movement, stressing masterpieces; define the term)

Quiz 8:  Kafka, Pirandello (Sunday night midnight)

 

Week 11: April 4-April 10

Read: (Literature written in Spanish or Portugese)

South America:    1.Jorge Luis Borges, “The Garden of the Forking Paths ”(2411);  2. Clarice Lispector, “Daydreams of a Drunken Woman,”(2800);  3. Gabriel Garcia Marquez, “Death Constant beyond Love”(2845)  4. Ruben Dario, “To Roosevelt,” “Leda” and “Fatality” (1712-1215, 1718-20)

Course Documents available on all works in Latin American and Spanish Authors Folder

Spain:   1. Federico Garcia-Lorca, “Lament for Ignacio Sanchez Mejias”(2267);   2.  Pablo Neruda,  “Tonight I Can Write,” and “Walking Around” (2438-2443)

All these Course Documents in Latin American and Spanish/Portugese Authors  Folder

Author Report 14: Jorge Luis Borges

Author Report 15:  Gabriel Garcia Marquez

Author Report 16:  Clarice Lispector

Author Report 17:  Federico Garcia-Lorca

Author Report 18:  Pablo Neruda

Author Report 19:  Ruben Dario

Quiz 9:  Borges, Garcia Marquez, Lispector, Garcia-Lorca, Neruda, Dario

Week 12:  April 11-17

Read:

Ireland:   a. William Butler Yeats, “Easter 1916,” “Sailing to Byzantium,”

b.  James Joyce, “The Dead”  Course Documents in Irish Authors Folder.

Author Report 20:  James Joyce

Author Report 21:  William Butler Yeats

England:  Virginia Woolf, A Room of Own, Chapter 2-3 (1974-1995)

Author Report 22: Virginia Woolf

U. S:  Silko, “Yellow Woman,” 3143 – 3150.(Native American); Richard Wright, “The Man Who Was Almost a Man,” (African American)

Course Documents in American Writers Folder

Author report 23:  Leslie Marmon Silko

Author report 24:  Richard Wright

Single/Pair Report 4:  Latino Literature (works written by writers of Hispanic origin written in English); examine greatest writers and works

Quiz 10:   Joyce, Yeats, Woolf Silko, Wright

Week 13: April 18-24

African Writers: Course Documents in African Writers Folder

Read:

Egypt:   Naguib Mahfouz,  “Zaabalawi” 2527 - 2538;  Nawal al Saadawi, “In Camera”

Author Report 25:  Mahfouz

Author Report 26: Nawal al Saadawi

South Africa:  Doris Lessing, “Old Chief Mshlanga”  Course Documents in African Writers Folder

Author Report 27:  Doris Lessing

France and Algeria:    Albert  Camus, “The Visitor”

Author Report 28:  Camus

Israel:    A.B. Yehoshua, “Facing the Forests” (3071-3100)

Author Report 29:  Yehoshua

Single/ Pair Report 5:  African Literature, history and current state

Quiz 11:  Mahfouz, Lessing, Camus, Yehoshua

Begin work on final paper:  research and organizing.  Pick one of the works we have read that you have enjoyed and want to explore further.  Lectures are intended to give you direction in your research.

Week 14: April 25-May 1

Read:

Nigeria:   Achebe novel, Things Fall Apart, part 1 and 2 , (2855-2949)

Course documents in African Writers folder on man and work

Author Report30:  Achebe

Week 15:  May 2-8

Read:  Finish  Achebe, Things Fall Apart:

Quiz 12:  Achebe, Things Fall Apart,

Work on Final Paper

Week 16: May 9-15

Completing final paper. Catch up on all missing work including journals, quizzes

Final Paper due by Wednesday midnight via email.  Must have Works Cited and Internal Citations done according to MLA style.

See Specifics in Paper and Projects section of this course.   Works received after this date or without proper documentation will be penalized 35 points,

Any Student going to the Writing Center at one of the campuses  for help with content, MLA style, and general grammatical and punctuation help will receive 10 points extra credit. Email me the name of the tutor your worked with.

All Quizzes must be completed by Sunday, midnight May 8 for credit to be given.

No Final Exam! Paper is your final effort,

Any student who does not choose an Author Report (30 available) may work alone or with a partner and pick one of the specialized topics about regions, movements, and eras in literature.

 

Bottom of Form

 

  

 

Course Subjects

As shown by the readings assigned above, this course covers the major writers in World Literature from Moliere to the present.  All cultures of the world are represented in the reading list.  There are supporting documents and lectures to help students understand world movements and events that affected the literature of the age.

Student Learning Outcomes/Learning Objectives

Course Objectives

·    To provide a working knowledge of the characteristics of various literary genres.

·   To develop analytical skills and critical thinking through reading, discussion, and written assignments.

·   To broaden a student’s intercultural reading experience.

·    To deepen a student’s awareness of the universal human concerns that are the basis for literary works.

·     To stimulate a greater appreciation of language as an artistic medium and of the aesthetic principles that shape literary works.

·   To understand literature as an expression of human values within an historical and social context.