English 10AC Syllabus - C. Hong Fall 2007
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ENGLISH 10AC: INTRODUCTION TO LITERARY STUDY:
TWENTIETH-CENTURY US RACE AND ETHNIC STUDIES
University of California, Santa Barbara; Fall 2007
Instructor: Caroline Kyungah Hong
Class Times: Tuesdays and Thursdays, 3:30–5:10 PM, in HSSB 1232
Email Address: email@example.com Office Locations: South Hall 2432-J or the ACGCC (South Hall 2710)
Office Hours: Tuesdays and Thursdays, 2:00–3:00 PM, and by appointment
Mailbox: South Hall 2623, Sankey Room (English Department mailroom)
The deadline to drop is Wednesday, October 24, 2007.
This course is designed to prepare you to meet the challenges of upper-division English courses, by providing a brief introduction to literary study. This course will survey key literary terms, devices, movements, theories, and critical traditions, and cover a range of topics and genres, including essays, short stories, poetry, drama, and novels. We will work on developing skills necessary for literary analysis, such as close reading, critical interpretation, research, the use of literary criticism and theory, and essay writing. In addition to these course objectives, the course content will serve as an introduction to twentieth-century US ethnic literatures. Students should be prepared to engage critically (and respectfully) in discussions about race, class, gender, sexuality, and so on. This is designed to be a practical and useful course, so that the skills you learn here will help you throughout the varied experiences of your university and postgraduate careers. I am your #1 resource; if at any time this course is not addressing your various needs or questions, let me know.
Required Texts and Materials
Course reader available at the AS Ticket Office in the UCen
Gish Jen’s Mona in the Promised Land
Ross Murfin & Supryia M. Ray’s The Bedford Glossary of Critical and Literary Terms, 2nd ed.
Email account that you check regularly
Account on our course’s Moodle site: http://moodle.id.ucsb.edu/course/view.php?id=1158 (enrollment key: engl10ac)
CLAS Writing Lab: http://www.clas.ucsb.edu/CLAS_services.htm#Writing
UCSB Library, Ask a Librarian: http://www.library.ucsb.edu/help/ask/index.html
Counseling Services: http://www.counseling.ucsb.edu/
Educational Opportunity Program (EOP): http://www.sa.ucsb.edu/eop/
MultiCultural Center (MCC): http://mcc.sa.ucsb.edu/
Women’s Center: http://www.sa.ucsb.edu/women'scenter/
Resource Center for Sexual & Gender Diversity: http://www.sa.ucsb.edu/sgd/
Sexual Harassment Prevention and Diversity Education: https://shpe.sa.ucsb.edu/
Career Services: http://www.career.ucsb.edu/
American Cultures & Global Contexts Center (ACGCC): http://acc.english.ucsb.edu/
Course Requirements and Expectations
Attendance and Participation – Attendance and punctuality is mandatory. More than 1 unexcused absence will result in a penalty, and more than 5 will result in a failing grade. Frequent tardiness and early departures will also affect your success in this class. If circumstances arise that prevent you from attending or being on time to class, let me know ahead of time. And it is not enough to just show up! In order to really learn and engage with each other and the course material, we (myself included) must show up prepared, with all our materials, having completed readings and assignments, and be ready to actively participate. We will engage in a variety of in-class work, which may include but is not limited to discussion, freewrites, small-group work and presentations, close reading exercises, paper workshops, games, etc. If you come to class and do not participate, you will be dismissed and counted as absent.
Course Blog – Our course blog on Moodle will function as a kind of collective reading journal for the class. Each student is required to post at least 10 entries to our course blog at http://moodle.id.ucsb.edu/blog/index.php?filtertype=course&filterselect=1158. Entries should be at least a paragraph long and give your reaction or impression of a reading, reflect upon the themes and motifs of a reading, examine specific quotes or passages, and/or ask questions that link a reading to the larger questions of the course. Don’t forget to add user-defined tags (the last name of the author you’re blogging about, or key terms) and to mark your entry as published to “anyone on this site.” Blog entries must be posted to Moodle before the assigned reading is due, and late entries will be penalized. I will bring in questions and comments from your blog entries to highlight in class and to spark our discussions.
Quizzes – In lieu of a midterm or final exam, there will be three short quizzes on the course’s key terms and the readings. These quizzes will be on Tue., Oct. 23, Tue., Nov. 13, and Tue., Dec. 4.
Papers – There will be a short paper (3-4 pages) due on Thu., Nov. 8 and a longer paper (8-10 pages) due on Thu., Dec. 6, for which I will provide detailed prompts at least two weeks before they are due. The short paper will be a close reading of an essay, short story, or poem, and the final paper will integrate the short paper with an analysis of either Zoot Suit or Mona in the Promised Land and also require the use of literary criticism and/or theory to further support and illuminate your interpretations. Late assignments will be penalized a full letter grade each day they are late.
Paper Format – Papers must be typed, double-spaced, with 12-point Times New Roman (or comparable) font, 1-inch margins, page numbers, and a heading in the upper-left-hand corner that includes your name, instructor’s name (Caroline Hong), course title (English 10AC), and the date, and they must include parenthetical citations and a Works Cited page formatted according to MLA style. Do not include a cover page and do assemble/staple your work prior to class. I encourage you to printing on both sides of the page in order to save paper.
Revision Policy – Writing is a process, and I encourage any of you who receive a C or lower on your short paper to revise and resubmit. You are required to see me in person to discuss revision, which you will have two weeks to complete. The original and revised paper grades will be averaged.
Office Hours – You are required to meet with me in office hours once to discuss an assignment or the course material, though you are of course encouraged to see me more than once. This conference will count towards your attendance and participation grade. Keep in mind that office hours are not for me to provide you all the answers and ideas. Come prepared with your own issues and questions so that we can grapple with them together.
No student will pass this course without completing all of the above requirements.
Extra Credit – There will be a few extra credit opportunities TBA, for which you can attend an approved event and write a 2-page paper summarizing the event and discussing how you see it engaging with the central questions and themes of this course. These must be turned in no later than two weeks after the event.
Attendance and Participation 10%
Course Blog Entries (worth 1% each) 10%
3 Quizzes (worth 10% each) 30%
Short Paper 20%
Final Paper 30%
American Cultures & Global Contexts Center (ACGCC) – The ACGCC is an interdisciplinary center, housed in the English Department, that provides a space (SH 2710) and year-long programming for students and faculty interested in American Studies. For more on the center and its events, check out the ACGCC events page at http://acc.english.ucsb.edu/events/. In addition, the English Department encourages upper-division English majors to pursue their literary and critical interests by formally declaring an area of specialization. For more on the ACGC specialization, check out http://acc.english.ucsb.edu/specialization/.
Computer Access – There are several computer labs on campus open for your use. You should be able to go online, type documents, print, etc., using your UCSB NetID and password. Hours and locations for the LSIT labs can be found at http://www.lsit.ucsb.edu/labs/ and for the IC labs at http://computerlabs.ic.ucsb.edu/location/. Note—please save your work frequently and keep your printers full of ink! “Technical problems” are not valid excuses for being unprepared for class.
Academic Integrity – Academic dishonesty is an assault on the integrity of the university and intellectual property and shows extreme disrespect for your instructor, fellow students, and yourself. Taking credit for work that is not your own, downloading papers or parts of papers from the internet, and submitting work that you have written for another class or purpose are all constituted as plagiarism. Plagiarism is a serious offense that will not be tolerated and can only result in the failure of this class and possibly suspension or expulsion from the university. When in doubt, cite. If you are ever tempted to plagiarize or are unsure whether something does or does not constitute plagiarism, please come talk to me.
Disabilities – If you are a student with a disability and would like to discuss special accommodations, please contact me and apply for services with the Disabled Students Program (http://www.sa.ucsb.edu/dsp/).
Equal Access – Sections must provide fair and equal access to all students regardless of race, ethnicity, nationality, gender, sexuality, economic background, religion, age, ability, and so on. Each student in this class is expected to treat other students with respect, and hate speech or other acts of targeted prejudicial speech will not be tolerated. Any student’s behavior that intimidates or makes difficult the attendance of another student will be considered harassment, including unwanted and unwelcome sexual advances. If you ever feel uncomfortable with a situation or a discussion that occurs before, during, or after class, please do not hesitate to talk to me, or, if you are not comfortable speaking with me, please talk to someone in the Office of Student Life (http://www.sa.ucsb.edu/osl/) or the Women’s Center (http://www.sa.ucsb.edu/women'scenter/). Your confidentiality will always be respected in taking any necessary actions.
What is listed on the syllabus for that day is what you must already have prepared.
R 9/27: Introductions
Go over syllabus
What is literature? And why should we study it?
T 10/02: Essays
Join and Browse Our Moodle Site!
Readings Due: Michael Omi and Howard Winant’s “Racial Formation”
Henry Louis Gates Jr.’s “Writing, ‘Race,’ and the Difference It Makes”
Key Terms: race (and literary studies); ethnicity; racism; racial formation; canon; cultural criticism, cultural studies; discourse
R 10/04: Essays (continued…)
Readings Due: James Baldwin’s “Notes of a Native Son”
Eric Liu’s “Notes of a Native Speaker”
Zora Neale Hurston’s “How It Feels to Be Colored Me”
Key Terms: genre; convention; essay; tone; denotation; connotation; diction; syntax; New Criticism; close reading; reader-response criticism
T 10/09: Essays (continued…)
Readings Due: Cherríe Moraga’s “La Güera”
Audre Lorde’s “The Master’s Tools Will Never Dismantle the Master’s House”
Alice Walker’s “In Search of Our Mother’s Gardens”
Key Terms: figurative language; figure of speech; ambiguity; patriarchal; hegemony; ideology; sexuality; feminism criticism; gender criticism
R 10/11: Short Fiction
Readings Due: Maxine Hong Kingston’s “White Tigers”
excerpts from Sandra Cisneros’s The House on Mango Street – “The House on Mango Street," “My Name,” “Hips,” “Red Clowns,” “A House of My Own,” and “Mango Says Goodbye Sometimes”
Key Terms: narrative; fiction; short story; autobiography; memoir; protagonist; point of view; plot; setting; character; bildungsroman; kunstlerroman; realism; myth
T 10/16: Short Fiction (continued…)
Screen clips from The Lone Ranger
Readings Due: Helena María Viramontes’s “The Moths”
Sherman Alexie’s “The Lone Ranger and Tonto Fistfight in Heaven” and “I Hated Tonto (Still Do)”
Sandra Cisneros’s “Woman Hollering Creek”
Key Terms: representation; motif; trope; theme; symbol; symbolism; irony; satire; appropriation; historicism; new historicism; hegemony
R 10/18: Short Fiction (continued…)
Readings Due: David Wong Louie’s “Displacement”
Jhumpa Lahiri’s “Interpreter of Maladies” and “The Third and Final Continent”
Key Terms: hyperbole; allusion; image; imagery; orientalism; postcolonial literature and postcolonial theory
T 10/23: Poetry – Sonnets
Readings Due: Claude McKay’s “The Harlem Dancer”
Countee Cullen’s “Yet I Do Marvel”
Gwendolyn Brooks’s “The White Troops Had Their Orders But the Negroes Looked Like Men” and stanza II of “The Children of the Poor” from The Womanhood
Key Terms: poetry; verse; rhyme; rhyme scheme; form; sonnet; meter; scansion; caesura; end-stopped line; enjambment; Harlem Renaissance
R 10/25: Poetry (continued…) – More on Forms
Readings Due: Vince Gotera’s “First Mango”
Dudley Randall’s “To the Mercy Killers” and “Ballad of Birmingham”
Julia Alvarez’s “Bilingual Sestina”
John Yau’s “Chinese Villanelle”
Bret Harte’s “Plain Language from Truthful James”
Key Terms: stanza; refrain; conceit; metaphor; simile; ballad; ballad stanza; sestina; villanelle; anaphora; structuralism; structuralist criticism
T 10/30 Poetry (continued…) – Experimenting with Form
Readings Due: Langston Hughes’s “Dream Deferred,” “The Negro Speaks of Rivers,” “The Weary Blues,” “I, Too,” and “Democracy”
Gwendolyn Brooks’s “We Real Cool”
Amiri Baraka’s “An Agony. As Now”
Audre Lorde’s “The Woman Thing”
Key Terms: lyric; blues; alliteration; assonance; consonance; dissonance; onomatopoeia; double consciousness; poststructualism; deconstruction
R 11/01: No Class – Paper Conferences
T 11/06: Poetry (continued…) – Free Verse
Readings Due: Langston Hughes’s “Theme for English B”
Ana Castillo’s “In My Country”
Gloria Anzaldúa’s “To Live in the Borderlands Means You”
Li-Young Lee’s “The Cleaving”
Key Terms: blank verse; free verse; modernism; modernist period; postmodernism; postmodern period
R 11/08: Poetry (continued…) – More Free Verse and Spoken Word
Short Paper Due!
Screen HBO’s Def Poetry
Readings Due: Janice Mirikitani’s “Firepot”
June Jordan’s “Poem about My Rights”
Lois-Ann Yamanaka’s “Kala: Saturday Night at the Pahala Theatre”
jessica Care moore’s “I’m a hip hop cheerleader”
Key Terms: spoken word; metonymy; synecdoche
T 11/13: Drama
Reading Due: Zoot Suit, Act I
Key Terms: drama; play; class (and literary studies); Marxism; Marxist criticism; interpretive communities; cultural materialism
R 11/15: Drama (continued…)
Reading Due: Zoot Suit, Act II
Key Terms: foreshadowing; psychological criticism and psychoanalytic criticism
T 11/20: Drama (continued…)
Screen Zoot Suit (1981)
Key Terms: oxymoron; paradox; palimpsest; gay and lesbian criticism; queer theory
R 11/22: Thanksgiving – No Class
T 11/27: Novels
Reading Due: Mona in the Promised Land, Part I (Chs. 1-5, p. 1-103)
Key Terms: novel; comedy; parody; dialectic; dialogic criticism; heteroglossia
R 11/29: Novels (continued…)
Reading Due: Mona in the Promised Land, Part II (Chs. 6-10, p. 107-215)
Key Terms: dénouement; foil; intertextuality; model minority; disability studies
T 12/04: Novels (continued…)
Reading Due: Mona in the Promised Land, Part III (Chs. 11-Epilogue, p. 219-304)
R 12/06: Last Day of Class
Final Paper Due in my mailbox by 4:00 PM!
This syllabus is subject to change.