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1 Upper-division Writing Requirement Review Form (12/1/08) I. General Education Review Upper-division Writing Requirement Dept/Program ENGLISH Course # (i.e. ANTH ENLT 322 Subject 455) or sequence Course(s) Title Studies in Literary History Description of the requirement if it is not a single course II. Endorsement/Approvals Complete the form and obtain signatures before submitting to Faculty Senate Office. Please type / print name Signature Date Instructor Eric Reimer Phone / Program Chair Casey Charles III Overview of the Course Purpose/ Description The particular content for this course varies significantly across sections, but generally involves the study of influences on and innovations in the works of various authors within a particular literary historical period, most often in England or America but also in other national traditions (e.g., Medieval, British Renaissance, Age of Johnson, Romantic, Victorian, British Modern, Irish literature, American Puritanism to Transcendentalism, American Realism and Naturalism, American Romanticism, etc.). IV Learning Outcomes: Explain how each of the following learning outcomes will be achieved. Student learning outcomes : The content and inquiry for this course is Identify and pursue more sophisticated deepened and complicated by the questions for academic inquiry expectation that students understand the particularities of a given literary tradition based on national identity, temporal divisions, and/or discursive investments. Students are expected to be conversant in the relevant literary theory and to show a greater understanding (in their day-to-day participation and especially in their writing) of the broader conversations surrounding Find, evaluate, analyze, and synthesize information effectively from diverse sources (see the literature they read in this course. This course (and the 300-electives in general) emphasizes the ability to locate and make purposeful and strategic use of those sources and voices that can most enrich the classroom discourse and the various essays. Students become familiar with on-line databases and through in-class instruction and conversations surrounding their written work are given opportunities to use source material more deftly in concert with their own ideas and reasoning.

2 Manage multiple perspectives as appropriate Recognize the purposes and needs of discipline-specific audiences and adopt the academic voice necessary for the chosen discipline Use multiple drafts, revision, and editing in conducting inquiry and preparing written work Follow the conventions of citation, documentation, and formal presentation appropriate to that discipline Develop competence in information technology and digital literacy V. Writing Course Requirements Check list Is enrollment capped at 25 students? If not, list maximum course enrollment. Explain how outcomes will be adequately met for this number of students. Justify the request for variance. The writing assignments for this class necessarily entail argumentative reasoning, which requires students to attend to multiple perspectives, counter-arguments, and the enhancements provided by the voices of other scholars; the students are also often called upon to be mindful of (and sometimes to respond directly to) the voices of their classmates and the questions raised in classroom discourse community. By reading and engaging with scholarly essays dealing with the literary and historical contexts of the primary reading list, students in this class learn to identify the operative questions-at-issue for both the day-to-day classroom inquiry and for the wider audience they must imagine as they write their formal essays (which are formatted, written, and assessed as if they are intended for a literary journal). Writing as a process and a revision are emphasized at all times in this class, regardless of the literary/historical content. Students are expected to revise at least one of their major papers after receiving substantial written comments from their instructor. These conventions are addressed via in-class lectures and discussions (e.g., while discussing and viewing on-line databases and their secondary source material) and practiced via such assignments as annotated bibliographies and the multi-source requirements of the formal essays. In this course and in the 300-level electives generally, students are increasingly instructed how to use on-line resources to find and evaluate quality secondary source material (theoretical, historical, etc.); these courses also occasionally require students to participate in the class via course weblogs and websites. Yes X No The English Department would like to see any W-designated course capped at 25, but this course is currently capped at 30. Are outcomes listed in the course syllabus? If not, how will students be informed of course Because of the content variations in this course related to different national/temporal

3 expectations? Are detailed requirements for all written assignments including criteria for evaluation in the course syllabus? If not how and when will students be informed of written assignments? Briefly explain how students are provided with tools and strategies for effective writing and editing in the major. Will written assignments include an opportunity for revision? If not, then explain how students will receive and use feedback to improve their writing ability. Are expectations for Information Literacy listed in the course syllabus? If not, how will students be informed of course expectations? divisions of the literature under consideration, there is no single set of unvarying course outcomes to cite on a syllabus. In those instances when outcomes statements are not included on syllabi, instructors without fail inform students of course expectations when presenting an overview of the course and student requirements, and then again in advance of each individual assignment. Writing assignments, in particular, typically include specific and detailed handouts with guidelines, suggestions, and formatting requirements. Basic requirements for the various formal written assignments are included in the course syllabus, and more extended and nuanced articulations are provided subsequently in specific assignment handouts and in writing workshops that help students prepare for the particularities of a given writing assignment. Through a combination of writing workshops, peer revision, rhetorical analysis and discussions of scholarly essays, and the rigorous conversation that arises from exacting instructor comments and individual conferencing, students receive focused and continuing attention to issues and strategies related to effective writing and editing in the field of literary studies. Yes. As in virtually any literature course, students receive extended and exacting comments from their instructor; this relationship is always a dialogue, and students are subsequently able to consider and respond to the feedback as they revise one (and sometimes two or more) of their formal papers. These expectations do not necessarily appear in the syllabus, but they are articulated explicitly in relation to individual assignment handouts and preparations, they re covered in class demonstrations (e.g., in discussing how to find and evaluate appropriate and quality secondary source material, how to conduct effective on-line and on-site research vis-à-vis the library s resources, etc.), and they re occasionally

4 connected to electronic extensions of the class conversations (e.g., when students make use of a class weblog and/or website). VI. Writing Assignments: Please describe course assignments. Students should be required to individually compose at least 20 pages of writing for assessment. At least 50% of the course grade should be based on students performance on writing assignments. Clear expression, quality, and accuracy of content are considered an integral part of the grade on any writing assignment. Formal Graded Assignments There is a slight variance depending on the requirements of the various instructors for this course, but students can expect to write, on average, three shorter papers of 3-5 pp. each and one longer paper of 8-10 pp. There are often additional graded writing assignments in the form of annotated bibliographies, reading responses, and short essays on quizzes and final exams. Informal Ungraded Assignments Students complete a number of informal and ungraded writing tasks, sometimes involving short in-class reading responses, transcriptions of collaborative tasks, thesis and prose workshops, etc. VII. Syllabus: Paste syllabus below or attach and send digital copy with form. The syllabus should clearly describe how the above criteria are satisfied. For assistance on syllabus preparation see: Paste syllabus here. Studies in Literary History: Contemporary Irish Literature ENLT 322 ** MWF 1:10 2:00 ** Gallagher (GBB) L04 ABOUT THE COURSE It's fashionable these days to be an Irish writer, and this at a time when the Irish themselves often feel that "Irishness" is something from which they must escape. The surge of interest in all things Irish makes it difficult to locate Ireland and Irishness geographically, culturally, or otherwise. Indeed, never has Irishness been more open, adaptable, and elusive than it is in this historical moment, under the regimes of globalization and commercialization. In this course, we will study an exciting and provocative selection of fiction, poetry, drama, film, and music culled from the ongoing Irish and Northern Irish cultural "renaissance." The primary goal of the course will be to understand how contemporary artists are responding to the burdens of history, identity, and political conflict, as well as articulating the possibilities afforded by a new world order and a thriving Irish economy. TEXTS Boland, Eavan Object Lessons (1995) O Brien, Edna A Pagan Place (1970) Jones, Marie Stones in His Pockets (2000) Toibin, Colm The Heather Blazing (1992) McCourt, Frank Angela s Ashes (1996) Trevor, William Fools of Fortune (1983) McLaverty, Bernard Cal (1983) Wilson, Robert McLiam Eureka Street (1996) McNamee, Eoin Resurrection Man (1994)

5 Various additional readings (both required and optional) will be on traditional and electronic reserve at the Mansfield Library. See the course website for links. REQUIREMENTS Group oral presentation (w/ handout & annotated bibliography) 10% Ireland on the Web assignment 10% Film journal (w/ annotated bibliography) % History quiz. 15% Response papers and participation. 25% 6-8 page analytical paper... 25% All papers must be turned in at the beginning of class on the day they are due. In addition to the final analytical paper, you will write three response papers of 2-3 pages each. The first response paper (indicated by an asterisk on the syllabus) is required for all; you must turn in additional response papers on any two of the remaining five receiving dates (see the schedule). The aggregate response papers grade can be bolstered by your class participation, which will hinge on diligent and careful reading of the assigned texts, and on your willingness to talk about this reading in class: there will be mini-lecture segments, but this will largely be a discussion-based environment. Unless otherwise noted, all papers must be typed and double-spaced, with 1 margins; to avoid grade reductions, you must meet the minimum page requirement (e.g., 2-3 pages means at least two full pages, not counting the space used for headings, etc.). Additional formatting instructions will be provided when the papers are assigned. Late papers will be marked down one-half letter grade per day (weekends count as one day). I m always open to revisions of formal papers, but to take advantage of this offer the paper must have been turned in on time and I ask that you meet with me during office hours to discuss your revision. For the oral presentation, you are to form a group with two of your colleagues and sign up for one of the special topic presentations (see the schedule). On the scheduled day, the three of you will (1) give a minute presentation on your topic, and (2) provide each member of the class with a handout that includes a short but informative written summary of your topic and an annotated bibliography of 3-5 sources that scholars might consult if they should wish more information on your topic (only one of these sources may be a website).for the oral presentation, you are to form a group with two of your colleagues and sign up for one of the special topic presentations (see the schedule). On the scheduled day, the three of you will (1) give a minute presentation on your topic, and (2) provide each member of the class with a handout that includes a short but informative written summary of your topic and an annotated bibliography of 3-5 sources that scholars might consult if they should wish more information on your topic (only one of these sources may be a website). Since film is an essential component of this course, you will keep an informal journal that records your notes, observations, questions, and critical responses to each of our required films. This journal will also include an annotated bibliography in which you provide bibliographic information for five films not viewed in this course and short (2-3 sentences) annotations for each. ACADEMIC HONESTY All work which you submit for this class must be your own, and it must be written exclusively for this course. The unacknowledged borrowing of others words or ideas whether from books, the internet, or other sources constitutes the serious academic crime of plagiarism; if you fail to document properly those sources consulted for your writing, you risk an automatic failure for the entire course. If you have any doubts or questions about plagiarism or the University s policy on it, please see me.

6 SPECIAL NEEDS If you have a documented disability, or otherwise anticipate needing special accommodations in this course, please bring this to my attention as early in the semester as possible so that we have an understanding and can make arrangements. TENTATIVE SCHEDULE All reading to be completed by class time on the date listed; please always bring your book(s) to class. 1 Sept 3-5 My passport s green w Introduction. f JOYCE Ireland, Island of Saints and Sages ; HEANEY Parable Island & Digging 2 Sept 8-12 Versions of Ireland m FILM: The Quiet Man w The Quiet Man, cont d. f JONES Stones in His Pockets [ * RESPONSE PAPER ] 3 Sept Women, Religion, Sexuality, the State m The Quiet Man & Stones, cont d [ IRELAND ON THE WEB DUE ] w O BRIEN A Pagan Place (1-129) f A Pagan Place ( ) [ sp. topic: women & ireland ] 4 Sept Mother Ireland m BOLAND Object Lessons (3-119) w FILM: Mother Ireland f BOLAND Object Lessons ( ) [ RESPONSE PAPER ] 5 Sept 29 Oct 3 The Anglo-Irish & The Big House m TREVOR Fools of Fortune (9-104) [ sp. topic: the big house ] w Fools of Fortune ( ) f Fools of Fortune ( ) 6 Oct 6-10 The Post-Independence Republic m TOIBIN The Heather Blazing (3-81) [ sp. topic: eamon de valera & michael collins ] w The Heather Blazing (85-129); Writing Workshop f The Heather Blazing ( ) [ sp. topic: sinn fein & the ira ] 7 Oct Rebel Songs m The Heather Blazing ( ) [ RESPONSE PAPER ] w FILM: Bloody Sunday f Bloody Sunday, cont d. 8 Oct The Troubles m Bloody Sunday & The Troubles [ sp. topic: bloody sunday ] w Contemporary poetry: HEANEY (poems TBA) [ sp. topic: seamus heaney ] f McLAVERTY Cal (7-56)

7 9 Oct Politics and the Writer m Cal (57-121); Writing Workshop w Cal ( ) [ RESPONSE PAPER ] f McNAMEE Resurrection Man (3-49) [ sp. topic: belfast ] 10 Nov 3-7 The Aesthetics of Violence m Resurrection Man (50-114) [ sp. topic: paramilitaries (ira, uvf, uff, uda, udr)] w Resurrection Man ( ) f Contemporary poetry: MULDOON & LONGLEY (poems TBA) [ sp. topic: paul muldoon & michael longley ] 11 Nov Neil Jordan and Pluralism m Resurrection Man ( ) [ RESPONSE PAPER ] Evening FILM screening (time & location TBA): The Crying Game. w Film discussion; O CONNOR Guests of the Nation (reserve) f McLIAM WILSON Eureka Street (1-58) 12 Nov Peace and the Troubles Thriller m Eureka Street (59-157). [ sp. topic: bobby sands & hunger strikes ] w Eureka Street ( ). [ sp. topic: good friday agreement ] f NO CLASS 13 Nov These citizens, they are tender, murderable m Eureka Street ( ) [ RESPONSE PAPER ; analytical paper abstract due ] w NO CLASS f NO CLASS 14 Dec 1-5 It s an Irish story m Eureka Street ( ) Evening FILM screening (time & location TBA): The Devil s Own w Discussion: Hollywood & Irishness [ FILM JOURNALS DUE ] f History quiz 15 Dec 8-12 The McCourt Phenomenon m McCOURT Angela s Ashes (11-215) [ sp. topic: irish music & riverdance ] w Angela s Ashes ( ) f Reflections & conclusions [ ANALYTICAL PAPER DUE ]

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