Final Exam Topics

Choose one of the following topics over Sophocles’ Oedipus Rex to develop into a thoughtful, well developed essay of approximately 600-700 words. Be sure to provide abundant, detailed evidence from the play to support your discussion. Make sure you relate your supporting information to your thesis statement and bring your paper to an insightful, intelligent conclusion.

Aristotle wrote of specific traits that he believed the “ideal” tragic plot should have: reversal, discovery, turning point and a catharsis.  Identify and discuss those characteristics as they are illustrated in Sophocles' Oedipus Rex.  In your conclusion, explain the importance of the catharsis to the audience.

Whether Oedipus falls due to his fate, as it was foretold by ancient prophecies or because of his own flawed character, he does display evidence of arrogance, anger and obsession in his desire to discover the truth, despite warnings. Discuss these flaws and how each contributes to the fall of Oedipus.

There is constant word play concerning "sight" throughout the drama. Many times the dramatist, Sophocles, uses deliberate puns dealing with "seeing" or with "sight" to emphasize the two-fold blindness of Oedipus vs. the blind seer and the oracle at Delphi, as well as reference to the god of light, Apollo. Discuss the use of this word play as Oedipus moves from one form of blindness to another. 

Does Oedipus bring about the fulfillment of his destiny by his own hand--or is he simply cursed, from the day he is born to inadvertently bring his own doom? Does Oedipus become a blind beggar (essentially), who wanders, homeless, forlorn because he was fated by birth--or does the former king use his own free-will into play and fall from grace due to his own actions.  Is it FATE or FREE-WILL or both?  EXPLAIN.

The audience attending the festivals and the plays were very well aware of the myth or story of Oedipus. It was well known that Oedipus was cursed, that he would kill his father, marry his mother, and live the remainder of his life in misery. Nevertheless, Oedipus was a popular drama, in large part because it did reinforce the beliefs of the audience. It also entertained the audience who would "catch" words or phrases that the characters would presumably not know. This form of irony is called dramatic irony. Using specific examples from the play, discuss the use of dramatic irony.

Final Reminders

Final Exam:

Wednesday, 12/12/2012

10:30-12:30

In our classroom

You can use your own laptop, email the final essay to me, after you finish it & check to make sure I got it before you leave. OR . . . you can simply hand write your essay. Either is fine with me.

Read over the topics and if there is one you have questions about, send an email.  You WILL NOT need to have internal citations NOR a Works Cited Page for this essay.  I will have grades posted on Bannerweb on Thursday, by 5 p.m.  All grades must be posted by lunch on Dec. 14th.

NOTE: there is no "right" or "wrong" response to the last topic, as long as you support your point with evidence from the play.

You can do this.

Potential Topics for Final Essay

English 1102 - final exam: 12/12/2012 - 10:30-12:30 in our classroom

Please note: these are topics that could be addressed on the final essay; I WILL BE ADDING TO THIS LIST as we discuss the play in class. Do come back to this post from time to time, for clarification and to see what new topics have been added.For the sake of understanding, Oedipus Rex  (meaning Oedipus the King) will refer to the drama; Oedipus will refer to the character

There is constant word play concerning "sight" throughout the drama. Many times the dramatist, Sophocles, uses deliberate puns dealing with "seeing" or with "sight" to emphasize the two-fold blindness of Oedipus vs. the blind seer and the oracle at Delphi, as well as reference to the god of light, Apollo. Discuss the use of this word play as Oedipus moves from one form of blindness to another. 

Aristotle wrote of specific traits that he believed a tragedy should have. Which of those characteristics are illustrated in Sophocles' Oedipus Rex? Discuss both the characteristics and the examples in the play.
Greek society attended performances because the plays reinforced their own values and beliefs. For example, Greek culture upheld and revered the superiority of the gods, believed that man could not escape his destiny, and relied on moderation and reason to govern his life. In what way does Oedipus serve as a cautionary tale to the Greeks who held these beliefs?

Whether Oedipus falls due to his fate, as it was foretold by ancient prophecies or because of his own flawed character, he does display evidence of arrogance in regard to the gods and to their prophecies, anger toward those who would be his allies, and obsession in his desire to discover the truth, though it could mean his doom. Discuss these flaws and how each contributes to the fall of Oedipus.

The audience attending the festivals and the plays were very well aware of the myth or story of Oedipus. It was well known that Oedipus was cursed, that he would kill his father, marry his mother, and live the remainder of his life in misery. Nevertheless, Oedipus was a popular drama, in large part because it did reinforce the beliefs of the audience. It also entertained the audience who would "catch" words or phrases that the characters would presumably not know. This form of irony is called dramatic irony. Using specific examples from the play, discuss the use of dramatic irony.

Does Oedipus bring about the fulfillment of his destiny by his own hand--or is he simply cursed, from the day he is born to inadvertently bring his own doom? Does Oedipus become a blind beggar (essentially), who wanders, homeless, forlorn because he was fated by birth--or does the former king use his own free-will into play and fall from grace due to his own actions.  Is it FATE or FREE-WILL or both?  EXPLAIN.

The Story of Oedipus

The ancient Greek audience, attending the performance of Sophocles' Oedipus, would already know the plot and its outcome, just as we know that a movie based on the Titanic will end with the iceberg gouging a rip in the hull of the ship, and the ship sinking into the North Atlantic. Like today's audiences, people in ancient Greece still found themselves fascinated by the tragedy of Oedipus and recounted the myth so often that it is still well known. As such, it is important for YOU, as an audience, to know the story to fully appreciate the drama:

Basics of the Myth (from wikipedia):

Oedipus was the son of Laius and Jocasta, king and queen of Thebes. After having been married some time without children, Laius consulted the Oracle of Apollo at Delphi. The Oracle prophesied that any son born to Laius would kill him. In an attempt to prevent this prophecy's fulfillment, when Jocasta indeed bore a son, Laius had his ankles pinned together so that he could not crawl; Jocasta then gave the boy to a servant to abandon ("expose") on the nearby mountain. However, rather than leave the child to die of exposure, as Laius intended, the sympathetic servant passed the baby onto a shepherd from Corinth and then to another shepherd.

The infant Oedipus eventually came to the house of Polybus, king of Corinth and his queen, Merope, who adopted him as they were without children of their own. Little Oedipus/Oidipous was named after the swelling from the injuries to his feet and ankles. 

After many years of being son of the king and queen of Corinth, Oedipus was told by a drunk that he had in fact been adopted by them. Oedipus confronted his parents with the news, but they denied every word. Oedipus sent word for the same Oracle in Delphi his birth parents consulted. The Oracle did not tell him he was son of the king and queen of Thebes, but instead informed him he was destined to murder his father and marry his mother. In his attempt to avoid the fate predicted by the Oracle, he decided to not return home to Corinth. Oedipus decided to travel all the way to Thebes, as it was near Delphi.

As Oedipus traveled, he came to a place where three roads crossed each other. There he encountered a chariot driven by his birth-father, King Laius. They fought over who had the right to go first and Oedipus killed Laius in self-defense, unwittingly fulfilling part of the prophecy. The only witness of the King's death was a slave who fled from a caravan of slaves also traveling on the road at the time.

Continuing his journey to Thebes, Oedipus encountered a Sphinx, who would stop all travelers to Thebes and ask them a riddle. If the travelers were unable to answer her correctly, they would be killed and eaten; if they were successful, they would be free to continue on their journey. The riddle was: "What walks on four feet in the morning, two in the afternoon and three at night?". Oedipus answered: "Man: as an infant, he crawls on all fours; as an adult, he walks on two legs and; in old age, he uses a 'walking' stick". Oedipus was the first to answer the riddle correctly and, having heard Oedipus' answer, the Sphinx was astounded and inexplicably killed herself by throwing herself into the sea, freeing Thebes from her harsh rule.

The people of Thebes gratefully appointed Oedipus as their king and gave him the recently widowed Queen Jocasta's hand in marriage. The marriage of Oedipus to Jocasta fulfilled the rest of the prophecy. Oedipus and Jocasta had four children. 

Many years after the marriage of Oedipus and Jocasta, a plague of infertility struck the city of Thebes; crops no longer grew on the fields and women did not bear children. Oedipus, in his hubris, asserted that he would end the pestilence. He sent Creon, Jocasta's brother, to the Oracle at Delphi, seeking guidance. When Creon returned, Oedipus heard that the murderer of the former King Laius must be found and either be killed or exiled. Creon also suggested that they try to find the blind prophet, Tiresias. In a search for the identity of the killer, Oedipus followed Creon's suggestion and sent for Tiresias, who warned him not to seek Laius' killer. In a heated exchange, Tiresias was provoked into exposing Oedipus himself as the killer, and the fact that Oedipus was living in shame because he did not know who his true parents were. Oedipus angrily blamed Creon for the false accusations, and the two proceeded to argue fervently. Jocasta entered and tried to calm Oedipus by telling him the story of her first-born son and his supposed death. Oedipus became nervous as he realized that he may have murdered Laius and so brought about the plague. Suddenly, a messenger arrived from Corinth with the news that King Polybus had died. Oedipus was relieved concerning the prophecy for it could no longer be fulfilled if Polybus, whom he considered his birth father, was now dead.

Still, he knew that his mother was still alive and refused to attend the funeral at Corinth. To ease the tension, the messenger then said that Oedipus was, in fact, adopted. Jocasta, finally realizing that he was her son, begged him to stop his search for Laius' murderer. Oedipus misunderstood the motivation of her pleas, thinking that she was ashamed of him because he might have been born of a slave. Jocasta then went into the palace where she hanged herself. Oedipus sought verification of the messenger's story from the very same herdsman who was supposed to have left Oedipus to die as a baby. From the herdsman, Oedipus learned that the infant raised as the adopted son of Polybus and Merope was the son of Laius and Jocasta. Thus, Oedipus finally realized in great agony that so many years ago, at the place where the three roads met, he had killed his own father, King Laius, and subsequently married his mother, Jocasta.

Oedipus went in search of Jocasta and found she had killed herself. Using the pin from a brooch he took off Jocasta's gown, Oedipus stabbed his own eyes out, and was then exiled.

Greek Tragedy

                Aristotle's The Poetics (4^th century B.C.) carefully analyzed what makes tragedy such a powerful event.  For Aristotle, the most important element of tragic drama was the unique experience of CATHARSIS, the arousing of the specific emotions of pity and fear so as to dispel or purge them in the audience. Modern movie-goers who cry when the Titanic sinks for the umpteenth time also experiences a catharsis. Tragedy is defined by its emotional effect on the audience.

I.  The ideal plot of a tragedy should contain the following characteristics:

     A.   Unity of time, place and action:  action extends over no more than a day or two and occurs in no more than one city and its surrounding countryside.    The concentration of an action within a relatively small location and time period produced a stronger emotional response.

     B. A plot structured on principles which strengthen the emotions of "pity" and "fear:

                1.  Reversal (there must be a change of fortune in the main character)

                     a.  Simple:  character experiences a turn of fortune from happiness to

                          misery or vice versa

                     b.  Complex:  the hero, seeking happiness, brings about his own destruction (ironic reversal)

                 2.  Discovery (or recognition)

                     a.  of someone's identity or true nature 

                     b.  of one's own identity or true character 

                     c.  of the nature of the gods and the universe 

                3.  The ideal climax, turning point, combines ironic reversal and discovery in a

                     single action.

II.  The Tragic Hero's Characteristics

     A.  He or she must be of noble blood and admirable. He is not only noble by birth, but noble in terms of his actions. This provides the story with dignity.   (The tragedy of commoners/peasants did not interest Aristotle).  It also generates the feeling in the audience that if tragedy can happen to the advantaged, it can  happen to anyone, thus producing "fear".

     B.  Initially, the hero must be neither better or worse morally than most people.

          This produces "fear" because the hero is imperfect like us, and we can identify

          with him.  It also produces "pity" because if the hero were perfect or totally good,

          we would be outraged by his fate.  If he were completely evil, we would feel like

          he had gotten what he deserved.

     C.  The tragic hero meets his fate because of a "tragic flaw".  The tragic flaw is not

          a defect in character, but an error in judgment of the kind we all make.  Since we

          all make mistakes, this generates "fear" in that we recognize our own potential for

          tragedy by committing the same errors.  It also generates "pity" because we do not

          blame the hero for his tragic fate.

 III.  Catharsis, or purgation

       A.  "Pity" is aroused for the hero as he meets his fate.

       B.  "Fear" is aroused since we may meet a similar fate as the hero.

       C.  These two emotions are dispelled eventually.  We sympathize with the hero

             and his tragic circumstances, but we are not overcome with pity or fear for him.

                 We learn a lesson from the story, our pity and fear disappear, and that is

                 a cathartic experience.

Richard Cory Redux

Richard Cory by Simon and Garfunkel

You Tube Video

They say that Richard Cory owns one half of this whole town,
With political connections to spread his wealth around.
Born into society, a banker's only child,
He had everything a man could want: power, grace, and style.

But I work in his factory
And I curse the life I'm living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.
The papers print his picture almost everywhere he goes:
Richard Cory at the opera, Richard Cory at a show.
And the rumor of his parties and the orgies on his yacht!
Oh, he surely must be happy with everything he's got.

But I work in his factory
And I curse the life I'm living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.

He freely gave to charity, he had the common touch,
And they were grateful for his patronage and thanked him very much,
So my mind was filled with wonder when the evening headlines read:
"Richard Cory went home last night and put a bullet through his head."

But I work in his factory
And I curse the life I'm living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.

For Wednesday, November 14

WEDNESDAY:  Quiz over terms in poetry, along with questions concerning one of the poems we have covered in class.  If we have not covered it, it will NOT be on the quiz.  This will count as 10% of your grade from poetry.

Our first day back from Thanksgiving, you will be asked to analyze a poem you have not yet seen. This will count as 10% of your grade from poetry. In order to analyze the  poem, be sure you can answer  questions on pages 17-19 AND that you can identify any shift that occurs in the poem, where it occurs, and how it affects the theme or meaning of the poem.  The best way to prepare for this would be to practice--rather than read analyses from Wikipedia or elsewhere.

Please understand: this is not a question of how much talent  you have in interpreting poetry or understanding poetry; this has more to do with your ability and skill in grasping the meaning in groups of lines that function together as a unit. For examples, essays, stories, fiction and non-fiction--all have paragraphs composed of sentences. Poems have groups of lines that function together, just as paragraphs do; often these lines are groups together in stanzas; other poets who use free verse choose to group their lines together differently, sometimes from sentence to sentence.  If you get "stuck" in trying to determine the meaning of a poem, consider writing the poem out as prose. This doesn't always work, but many times you will find that a poem is simply the way the poet has chosen to break an idea into lines so that certain words or ideas are emphasized.

If you are absent for either of these in-class assignments, your grade will be a zero.

The remainder of our class time will be spent reading and discussing a brief introduction to drama and the ageless drama, Oedipus by Sophocles.
We will begin Oedipus the Wednesday after we return from Thanksgiving and our final exam will be an in-class essay over the play. 

Keep in mind:

• two grades over poetry = 20% of your grade
• there still will be a grade for class participation = 10%
• the final essay = 20%

Poems for Study

Read and consider the following poem by Jane Kenyon:

Let Evening Come

By Jane Kenyon

Let the light of late afternoon

shine through chinks in the barn, moving   

up the bales as the sun moves down.

Let the cricket take up chafing   

as a woman takes up her needles   

and her yarn. Let evening come.

Let dew collect on the hoe abandoned   

in long grass. Let the stars appear

and the moon disclose her silver horn.

Let the fox go back to its sandy den.   

Let the wind die down. Let the shed   

go black inside. Let evening come.

To the bottle in the ditch, to the scoop   

in the oats, to air in the lung   

let evening come.

Let it come, as it will, and don’t   

be afraid. God does not leave us   

comfortless, so let evening come.

Compare and contrast Paul Lawrence Dunbar's "We Wear the Mask" with Lennon & McCartney's "Eleanor Rigby"

Eleanor Rigby lyricsSongwriters: Mccartney, Paul; Lennon, John;

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby, picks up the rice
In the church where a wedding has been
Lives in a dream

Waits at the window, wearing the face
That she keeps in a jar by the door
Who is it for?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Father McKenzie, writing the words
of a sermon that no one will hear
No one comes near

Look at him working, darning his socks
In the night when there's nobody there
What does he care?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby, died in the church
And was buried along with her name
Nobody came

Father McKenzie, wiping the dirt
From his hands as he walks from the grave
No one was saved

All the lonely people
(Ah, look at all the lonely people)
Where do they all come from?
All the lonely people
(Ah, look at all the lonely people)
Where do they all belong?

Wild Geese

You do not have to be good.
You do not have to walk on your knees
For a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting --
over and over announcing your place
in the family of things.

~ Mary Oliver ~

The Journey

One day you finally knew
what you had to do, and began,
though the voices around you
kept shouting
their bad advice --
though the whole house
began to tremble
and you felt the old tug
at your ankles.
"Mend my life!"
each voice cried.
But you didn't stop.
You knew what you had to do,
though the wind pried
with its stiff fingers
at the very foundations,
though their melancholy
was terrible.
It was already late
enough, and a wild night,
and the road full of fallen
branches and stones.
But little by little,
as you left their voices behind,
the stars began to burn
through the sheets of clouds,
and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do --
determined to save
the only life you could save. 

~ Mary Oliver ~

Keeping in mind that a journey is not only literal, but figurative, not for a single day or moment, but a lifetime, consider the following poem by Whitman:

There was a Child went Forth 

by Walt Whitman

THERE was a child went forth every day;
And the first object he look’d upon, that object he became;
And that object became part of him for the day, or a certain part of the day, or for many years, or stretching cycles of years.
The early lilacs became part of this child,
And grass, and white and red morning-glories, and white and red clover, and the song of the phoebe-bird,	5
And the Third-month lambs, and the sow’s pink-faint litter, and the mare’s foal, and the cow’s calf,
And the noisy brood of the barn-yard, or by the mire of the pond-side,
And the fish suspending themselves so curiously below there—and the beautiful curious liquid,
And the water-plants with their graceful flat heads—all became part of him.
The field-sprouts of Fourth-month and Fifth-month became part of him;	10
Winter-grain sprouts, and those of the light-yellow corn, and the esculent roots of the garden,
And the apple-trees cover’d with blossoms, and the fruit afterward, and wood-berries, and the commonest weeds by the road;
And the old drunkard staggering home from the out-house of the tavern, whence he had lately risen,
And the school-mistress that pass’d on her way to the school,
And the friendly boys that pass’d—and the quarrelsome boys,	15
And the tidy and fresh-cheek’d girls—and the barefoot negro boy and girl,
And all the changes of city and country, wherever he went.
His own parents,
He that had father’d him, and she that had conceiv’d him in her womb, and birth’d him,
They gave this child more of themselves than that;	20
They gave him afterward every day—they became part of him.
The mother at home, quietly placing the dishes on the supper-table;
The mother with mild words—clean her cap and gown, a wholesome odor falling off her person and clothes as she walks by;
The father, strong, self-sufficient, manly, mean, anger’d, unjust;
The blow, the quick loud word, the tight bargain, the crafty lure,	25
The family usages, the language, the company, the furniture—the yearning and swelling heart,
Affection that will not be gainsay’d—the sense of what is real—the thought if, after all, it should prove unreal,
The doubts of day-time and the doubts of night-time—the curious whether and how,
Whether that which appears so is so, or is it all flashes and specks?
Men and women crowding fast in the streets—if they are not flashes and specks, what are they?	30
The streets themselves, and the façades of houses, and goods in the windows,
Vehicles, teams, the heavy-plank’d wharves—the huge crossing at the ferries,
The village on the highland, seen from afar at sunset—the river between,
Shadows, aureola and mist, the light falling on roofs and gables of white or brown, three miles off,
The schooner near by, sleepily dropping down the tide—the little boat slack-tow’d astern,	35
The hurrying tumbling waves, quick-broken crests, slapping,
The strata of color’d clouds, the long bar of maroon-tint, away solitary by itself—the spread of purity it lies motionless in,
The horizon’s edge, the flying sea-crow, the fragrance of salt marsh and shore mud;
These became part of that child who went forth every day, and who now goes, and will always go forth every day.

POETRY: STUFF YOU NEED TO KNOW

Poetic terms in the book--pages 11-20

Diction:

• Connotation vs. Denotation

Figurative Language:

• Literal vs. figurative
• metaphor
• simile
• personification
• allusion
• symbol--note difference between public & contextual symbol
• rhyme
• alliteration
• assonance
• rhythm
• imagery

Terms from questions on p.17-19:

• speaker & audience
• setting
• theme
• POV
• structure & shift
• response

General Literary Terms still in effect for poetry:

• tone
• mood

Poems we will definitely read & discussion, assuming time allows:
"When I Heard the Learn'd Astronomer"
"Richard Cory"
* "The Journey"
* "Wild Geese"
"Not Waving But Drowning"
"Those Winter Sundays"
* Let Evening Come"
"We Wear the Mask" & * Eleanor Rigby"

Frost:

• "Birches"
• "After Apple Picking"
• "Design"

Emily Dickinson

• "I heard a Fly buzz--when I died"
• "Apparently with no surprise"
• "Much Madness is divinest Sense"

Miscellaneous Research Information

Looking up articles in Galileo. In the best possible worlds, one could click on links like this one:
http://go.galegroup.com/ps/retrieve.do?sgHitCountType=None&sort=RELEVANCE&inPS=true&prodId=LitRC&userGroupName=maco12153&tabID=T001&searchId=R4&resultListType=RESULT_LIST&contentSegment=&searchType=BasicSearchForm&currentPosition=8&contentSet=GALE%7CH1420014438&&docId=GALE|H1420014438&docType=GALE&role=LitRC

But since there is no guarantee, it's best to know how to look up an article.

From the MSC home page, go to LIBRARY

Go to Find an Article (Galileo)

Click on "Browse by"

Select and click on "Literature, Language, & Literary Criticism"

Select and click on the sub-category Litearture & Literary Criticism"

Go to "Literature Resource Center"

In the seach box type: The Things They Carried (short story)

below the search box, click on "Name of Work"

scroll down and click OFF: Biographies, Multimedia, and Reviews and Notes

scroll back to the top search box and beside it click on SEARCH

This should take you to THE PAGE with many, many references to criticism on the story.

********************************

Always check to see if the citation is given for an article from Galileo; it could save you time. Just remember to double space and use a hanging indent for the Works Cited page.

Example:

Blyn, Robin. "O'Brien's The Things They Carried." Explicator 61.3 (Spring 

     2003): 189. Rpt. in Contemporary Literary Criticism. Ed. Jeffery W.

     Hunter. Vol 211. Detroit: Gale, 2006. Literature Resource Center. Web.

     16 Oct. 2012.

*********************************
In the event that you have a quotation that runs OVER 4 typed lines, from either the story or the critic, use a signal phrase, followed by a colon, then the block quote.

Example: 

The reader can sympathize with the narrator who, in turn, tells the story of Jimmy Cross, who, like many

adults, comes to realize he must make a personal sacrifice for a greater good:

                  . . . Lieutenant Cross reminded himself that his obligation was not to be loved but to lead. He

                 would dispense with love; it was not now a factor. And if anyone quarreled or complained, he

                 would simply tighten his lips and arrange his shoulders in the correct commant posture. He might

                 give a curt little nod. Or he might not. He might just shrug and say Carry on, then they would

                 saddle up and form into a column and move out toward the villages of Than Khe ( O'Brien

                 1049).

The Literary Reserach Paper - Notes - Day 2: Incorporating Material

So . . .

Now you have stories, research, works cited, rough draft, thesis statement and you're ready to incorporate material into your paper.  The question now is . . .

HOW?

Assume for a moment that your topic for research and study is The Importance of Storytelling in Tim O'Brien's "The Things They Carried"

Your thesis statement: In addition to the narrator himself, several characters demonstrate the need for telling stories . . . [this will be refined later]

After researching the story and storytelling, you find that Tim O'Brien was very much aware of the importance of storytelling, and you find yourself wanting to let the reader know this. In the introduction, you might write:

In an interview with Patrick Hicks, O'Brien makes the comment that,  "The Things They Carried is a book largely about storytelling and issues about truth."  In the story of the same title, one  is aware of the importance of storytelling to the men of Alpha Company, particularly Kiowa.

Important in this example:

• there needs to be a signal phrase that introduces the quote; in the sample, it is " . . . O'Brien makes the comment that, . . . .  A signal phrase sets up or introduces the quote, maintaining fluency in the paper
• there needs to be  follow up statement(s) that explains the relevancy of the quote or information used: In the story of the same title, one  is aware of the importance of storytelling to the men of Alpha Company, particularly Kiowa.
• Note that since the referenced person's name [Patrick Hicks] is given, there is no need for a parenthetical citation. However, note the next example, which has the same information, but is written differently, and so, logically, the citation is different

Storytelling becomes important to the men of Alpha Company, particularly to Kiowa, as well as the narrator. In an interview, Tim O'Brien, author of "The Things They Carried," indicated that storytelling is one of the major aspects of his novel of the same name as well as this story (Hicks).

What happened here:

There is NO direct quote; the information has been paraphrased, but because it is informationt the writer did not have to begin with, and because it is obviously been researched, there MUST be a citiation.

Note that since this is researched material from a website, one need only add correct MLA citation, as indicated by the Purdue OWL: MLA Formatting In-Text Citations


NOTE: Referenced Material:

Title: A Conversation with Tim O'Brien

Author(s): Tim O'Brien and Patrick Hicks

Publication Details: Indiana Review 27.2 (Winter 2005): p85-95.

Source: Short Story Criticism.

.

Ed. Jelena O. Krstovic. Vol. 123. Detroit: Gale. From Literature Resource Center.

Document Type: Critical essay, Interview

Full Text: COPYRIGHT 2009 Gale, Cengage Learning

The Literary Research Paper - Notes Day 2: MLA format, Easy Bib, Documentation

In the best of all possible worlds, you have . . .

• chosen the story and the topic you plan to work with
• read through the criticism and determined the three (or more) essays you plan to you in your paper
• taken notes, underlined, highlighted or otherwise started note taking
• drafted a preliminary thesis statement--one that may be refined as you work on your paper
• you have a very rough draft that you will develop and polish, incorporating relevant research AND proper MLA documentation

NOW . . .

If you have not already done so, use need to create your bibliography, either using Easy Bib  or  the Purdue OWL: MLA Formatting and Style Guide.  Neither of the websites will work automatically, but if you read carefully, follow the directions and/or prompts, you should have a correct bibliography. The only difference between a Works Cited page and a Bibliography is that the "Works Cited" refers only to those works actually used in a research paper; a Bibliography may include works cited in a paper as well as other works read in the research.  You will be composing a Works Cited page.  To see a sample Works Cited page, refer to: Sample Works Cited Page.  Your last name and appropriate page number will still be in the upper right corner. The words "Works Cited" will be centered on the first line of the paper and a hanging indent will be used in listed references, which will be in alphabetical order.

Whew . . . remember: the devil is in the details, but the resources above will help you. Also: I will help you, if you get stuck or have trouble.

The Literary Research Paper

The Literary Research Paper is only slightly different from a traditional research paper; the basic process is the same:

• Select Topic
• Determine your OWN thoughts--write your first draft: know WHAT you know before you begin; in doing so, you will know what to cite in your paper
• Seek expert information - in this case, your work has been done for you; you will be using specifically selected critical essays on one of the two stories we read, as dictated by your chosen topic
• Once you have the information, read it critically, more than once; take notes and figure out how the notes relate to the story AND to what you already think
•      Determine what you can use

     IMPORTANT:  you will not use everything in every essay; you will learn a great deal about what critics think and have to say about the respective short story, but it will be up to YOU to select what you can incorporate into YOUR essay.  In other words, you'll be evaluating, analyzing and synthesizing--all of which are upper-level forms of critical thinking. It IS hard.  No one ever said writing a research paper was easy.

• Yes, you DO have to use the articles listed for each essay.
• Yes, you CAN do more research on your own, but that is IN ADDITION TO the selected journal entries.

TOPICS:

A Study of Symbolism in Town and Forest in Hawthorne's "Young Goodman Brown"

Is It You or Me? The Question of Disspelled Illusion in Hawthorne's "Young Goodman Brown"

The Unavoidable Weight in Tim O'Brien's "The Things They Carried"

The Importance of Imagination in Tim O'Brien's "The Things They Carried"

Reference Material -- These essays are all available through MSC library and Galileo

Tritt, Michael.  "'Young Goodman Brown' and the Psychology of Projection"
Ellis, Robert P. " Young Goodman Brown"
Lawson, Benjamin S. "Young Goodman Brown"
Paulits, Walter J. "Ambivalence in 'Young Goodman Brown'"
Predmore, Richard. "'Young Goodman Brown': Night Journey into the Forest"

Piedmont-Marton, Elisabeth. "The Things They Carried"
Kaplan, Steven. "The Things They Carried"
McDonough, Christopher Michael. "Afraid to Admit We Are Not Achilles: Facing Hector's Dilemma in Tim O'Brien's The Things They Carried"
Blyn, Robin. O'Brien's "The Things They Carried"
Robinson, Daniel. "Getting it Right: The Short Fiction of Tim O'Brien"

CRITICALLY IMPORTANT TO NOTE:  When referring to the title of an article OR a short story, use quotation marks; for example, "Young Goodman Brown" and "The Things They Carried" book indicate short stories.  The Things They Carried refers to a BOOK, in which "The Things They Carried" is the first story or first chapter.

Happy Columbus Day!

from: http://www.funxite.com/get/downloads/wallpapers/funny-wallpapers/christopher-columbus.htm

The Literary Research Paper

Writing a research paper over a short story you've read requires that you first read the stories; in this case, you'll need to read "Young Goodman Brown," and "The Things They Carried."  We'll discuss "YGB" in class, then "TTTC."

Following our discussion, you'll receive the topics for research and choose one for which you will create a thesis statement and support from details in the story AND from available resources. The critical essays will come directly from the Literature Resource Center, available online, via Galileo Scholar:
Literature Resource Center

There will be three essays on each story; thus, you will read those essays and use information to support your work. While you are welcome and ENCOURAGED to locate, review, and use other reference material for your research, you will be REQUIRED to use information from each of the critical essays that have been pre-selected.

PLEASE NOTE: The amount of information available on either of these stories or authors can be overwhelming; I have chosen 3 essays on each short story that I believe you can actually use in writing your paper, rather than requiring you to sift through the abundance of sources.  I will also explain anything in those essays you do not understand; however, it will be up to YOU to carefully select and incorporate information into your paper.

We will begin "Young Goodman Brown" in class, Monday, Oct. 1. It is a story altogether fitting for October and Halloween. It has even served as inspiration for a short story by Stephen King.

Topics for Essay #2

Today, Wed., Sept. 26, 2012,  in class, I will answer any questions you may have about the topics and finish the discussion on Poe with the podcast I mentioned yesterday. If you have no questions about the topics and you don't care about Poe . . . then you need not come to class; HOWEVER, YOUR ESSAY WILL BE DUE MONDAY.

TOPICS FOR ESSAY #2: Choose one of the five topics to develop into a thoughtfully essay, supported by specifics from the respective story (stories):

Character Foils:

In literature, a character foil is a character who serves as a contrast to another, perhaps more primary character, so as to point out specific traits of the primary character. Because the two characters display contrasting qualities, the reader is better able to see the unique features of each one.  In some movies and stories, character foils are clearly defined as the antagonist and the protagonist pitted against each other in conflict. In some stories, the character foils share a similar background or goal, but are strikingly different in their perspective or attitude.

1. In what way are Maggie and Dee character foils in Alice Walker’s “Everyday Use”? What background do the sisters share? How has that background separated them rather than brought them closer? In what way do their differences toward their mother, their heritage, and the quilts distinguish each sister?

2. In what way does Edgar Allan Poe use character foils in his horrific “The Cask of Amontillado”?  What interests do Montresor and Fortunato share? How do they differ in their actions on the night of carnival as they descend into the catacombs? How does the action of each man lead to the inevitable live burial of Fortunato?

3. In the southern gothic tale of “A Rose for Emily,” how does William Faulkner contrast Tobe with the townspeople of Jefferson in regard to the involvement each has with Miss Emily Grierson?  Which is more direct? Which seems more self-serving?  How does the contrast between Tobe and the townspeople peak immediately after Miss Emily’s burial? What does this reveal about both Tobe and the citizenry of Jefferson?

Setting: 
4. Setting refers not only to the time and place a story takes place in a general sense, but also in a specific sense. The characters in a story are placed in a specific location and situation. While some stories could take place almost anywhere, in other stories setting becomes critically important to the characters and to the events that take place in the story. Indeed, in some stories, if the setting is changed, the events in the characters' lives might not be possible. Discuss the importance of setting in "The House on Mango Street," "Everyday Use," and "The Cask of Amontillado," explaining how the setting itself is critically important to the characters and the events that play out in the course of the story.

Foreshadowing: 
5. Authors often provide readers with clues or hints early on in a story so that they can anticipate the ending. In William Faulkner's story "A Rose for Emily" the reader is not aware of the careful foreshadowing of events until he or she has finished the story. It is only upon a second reading that the one becomes aware of the subtle clues that hint at Miss Emily's insanity and Homer Barron's death.   Identify these clues that Faulkner has placed in his story and explain how each one contributes to the revelation at the end of the story. 

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Analyses of 3 Stories

#1 - "House on Mango Street"
~ Questions
setting & character - "Everyday Use"
theme  & title - "Cask of Amontillado"
symbolism & irony - "House on Mango Street"

#2 - "Everyday Use"
~ Questions
setting & character - "Cask of Amontillado"
theme & title - "House on Mango Street"
symbolism & irony - "Everyday Use"

#3 - "Cask of Amontillado"
~ Questions
setting & character - "House on Mango Street"
theme & title - "Everyday Use"
symbolism & irony - "Cask of Amontillado"

Setting: What is time and the place of the story? Why is this significant? (This is important to all 3 stories)

Character: Who are the primary characters in the story? What motivates each character? Who is the protagonist [the main character]?  How can you tell this is the main character? Who [or what] causes a conflict in the protagonist? What is the conflict?  Is it external? Internal? Both?  EXPLAIN.  How does the protagonist resolve the conflict?

Theme: What is the controlling idea of the story? Could there be more than one theme? [In many cases there can be.]  How can this story relate to modern readers?  Does the story seem plausible?

Title: The title of each story appears in the story itself. What is the significance of the title? In what way does the title anticipate the story?

Symbolism: All 3 stories use symbolism, whether it's a house, a quilt, a coat of arms or something else. Discuss the symbols and what each represents.

Irony: Is there an irony that Maggie ends up with the quilts. Is the nun's behavior ironic? Is it ironic that Fortunato ultimately responds to Montresor with only a jingle of his bells?  Consider these questions and other ironies you find the stories.

Topics for the First Essay

Choose ONE of the following to develop into a thoughtful, well-developed essay:

1.  Discuss the atmosphere (mood) established by the setting in both "The Old Man at the Bridge" and "A Clean, Well-Lighted Place." Explain how the setting contributes to the feeling of loneliness and isolation.

2. Discuss the importance of the character of the old man in both "The Old Man at the Bridge" and "A Clean, Well-Lighted Place" in revealing the other characters in the story.

3. Despite their isolation and loneliness, both the old man in "The Old Man at the Bridge" and the old man in "A Clean, Well-Lighted Place" maintain a sense of dignity. Discuss how each man faces his future. In what way does this contribute to the way the older waiter may approach the remainder of his life.

4. Symbolism is a subtle but effective tool that Hemingway uses in his stories [and novels]. Discuss the major symbols used in "The Old Man at the Bridge" and "A Clean, Well-Lighted Place," explaining what each contributes to the respective story.

Writing about Literature

Writing about literature is different from most essays that are assigned and written in English 1101. For one thing, the focus of the paper is on the analysis of the story, poem or play that has been assigned. Therefore, it is written in third person; there should be no first ("I") or second person ("you"). There are other important differences outlined below.

CONTENT

1. Always mention the title and author of the work(s) you are discussing in the FIRST paragraph of the essay. Titles of books should be underlined or italicized; titles of stories should be in quotation marks.

2. Mention characters' names whenever possible. Be specific about character identification; that is, when you first refer to a character, add a simple appositive phrase to identify him or her. It does not have to be long nor interrupt the “flow” of your writing.

3. Use illustrations, examples, and explanations to prove your assertions. Stick closely to the text of the work you are discussing. Read carefully and closely. Don't hesitate to quote briefly from the primary source for illustration -- a well-chosen quote can help to illustrate your point. However, be sure to use the quote as illustration -- not as the text of your essay.  In other words, offer explanation, relevance to the context of your paper.

4. Clearly state the central idea or thesis of your essay in the introduction--or shortly thereafter. Be explicit. Be sure your essay has a thesis. Do NOT state your thesis by using writer-based phrases such as: The two poems I have chosen to write about are.... Rather, focus directly on your point: The snake is a potent symbol, often invoking fear, in Western mythology. Both Emily Dickinson and D. H. Lawrence invoke that fear in their poems, but with very different results.

5. Look up the definition of any word that you are not totally familiar with. Try to find the source of and understand any literary or historical allusion that the author uses.

6. Underline key passages, even key words, in the work you are studying, particularly those passages that have reference to your thesis. Be sure that any time you quote form an author's work, you quote exactly -- word for word and comma for comma.

7. In an essay about literature, it is most important to try to show your understanding of the work. Concentrate on writing a unified essay around a central thesis. Avoid going off on tangents. Stick to your main idea, develop it, prove it, deepen it by showing implications of your idea. Use class discussion as a springboard, but do not hesitate to go more deeply into the analysis. You may have been hesitant to speak in class, but do not be hesitant to incorporate your own thoughts and ideas into the paper.

8. Don't confuse the author with the narrator of the story or the voice of the poem.

9. USE MLA format.  http://owl.english.purdue.edu/owl/resource/747/01/Double space all work, unless otherwise directed. Use a 12 point, non-italic, common font such as Times New Roman, Garamond, Courier, or Comic Sans. Center your title. Follow MLA Guidelines for essay set-up.

10. When you first refer to authors, use their full names; afterwards refer to them by last names.

11. Use present tense verbs when writing about literature and maintain verb consistency.

12. Avoid using 2nd person “you.” In academic essays write in the 3rd person unless the assignment calls for 1st person.

13. Incorporate quoted material into your writing in one of 3 ways: (1) Interweave it into your own words: Poe’s use of the words “dark, “ ”dreary,” and “weary” suggests a somber mood (lines 11-13). (2) Introduce it with a “tag phrase” and comma: As Creon says, “The ship of state is safe” (I.8). (3) Introduce it with an explanatory sentence and colon: At the beginning of the play, Creon is concerned that the country is unified: “The ship of state is safe” (I.8).

14. When the quotation is followed by the parenthetical documentation, place periods and commas after the parenthesis. If the quote contains a question mark or exclamation point, it remains before the quotation marks, but a period (or comma) is still placed after the parenthesis.

Sammy asks, “Who is that customer?” (36).

Granny Weatherall says, “Nonsense” (177).

When the quotation marks are not followed by the parenthesis, then commas and periods go before the quotation mark.

15. Use single quotation marks to quote a quotation within a quotation.

Papers should be free of grammatical, mechanical, and punctuation errors: avoid comma splices, fragments, fused sentences; make sure subject/verb and noun/pronoun agree in number; use correct spelling; follow conventions of punctuation and capitalization (especially apostrophes).

The Elements of Fiction

Macon State College

Department of English

Fall 2012

English 1102  Syllabus and Policy Statement:

A book is a portable form of magic. ~ Stephen King

Instructor: Mrs. Sharon Aiken, H/SS 248   

Office phone: 478-471-2893

Office hours:  T/TH: 8:30-9:00 a.m.; 3:30-4:30 p.m., and by appointment

Email: sharon.aiken@maconstate.edu

       Website:   aikenenglish1102fall2012.blogspot.com

Best means of contact: email.  Use your Macon State email. I check and respond to my Macon State email, Monday-Thursday and on Sunday evenings.  I expect you to do likewise, because I use email for class announcements or changes in the class schedule. 

Required Texts and Materials: 

Ø  Lunsford, Andrea A. The St. Martin’s Handbook. Boston: Bedford/St.Martin’s, 2008 or other collegiate grammar text

Ø  pocket folder for the research paper, and binder or notebook of your choice to be submitted at the end of the semester  

Ø  blue or black pens (NO  hot pink, neon orange, lime green) for in-class quizzes and compositions—not pencils

Suggested Texts:

Ø  King, Stephen.  On Writing -- the second half of the book

Ø  a good collegiate dictionary                                               

Class Description:   This is a composition course that develops writing skills beyond the proficiency required by English 1101; English 1102 emphasizes interpretation and evaluation based on an introduction of fiction, drama, and poetry, and incorporates a variety of more advanced research methods.  An oral communication component is also required.

Class Goals:  By the end of the course, each student will:

Ø  Be able to research a work of literature using the Web and traditional library resources

Ø  Gain further experience using MLA citation methods

Ø  Be able to write a clear, in-class explication of a poem

Ø  Be able to write an effective analysis of a work of fiction and a work of drama

Ø  Gain further experience in using Web-based course assignments

 

Class Policies:

1.  You must have passed English 1101 with a “C” to be enrolled in this class.

2.  You may miss two class days without penalty; if you miss more than four class meetings, your grade is up to my discretion.  Be on time.  If a student is late on a regular basis, I may advise the student to drop; I have the discretion to penalize constant tardiness by either adding a missed day to the number of absences or lowering the overall course grade.  If tardiness disrupts my class, the lab door will be locked, and you will be counted as absent.

3.  Assignments are to be handed in on time, typed. Title all assignments and use MLA format. *Do NOT title your essay as the work read in the text.  You didn’t write “A Worn Path;” therefore, your essay analysis of the story’s should not be titled by that name; it would be more appropriate to title it The Importance of Place in Welty’s “A Worn Path.”   Use the name of the work in the title, if you like, but NOT as the title.

4.  If you miss a daily assignment, you may not make it up; if you miss a major assignment, that grade will be based on my discretion. You must complete all major assignments to pass the class. Since all writing assignments in 1102 will be based on reading selections, there will be frequent, unannounced quizzes.

5.  I will give letter grades; if you have a question about a grade, drop by my office or ask me after class; if you wish to challenge a grade, do so in writing, no sooner than a day after getting your paper back, and no later than three class days after I return that assignment.

6.  If you plagiarize an assignment, that grade will result in a zero.  If you cheat on a test, you will get a zero.  Plagiarism occurs when a writer uses the ideas, wording, organization, etc. of another writer without proper citation, whether intentional or unintentional. This includes having someone “help” you write the paper, buying the paper online, or lifting ideas, sentences, and paragraphs from another text.  Keep an electronic copy of all assignments and be prepared to send it to me immediately if asked.  Please go to the MSC Library site for further information on avoiding plagiarism.  Students should know that failing the class is the common penalty for plagiarism.

A plagiarism prevention service is used in the evaluation of written work submitted for this course.  As directed by the instructor, students are expected to submit their assignments, or have their assignments submitted, through the service in order to meet the requirements for this course.  The papers may be retained by the service for the sole purpose of checking for plagiarized content in future student submissions.

7.  POLICY ON ACADEMIC MISCONDUCT:  “As a Macon State College student and as a student in this class, you are responsible for reading, understanding, and abiding by the MSC  Student Code of Conduct.  The Student Code of Conduct is included in the MSC Student Handbook and is available online at  http://www.maconstate.edu/studentlife/studenthandbook.pdf”

8.  POLICY ON DISABILITY ACCOMODATIONS:  “Students seeking academic accommodations for a special need must contact the MSC Counseling and Career Center (478-471-2714) located on the second floor of the Student Life Center on the Macon Campus.”

9.  If you have a D average based on the major assignments, no participation or daily grade average can bring that average up to a C. [Division Policy]

10.  I expect common sense and courtesy, including the following:

• Unless there are extenuating circumstances, please turn your phones on OFF before entering the class.  If there are circumstances that necessitate your keeping your phone ON, please clear that with me in advance.
• It is unprofessional, rude, and ill-advised to wear electronic devices either in your ear or dangling from it during lecture or class participation. 
• Don’t surf the Web while I’m teaching OR when a member of the class is speaking or giving a presentation.
• Work on assignments for other classes someplace else. 
• Please avoid distracting other students (or me) – I am usually distracted enough for us all.

 11.  REQUIRED:  You will need to keep your all of your various writings [paragraphs, drafts, revisions, and final drafts], neatly, in chronological order in a folder of your choice.  These will be submitted to me prior to the final exam.  It is the policy of this department that I keep your writing for one semester.  Therefore, should you want these returned, please see me at the end of Spring Semester 2013.  Suggestion:  I would suggest to anyone taking this course that you keep a personal folder with copies of all your writing, as it is a representative of the unique individual you are.

12.  There is always a possibility that we may be affected by inclement weather.  In the event that weather conditions make travel conditions hazardous, be aware that class may be cancelled for the day and a class assignment may be given via email.  Check your email, as I will typically notify you in advance, if at all possible.  NOTE: I live in rural Jasper County; if schools are closed in Jasper County, it is a safe bet that MY classes at MSC will not be held.

The best way to develop your writing is to write AND to read.  There are no shortcuts, no easy outs, and no simple solutions.  Read everything, both good and bad; read cereal boxes, directions for electronics, the internet, job descriptions, grocery lists, novels, essays, magazines, candy wrappers – everything.   You will gradually begin to develop a sense of identifying good writing that is detailed, organized, unified, coherent, clear, and complete. Bad writing will show you what to avoid; good writing will show you what to emulate.  This class does not meet every day, but if you truly want to succeed and develop, it is in your best interest to write and read, every day, to seek help when you need it, to do your best, whether your best is a “C” or an “A.”  

 1102 Assignments:

v  Combined average of daily quizzes and/or exercises

and  class participation*                                                                               10%

v  Fiction Essays  - 2                                                                                             20%  (10% each)

v  Written & oral explication of poem                                                        20% (10% each)

v  Essay over Oedipus (drama)                                                                       10%

v  Research Paper (Essay)                                                                                 20%

v  FINAL  Exam                                                                                                       20%

Active Class Participation:

Criteria	25 pts.	20 pts.	15 pts.	0-10 pts. & below
Attendance	Attends class regularly – with no more than 1 absence at mid-term; usually prompt & professional	Attends class regularly; no more than 1 absence at mid-term; professional & seldom tardy	Attends class regularly; may have more than 2 absences at this point; professional	Has missed more than 2 days and often presented as unprofessional
Level of Active Engagement	Proactive in class; contributes with ideas, questions, observations; answers questions; treats classmates & professor with courtesy	Contributes to class; frequently offers comments, answers & asks questions; treats classmates & professor with courtesy	Offers some observations and answers questions now and then or when called on; treats classmates & professor with courtesy	Rarely contributes to class by offering ideas or asking questions. primarily a non-participant. Does not add to class discussion, but sits silently.
Listening Skills	Listens when others talk; builds on others’ ideas; involves others in class by asking questions or seeking others’ responses	Listens then others talk; frequently builds on ideas of others.	Listens when  others talk, but does not respond to ideas	Often does not listen when others talk; often distracted by his/her own agenda—e.g., the internet, studying for another class, talking to peers, when inappropriate
Preparation	Almost always prepared for class, with assignments and required class materials	Usually prepared for class	Frequently prepared for class	Seldom prepared

Tentative Schedule – Please note that unannounced pop quizzes are not listed (yes, I know that should be obvious, but   . . .): 

08/20:  Review syllabus, texts, policies, expectations; word association-- locate, read “The Old Man at the Bridge” for Wednesday—analyze with elements of literature

08/27:   “A Clean, Well-Lighted Place;” writing about literature

09/04: Labor day holiday on Monday; for Wednesday  Essay #1 – DUE

09/10: “The Cask of Amontillado”  80; “The House on Mango Street,”  127; “Everyday Use,” 559

09/17:  “A Rose for Emily,” 526; “This is What it Means to Say Phoenix, Arizona,” 584

09/24: Essay #2 DUE; introduction to research; students will select one of the following stories: “The Things They Carried,” “The Yellow Wallpaper,”  “Young Goodman Brown”

10/01: Discussion and Research

10/08: Discussion and Research

10/15: Research Paper Due – worth 20% of final grade; introduction to poetry

10/22: Poetry Selections: TBA

10/29: Poetry Selections: TBA

11/05: Written & Oral Poetry Analysis—worth 20%

11/12: Introduction to Drama - Oedipus

11/19: THANKSGIVING HOLIDAYS

11/26: Oedipus

12/03: Oedipus

12/10: FINALS BEGIN--Refer to MSC Academic Calendar for date and time