English 10AC Syllabus - D. Pecchenino Fall 2007
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[edit] Overview
[edit] Introduction
English 10AC: Portraits of the American Family
Instructor: Dan Pecchenino
Enroll Code: 16121
Time: MW 10-11:40 am
Place: Phelps 3523
E-mail: danpecchenino@umail.ucsb.edu
Office: South Hall 2432 G
Office Hours: MW 12-1 pm
[edit] Course Description
In this course we will be analyzing several different representations of the family in 20th century American literature. Our goal is not to come up with a theory for what makes an “American” family; rather, we are seeking a better understanding of the fundamental relationships that construct what is for many the first site of teaching and learning, and why these relationships occupy a central location in American literature. We will be exploring many themes throughout the course, including: the juxtaposition of the comic and tragic modes, the roles of parents and children within familial power relations, cross-generational communication (or the lack thereof), and the power of narrative to shape the future of not only individuals, but families themselves. With these ideas in mind we will read a variety of texts including novels, short stories, essays, poems, films, a play and a graphic novel. Coursework will include daily reading quizzes, three short papers and one longer research project that will ask students to explore some of the narratives of their own families.
More generally, English 10AC is designed to acquaint students with the purposes and tools of literary interpretation. It introduces the techniques and vocabulary of analytic discussion and critical writing. More specifically, English 10 AC introduces students to the American Cultures and Global Contexts Center located within the English Department.
[edit] Course Texts
Long Day’s Journey into Night by Eugene O’Neill
The House on Mango Street by Sandra Cisneros
As I Lay Dying by William Faulkner
Maus I & II by Art Spiegelman
A course reader that can be purchased from ASUCSB
[edit] Course Schedule
[edit] Week 1
Monday, Oct. 1 -Introductions -Homework: “You Can’t Kill the Rooster,” “A Shiner Like a Diamond,” “Get Your Ya- Ya’s Out” by David Sedaris
Wednesday, Oct. 3 -Reading Quiz -Watch Woody Allen’s Radio Days in class -Homework: “Distance” and “A Small, Good Thing” by Raymond Carver write a 2-3 page essay analyzing the interaction of comedy and tragedy in Sedaris, Carver or Radio Days (Rough Draft due Oct. 8, Final Draft due Oct. 10)
[edit] Week 2
Monday, Oct. 8 -Reading Quiz -Workshop rough drafts of papers in class -Homework: Read Act I of Long Day’s Journey into Night
Wednesday, Oct. 10 -Reading Quiz -Introduce O’Neill -Dramatic Readings -Homework: Finish Long Day’s Journey into Night
[edit] Week 3
Monday, Oct. 15 -Reading Quiz -Show last act from Long Day’s Journey into Night (film) -Homework: Read Robert Lowell poems in reader
Wednesday, Oct. 17 -Reading Quiz -Guest lecture by Ryan Boyd on Lowell and Confessional poets -Homework: Read poetry on pages 59-71 in the reader (Plath, Sexton, Brooks)
[edit] Week 4
Monday, Oct. 22 -Reading Quiz -View clips from film Sylvia -Homework: Read poetry on pages 72-83 in reader; read “Notes of a Native Son” by James Baldwin (in reader); write a 2-3 page analysis of one poem, or a 3-4 comparison of two poems (Rough Draft due Oct. 24, Final Draft due Oct. 29)
Wednesday, Oct. 24 -Reading Quiz -Introduce Baldwin and discuss essay -Workshop rough drafts of paper -Homework: Read pp. 1-62 of The House on Mango Street; read “Chapter Nine” from Harry Crews’ Childhood: An Autobiography of a Place (in reader)
[edit] Week 5
Monday, Oct. 29 -Reading Quiz -Homework: Finish The House on Mango Street
Wednesday, Oct. 31 -Reading Quiz -In-class writing/memory exercises on childhood experiences -Homework: Read pp. 1-99 of As I Lay Dying
[edit] Week 6
Monday, Nov. 5 -Reading Quiz -Introduce Faulkner and genres (modernism, regionalism, veritism) -Homework: Read pp. 100-165 of As I lay Dying
Wednesday, Nov. 7 -Reading Quiz -Homework: Finish reading As I Lay Dying; write a 2-3 page analysis of one character’s role in the Bundren family of As I Lay Dying (due Nov. 14)
[edit] Week 7
Monday, Nov. 12 -No Class (Veterans’ Day)
Wednesday, Nov. 14 -Reading Quiz -Begin talking about Genealogy/Family Narrative Project -Finish up discussion of As I Lay Dying -Homework: Read Maus I
[edit] Week 8
Monday, Nov. 19 -Reading Quiz -Extended Office Hours to discuss final project -Hand out final project prompt -Homework: Read Maus II
Wednesday, Nov. 21 -No Class (Thanksgiving Break) -Homework: E-mail me an initial response to the ending of Maus II
[edit] Week 9
Monday, Nov. 26 -Reading Quiz -Watch clips from Wes Anderson’s The Royal Tenenbaums -Homework: Read Maxine Hong Kingston’s “No Name Woman;” read Ernest Hemingway’s “Soldier’s Home” in the reader
Wednesday, Nov. 28 -Reading Quiz -Discussion of material -In-class writing for final project -Homework: No reading; work on final project (due Dec. 5)
[edit] Week 10
Monday, Dec. 3 -Wrap up discussion -Extended office hours for consultation
Wednesday, Dec. 5 -Turn in final project
- I reserve the right to adjust assignment due dates and reading assignments at any time during the quarter.
[edit] Course Policies
[edit] Grade Breakdown
Throughout the course of the quarter we will engage in three primary types of writing: daily reading quizzes, three mini-essays (2-4 pages), and a long final assignment that will combine aspects of creative and academic writing (8-12 pages). The reading quizzes will be fairly straightforward. If you do all of the reading, you should be able to answer most of the questions. Prompts for the three mini-essays and the final project will be handed out during the quarter. Below you will find the percentage that each aspect of the course will be worth.
Reading Quizzes: 10% Mini Essays: 15% each (3) Final Project: 35% Discussion Participation: 10%
[edit] Attendance
Roll will be taken each class meeting using the daily reading quiz. Any absences are problematic and will impact your grade, but more than five absences will likely result in your failure of the course. If you know you will need to miss a class, please tell me in advance. In the case of a protracted illness, please e-mail me and obtain a doctor’s note. Whatever you do, do not simply disappear for a week and then tell me you were sick. I have no way of confirming this, and you will be far behind the rest of the students in the course.
[edit] Assignments
Handing in Assignments: All assignments are due in class. Anything turned in after the end of the class meeting can be counted as late. If you do need to turn in something after class, slip it under the door of my office (South Hall 2432 G), and e-mail me an electronic copy.
Late Assignments: Your assignments are due on the dates specified in this syllabus. Any late assignments will be graded down one third of a grade for each day that it is late. This includes weekends, so for example, if your assignment is due on a Wednesday, and you do not turn it in until Monday, the best grade you can get is a C+ (and that assumes you have done everything perfectly). It behooves you to turn everything in on time.
[edit] Plagiarism
In this course everyone is expected to do their own work. Writing assignments will be quite specific to our readings and discussions, so any acts of plagiarism will be quite obvious, and will be punished severely. Plagiarism is defined by the Council of Writing Program Administrators as occurring “when a writer deliberately uses someone else’s language, ideas, or other original (not common-knowledge) material without acknowledg¬ing its source” (http://www.wpacouncil.org/node/9). This means that you must cite ALL instances when you are borrowing someone else’s words, ideas or material. This includes your fellow classmates, me, and any other teachers you may currently have, or have ever had.
Please understand that poor citation practices, while not necessarily intentional, arouse my suspicion. Do not let sloppiness be the thing that forces me to investigate whether or not your work is indeed your own. When in doubt, cite your sources. If you are indeed found to be guilty of plagiarism, you will receive a failing grade on the assignment, and most likely a failing grade in the course. Your name will also be given to the Office of Student Affairs, and a note of the incident will go on file. It is absolutely not worth it to plagiarize in any context, as it could ultimately end your UCSB career.
[edit] Various Course Policy Statements
(all important, so read and re-read)
Cell Phones and Other Electronic Devices: If I see you text messaging or talking on your phone in class, I will ask you to leave, and you will be counted as absent for that day. Don’t test me on this one. If you need to have your cell phone handy for an emergency, please let me know at the start of class. In this case, please keep your phone on vibrate, and take your call into the hall. Emergencies only, please. Also, I expect all iPods, CD players and other listening devices to be put away before the start of class.
Students with Disabilities: If you are a student with a documented disability and would like to discuss accommodations, please contact me as soon as possible in whatever setting is most comfortable for you (office hours, e-mail, after class). If you have a disability that has not been documented at UCSB, please contact the Disabled Students Program at (805) 893-2668. Without UCSB documentation, accommodations cannot be made for you.
Golden Rule: The bottom line in this class is that we all must respect one another. Feel free to disagree with me or your fellow classmates, but I will not tolerate any ignorant, hateful, disrespectful, aggressive or dismissive comments. In this course we are going to be dealing head on with issues of race, class, gender, sexual orientation and political affiliation. If you can’t say something in a mature way that won’t hurt someone else’s feelings, keep it to yourself. I trust us all to be good to one another. Also, if you are ever offended by something I say, please feel free to come and discuss it with me during office hours.
