27 December 2010

College Writing II Spring 2011 Syllabus (9:00 & 11:00 MWF)

College Writing II Professor Mead
Spring 2011 9:00 & 11:00 AM

January
10 M Introduction. KIRSTI IN CLASS
12 W The Iliad, pp.3-67
14 F Style: Lessons in Clarity & Grace, Lesson One
17 M NO CLASS
19 W The Iliad, Books 1 & 2. Two-page summary of Knox Introduction.
21 F SLCG, Lesson Two
24 M The Iliad, Books 3 & 4
26 W The Iliad, Books 5 & 6
28 F SLCG, Lesson Three
31 M The Iliad, Books 7 & 8
February
2 W The Iliad, Books 9 & 10
4 F SLCG, Lesson Four
7 M The Iliad, Books 11 & 12
9 W The Iliad, Books 13 & 14
11 F SLCG, Lesson Five
14 M The Iliad, Books 15 & 16
16 W The Iliad, Books 17 & 18
18 F SLCG, Lesson Six
21 M NO CLASS
23 W The Iliad, Books 19 & 20
25 F SLCG, Lesson Seven
28 M The Iliad, Books 21 & 22
March
2 W The Iliad, Books 23 & 24
4 F SLCG, Lesson Eight
7 M Edit Session
9 W Edit Session
11 F SLCG, Lesson Nine. Paper #1 Due.
14 M NO CLASS
16 W NO CLASS
18 F NO CLASS
21 M NO CLASS
23 W Paths of Glory, Foreword, Introduction, pp. 3-42.
25 F SLCG, Lesson Ten
28 M Paths of Glory, pp. 42-80
30 W Paths of Glory, pp. 83-109
April
1 F SLCG, Lesson Eleven
4 M Paths of Glory, pp. 113-154
6 W Paths of Glory, pp. 154-180
8 F SLCG, Lesson Twelve
11 M Paths of Glory, pp. 182-190
13 W Library/Office Visits
15 F Library/Office Visits
18 M Edit Session
20 W Edit Session
22 F NO CLASS
25 M NO CLASS
27 W Paper #2 Due. Evaluations/Speeches
Policies
Students who have special needs must contact the professor as soon as possible, and he will make all reasonable accommodations.
Please remember that you must complete all assignments on time to pass the course.
Keep copies of your drafts and your final papers for security.
Office: OM312B MWF 10-11, TR 8:30-9:30, 11-1* AND BY APPOINTMENT
tel. 438-4336 smead@stmartin.edu You may leave me a voice- or email message, but I cannot promise to respond before the next class meeting.
*I sometimes have meetings during part of these hours.
PLEASE CHECK YOUR CAMPUS EMAIL REGULARLY FOR IMPORTANT ANNOUNCEMENTS. This is the only way I have to get in touch with you outside of class, and I need to be reasonably sure you are getting the messages.

Now, what are we doing in this class?
ENG102 is designed to strengthen a student’s ability to forge thesis-driven essays and to give the student the opportunity to begin learning original, academic research. In other words, you are going to be creating new knowledge, not just writing about how you feel or transferring information from a source to your readership. This section of ENG102 will pursue the course goal by intensive reading of two literary texts: The Iliad and Paths of Glory. Both of these books are challenging for the twenty-first century student in that they are from foreign cultures and different periods of history. This challenge is in part because the reader (you) has to stow away her or his personal world-view in order to understand what the rules seem to be in the worlds created inside the texts. But these works are also challenging because they treat a hard subject unflinchingly: they are both war stories, and in these wars the world is violent, cruel, and unpredictable. But each work reaches through the hardships of human conflict to reveal the inherent greatness of humanity and its ability to shape its moral destiny.
In most classes we will have an open-ended discussion of the sections of the text for that day. It is crucially important to keep in mind that participation in class discussion is an integral part of the writing process; you simply cannot expect to be silent in class and to produce later your best written work. We will also have several “edit sessions.” At these, each students arrives to class with the best draft of the paper he or she can come up with on his or her own (no “rough drafts”). Students will be paired and read and suggest revisions for one another’s paper. The point here is to be as critical as you can with your partner’s paper, to challenge the thesis, its methodology, and its presentation so that your partner can re-write the paper into something clearer, stronger, and more elegant. You will want them to do this for you.
In addition to one short summary due early in the semester, you will produce two 10-page research papers. The first will be an interpretive argument about some aspect of artistic meaning in The Iliad, one that challenges conventional interpretations (and of course to know that, you’ll have to research what the conventional interpretations are) and that uses scholarly outside sources (i.e., articles in refereed journals or books from university presses) to support, locate, or challenge your thesis or sources that give you historical background or methodological tools. Ask me about this in class. The second paper will be the same kind of paper, but used either Paths of Glory or both Paths of Glory and The Iliad for its subject. These papers should include discursive notes and a Work Cited page, all in MLA format.
You are expected to meet throughout the semester, on your own initiative, with your instructor, a reference librarian, and peer readers at the Writing Center.
We will also be taking every Friday “off” to discuss the Style book and to do as many exercises as we have time for. There will be no graded work with this, except your participation.
Grades: Summary 10%, Paper #1 30%, Paper #2 (including drafts) 40%, Participation 20%.
Finally, if you have ANY problems, complaints, questions, or concerns, please speak to me, and I will do all I can to remedy the situation.

26 December 2010

Shame the Devil

“I lost twenty-five pounds of plagiarized papers last semester following this one, weird trick!”

After more than a few decades of rehashing my plagiarism statement, and after watching several very scary news programs on what is politely referred to as “academic dishonesty,” I have shifted my perspective on plagiarism: no longer will I explain what it means or why it is bad; I’m just going to try and make it really hard for you to pull it off.

Now, we just have a simple rule for every written assignment you hand in.

The Simple Rule

All papers must be submitted in a cardboard folder with at least two earlier drafts of the final paper. These drafts must illustrate your writing process from the free-write stage to the penultimate, pre-polished versions. If I suspect the paper is not original, you will explain how I am mistaken by analyzing what the drafts show about the growth of your idea.

22 December 2010

The Writing Process in the College Classroom

Every activity in the classroom, and in your work for the class, is part of the writing process. That means we begin our writing for this class TODAY. The list below is not strictly sequential: of course you have to read before you can think about what you’ve read, but many activities--researching expressing, conferring, and reflecting--occur many times while we are reading and writing.

1) Reading means a lot more than denoting words on a page. To read effectively, a student has to read critically. Common critical activities include acknowledging the context of the text (where was it written? who was it written for? what was the author like? what genre is the work? what does the book expect of the reader? what other kinds of books is this book meant to be like or compared to?). More concretely, an effective reader takes notes while reading, underlines important passages, and re-reads.

2) Reflecting is simply thinking about the reading afterwards. Not just in a casual, haphazard way, but perhaps with a journal or a conversation of twenty minutes with someone else who has read the book. We often feel two ways about what we’ve read: how we feel when we’re reading it and how we feel after we’ve read it. It’s often helpful to make yourself aware of, and to record, how your sense of a text changes over time.

3) Expressing your ideas in the classroom—and being open to those ideas changing, developing, or receding—is the sole reason for class discussion. If we ALL put our ideas together, we will conjure up better stuff than if we just think on our own.

4) Researching can help both to formulate ideas and to test them. Try to read a few essay on the text just to see what kinds of things people write about. As you develop your research, you will look for sources that support your argument—but also sources that challenge you to strengthen, specify, and make clearer your own argument. Sometimes, you just use others’ essays to show the reader that you are familiar with the conventional interpretations, a practice that heightens the reader’s trust in the writer.

5) Conferring with your professor is a good way to touch base, maybe learn a few shortcuts or simply to ease your mind that your idea isn’t too crazy. Surprisingly, most students learn to be more daring after speaking with their professors—weak writing is often characterized by apparent theses or descriptive papers that make no argument. Professors can also give students novel approaches to sources and methodology.

6) Writing is re-writing and re-re-writing and revising and editing and polishing.

Writing = first draft

Re-writing = all subsequent drafts

Revising = seeing the paper in a new way (modifying thesis, changing
methodology, re-assessing sources, etc.)

Editing = clarifying language and ideas, re-shaping paragraphs, re-ordering
sequence of ideas, eliminating repetitions or unnecessary
parts

Polishing = checking spelling, grammar, usage, punctuation, correctness
of paper format (margins, indentions, Notes Page, Works
Cited page, etc.)

7) Reviewing your paper after the professor returns it is a crucial part of the learning process. Where did you succeed? Where was your logic flawed? Where were you eloquent? Where did you sound unimpressive? What might have made the paper better? Where could it have gone further, if there had been more time? It’s also a good idea to meet with your professor after you’ve looked over her or his comments if you have questions or need further clarification. HINT: professors loathe being asked to defend their grades, but they love being asked to explain their responses to your writing. Students who meet this way with professor almost always do better on the next paper—usually a lot better.

Participation, Attendance, and All That

For traditional students, college is the beginning of professional life (non-traditional students have already been living professional lives). But whether it is one’s first time or not, in college one’s actions, words, attitudes, habits, and works construct tangible and lasting consequences.

Perhaps you have attended classes in which your presence and activity in the classroom is of secondary or tertiary importance, classes in which your final grade depended upon merely having notes from a professor's lecture, or having read the textbook, or test scores or projects tenuously connected to the classroom experience. This class is nothing like that. Because your instructor embraces the time- and data-tested concept and practice of process writing, you need to understand that writing and developing an independent intellect are closely connected. Further, students need to embrace the concept that the writing process is very much occurring in the classroom (See my handout “The Writing Process in the College Classroom” in my blog).

The reading and studying to do before class; the work you do in the classroom; the conversations you have with other students, instructors, and library educators; and the writing you do for paper assignment—these are all part of a single (albeit complex) activity of learning and pursuing your education (and you are pursuing that education; it will not pursue you!).

Therefore, these are my expectations for the class:
1) Students will arrive on time, prepared to begin class work. They will have their texts read, marked up, and OPEN. They will have a notebook (dedicated to this class) open with a pen or pencil ready.
2) Students will take notes throughout the class, asking for the instructor or other students to repeat what they have said if necessary. The bound notebook should be dedicated to this class.
3) Students will attend each class from beginning to end. You are allowed three absences (not counting edit days) with no penalty. I will not presume to deem whether your absence is “excused” or not. After three absences, your final grade will be lowered. Excessive absences may results in your being asked to withdraw from the class. Plan ahead: unless it is an emergency, do not leave the classroom during class.
4) Students who miss class should arrange with other students to share notes, hand in assignments, and report any new assignments. Students understand that they are responsible for all work assigned or performed in their absence.
5) Students who may be forced to miss more than three classes due to their athletic schedule should arrange alternative duties within the first two weeks of the semester.
6) Students will arrange a meeting with the professor at least once during the first six weeks of the course to review their progress in the class. They will bring in a filled-out participation self-evaluation for discussion.

Course Participation Self-Evaluation

Participation Self-Evaluation Name: ________________________
Course: _______________________ Term: _____________________
Circle the number that best describes your class participation: 1= excellent, 2= very good, 3= average, 4= just getting by, 5= poor
I have conscientiously prepared reading assignments. 1 2 3 4 5
I have reflected seriously upon discussion topics. 1 2 3 4 5
I have tried to bring empathetic understanding
to reading and research. 1 2 3 4 5
I have attended class regularly. 1 2 3 4 5
I have remained involved and engaged in this course. 1 2 3 4 5
I have contributed thoughtfully to class discussion. 1 2 3 4 5
When I talked in class, I remained on topic. 1 2 3 4 5
I have worked to bring depth to my comments
by preparing more than superficially for class. 1 2 3 4 5
I brought my questions to class or to the professor. 1 2 3 4 5
I have engaged in the questions and comments of
my fellow students. 1 2 3 4 5
I have spoken up when I disagreed, constructively. 1 2 3 4 5
I have been an active learner in the class. 1 2 3 4 5
I have treated my fellow students and my professor
with courtesy and respect. 1 2 3 4 5
I have brought any grievances forward appropriately
and promptly. 1 2 3 4 5
I have encouraged the best work from my fellow students. 1 2 3 4 5
I have read through comments on my work carefully,
and asked questions when I did not understand. 1 2 3 4 5
I have made appointments with my professor when I
needed assistance or wanted to discuss the material 1 2 3 4 5
Other Comments:


I assign myself the following letter grade for class participation: ______

1. Do you have any ideas for encouraging class participation (e.g. role playing, having groups of students come up with questions, writing short journal entries)?







2. If you feel you are not learning as much as you could from the class, what would help? Do you think that adding an exam or quiz would help you to learn the material, for instance?







3. Are there any concerns you have with the class? Is anything going on outside of class about which you’d like to talk with me?

13 October 2010

Creating Eve

Adam made her blue as sky,
Put an apple in her eye,
Gilded underneath her dress
All transparent loveliness.

For his own he filled her mind
With all gentleness and kind,
Gave her strength of his to share,
Instead of sunlight, gave her hair.

Breathed upon her flowery scent
To his little heart’s content.
And last a tongue—
but when she spoke,
his all was lost. Creation broke.

12 October 2010

Explicitly Christian

You sit there or you stand there,
About to banter or to dance,
A thousand words or steps just waiting
For commands; and well do I think you
Explicitly Christian when you frown
Or when you smile? What’s the difference
As it all goes down for one long count,
My face down on the mat and trying hard
To figure out if you should be
The trainer, or the referee, or even
That last glove against my jaw?

I thought I saw you on the Judgment Day
Pleading all the cases, prosecutor
And defense, one last stand, my jaw
Like some small weapon in your hand.
And realized the sons of Adam
Meet, try a little bit,
And go on somewhere else
With someone else,
But while the battle’s joined
It seems so much for you
Reluctant glory, sacred game.

So grimace with the strain
Or grin with sweaty humor:
Love is vacillation caught
Between the tendons stretching
On your arms and the hopeful
Questions in your eyes.

P.J. Marasa

07 October 2010

Cool Things I Learned From My Students About Dante and the "Pearl"Poet

“[The Pearl Maiden tells her father] he will be disappointed forever if his object of joy is anything but God.”  --Jordan Lettau

“[The Pearl Maiden] is frustrated that [the Dreamer] turns her death, which was a good thing for her, into a bad thing.”  --Janey Schell

“Both Dante the Pilgrim and our Dreamer are two mortal human beings who are trying, and failing miserably, to relate to women who have transcended the material realm.”  --Jonathan Frady

“When people are told what they want to hear, they do not learn anything.”  Audrey Olsen

“[The Dreamer’s] ‘quest,’ in the literal sense, is a quest for his daughter.  But in another sense, it is a quest to find himself.”  --Tom Barlow

“Men find God through their love for women, for in learning to love a woman, a man opens his heart to loving God and becomes receptive to Divine Love, which is the loves that saves.”  --Christina Berring
[gleaned from papers at the end of term Spring 2008]

05 October 2010

Envy

         --Purgatorio, Canto 13
We remember with a bright diamond sheen,
The feeling of late sunlight on our faces,
The laundry snap of wind against our foreheads,
The quiet assurance of cotton, wool, leather.
On this island where all songs shake deep,
Where prayers have less far to go,
Where circles move us up,
Calypso could never dream.
But we dream always, into the real,
Dreams where love has a full body,
Good deeds are eternal, where
Our blindness introduces the world
For the first time, really, to know
This our camp on this cliff, holding
One another, knowing love has a body,
Deeds have matter. Tear-shaped threads holding
Our lids together as we hold us all
Together. Blinded lest we look
Up. Starved and thirsted lest we look
In. Forgetting for a long while
Us. Looking out, blind and beholden.

04 October 2010

RLS320 Syllabus

Literature & Theology                                                                                     Autumn 2010
RLS320                                                                                                           Professor Mead

August
            30        M         The Book of Job
September
             1         W         The Book of Job
             3         F          The Book of Job
             6         M         Student Reports on Dimensions of Job
             8         W         Student Reports on Dimensions of Job
            10        F          NO CLASS
            13        M         The Prime of Miss Jean Brodie
            15        W         The Prime of Miss Jean Brodie
            17        F          The Prime of Miss Jean Brodie
            20        M         The Prime of Miss Jean Brodie
            22        W         The Prime of Miss Jean Brodie
            24        F          The Prime of Miss Jean Brodie
            27        M         Burnt-out Case. 
            29        W         Burnt-out Case
October
             1         F          Burnt-out Case
             4         M         Burnt-out Case. Paper #1 Due.
             6         W         Burnt-out Case
             8         F          Burnt-out Case
            11        M         Brideshead Revisited
            13        W         Brideshead Revisited
            15        F          NO CLASS
            18        M         NO CLASS
            20        W         Brideshead Revisited
            22        F          Brideshead Revisited
            25        M         Brideshead Revisited
            27        W         Brideshead Revisited
            29        F          “The River,” Flannery O’Connor
November
             1         M         “Greenleaf”
             3         W         “A Temple of the Holy Ghost”
             5         F          “The Artificial Nigger”
             8         M         Poetry
            10        W         Poetry
            12        F          “Letter From  Birmingham Jail,” Martin Luther King
            15        M         Silence, Paper #2 Due.
            17        W         Silence
            19        F          Silence
            22        M         Silence
            24        W         Silence
            26        F          NO CLASS
            29        M         Silence
December
             1         W         Silence
             3         F          Edit Session
             6         M         Edit Session
             8         W         Evaluations. Research Paper Due.
            13        M         Research Paper Due. 10:00AM OM369

                                                           

                                                Course Goals
This section of RLS320 is designed to explore how issues of theological import are played out in literary constructions.  In other words, literature offers the student of religion an avenue for uncovering how religious ideas can be expressed, negotiated, and understood outside of canonical texts.  One might say that all of literature is our Apocrypha.
To give focus to this section, I have chosen the idea of Suffering as a religious practice (or human inevitability) and specifically how the Book of Job presents its audience with images of patience, faith, and the likelihood of justice in this world.  We will spend the first part of the semester reading and talking about Job, then turn our attention to four twentieth-century novels and a few other texts, not simply to compare these texts with “Job,” but to enrich our reading of the modern texts by using “Job” as a lens through which to view the books.
We will begin by reading “Job” first as the original conversation between an impatient man and three other people; then as the responsive additions by a fourth person and God; then with the Prologue and Epilogue as a final level of redactive meaning.  Then, students will prepare presentations of two articles from a single section of The Dimensions of Job. The rest of the semester will be devoted to close and critical readings of our modern texts.
Ours is a small class, so your active and thoughtful participation is essential for its success.  Each student will have to shoulder the responsibility of arriving on time and prepared for pithy discussions.  You may miss up to three classes without penalty, but all classes missed after that will lower your final grade.  Class participation will constitute 20% of the final grade.
Papers #1 and #2 will be brief (1500-2500 word) essays that analyze significant sections of the literary texts through the lens of either your reading of “Job” or that of one of the scholars in The Dimensions of Job.  The research paper—which you should begin thinking about today—must be a serious interpretive essay using at least ten scholarly, peer-reviewed sources (3000-4000 words).  You may choose to write an interpretation of the Hebrew Scripture text(s); you may interpret a literary work through the lens of “Job;” you might even try your hand at writing a modern instance of this ancient story, provided this attempt has a sound and articulated critical foundation.  We can talk about this assignment.
Grades:                        Paper #1         10%
                                    Paper #2         10%
                                    Presentation    20%
                                    Participation    20%
                                    Research          40%
Required Texts:   

The Dimensions of Job:  A Study and Selected Readings. Nahum N. Glatzer, ed.
New York:  Schocken, 1975
                               Brideshead Revisited, Evelyn Waugh.  New York:  Black
                                                Bay Books, 2008.
                                    The Prime of Miss Jean Brodie.  Muriel Spark.  New York:
                                                Harper, 2009.
                                    A Burnt-Out Case. Graham Greene. New York:  Penguin, 1975.
                                    Silence. Shusaku Endo.  Marlboro, NJ: Taplinger Publishing, 1980.
Recommended Text:   Job:  The Victim of Hid People. Rene Girard. Trans. Yvonne
                                                Freccero.  Stanford, CA: Stanford UP, 1987.
Supplied Texts:                        Poetry by Vassar Miller and Lucia Perillo,
                                                 Prose by Rev. Martin Luther King,
                                                Short Fiction by Flannery O’Connor.

Students who require special treatment must see the instructor as soon as possible, and he will make all reasonable accommodations.
Students must complete all work to pass the class.  Late papers are occasionally accepted, but only when arrangements are made prior to the original due date.  Students who plagiarize will fail the class.  Please see my plagiarism policy on my web page.

Office Hours:  MWF  10-11, TR 8:30-9:30, 10-1*
                        AND BY APPOINTEMENT.
                        OM 369, tel. 360-438-4336
                        smead@stmatin.edu
* I sometimes have meetings during part of these hours (10-1).  You may leave me a voice or emessage, but I cannot promise to respond before the next class meeting.

Medieval Studies Fall 2010

August
        30    M     Introduction
September
         1     W     Marie’s Prologue
         3     F      Marie de France: “Guigemar”
         6     M     “Guigemar”
         8     W     “Equitan”
        10    F      “Bisclavret”
        13    M     “Lanval”
        15    W     “Yonec”
        17    F      “Chaitivel”
        20    M     “Eliduc”
        22    W     Chretien de Troyes:  “Erec & Enide”
        24    F      “Erec & Enide”
        27    M     “Erec & Enide” Paper #1 Due
        29    W     “Erec & Enide”
October
         1     F      “Yvain”
         4     M     “Yvain”
         6     W     “Yvain”
         8     F      “Yvain”
        11    M     Chaucer: Knight in “General Prologue”
        13    W     “The Knight’s Tale”
        15    F      NO CLASS
        18    M     “The Knight’s Tale” Paper #2 Due
        20    W     “Wife of Bath’s Prologue”
        22    F      “Wife of Bath’s Tale”
        25    M     “Franklin’s Prologue & Tale”
        27    W     “Tale of Sir Topas”
        29    F      Catch-up Day
November
         1     M     Sir Gawain and the Green Knight, Part I
         3     W     Sir Gawain and the Green Knight, Part II
         5     F      Sir Gawain and the Green Knight, Part III
         8     M     Sir Gawain and the Green Knight, Part IV.  Paper #3 Due
        10    W     Pearl, Sections I-V
        12    F      Pearl, Sections VI-X
        15    M     Pearl, Sections XI-XV
        17    W     Pearl, Sections XVI-XX
        19    F      The Faerie Queene, Book I, Cantos 1-2
        22    M     The Faerie Queene, Book I, Cantos 3-4
        24    W     The Faerie Queene, Book I, Cantos 5-6
        26    F      NO CLASS
        29    M     The Faerie Queene, Book I, Cantos 7-8
December
         1     W     The Faerie Queene, Book I, Cantos 9-10
         3     F      The Faerie Queene, Book I, Cantos 11-12
         6     M     Edit Session
         8     W     Evaluations
        13    M     Research Papers Due by Noon, OM 369.



                                        Class Policies
This is a discussion-intensive class.  It is imperative that you come to class each day fully prepared to engage in a thoughtful and educated conversation about our texts and the cultures that produced them.  We will focus on the idea of “romance” in medieval literature by reading prose stories, romances, dream-visions, allegories, and adventures to explore how this literature expressed ideas about how men and women create both identity and belonging; how gender roles both shaped and were shaped by ideas of identity and community; how morality was conceived, betrayed, and served; how class and its attendant functions of language (reading, writing, listening, etc), affects both the characters in the literature and the audience of the stories.

So, that’s a lot.  How do we get there?  We’ll start by reading slowly and carefully, by allowing the text to determine the terms and measures of our readerly analysis.  We’ll understand that these books were written a long time ago for an audience we might well consider quite alien to us and our sensibilities.  But just as when you enter a stranger’s house and you take off your shoes if that’d what’s done, or don’t smoke, or force down an obligatory beverage of welcome—so here we will look for the “rules” of each text and behave our readerly selves accordingly.  The meta-stuff can come AFTER we learn the terms of the other world.

Reading:  KEEP UP!  Read at least twice; this isn’t a newspaper.  There will be words you don’t know, customs you are unfamiliar with, and a lot of religious considerations that you might be a stranger to.  Write questions in the margins; circle and later look up any words you do not understand.  Keep a reading journal.  Keep asking yourself:  what are the rules of this world?  How do its characters understand reality?  How does the author seems to expect the reader (the medieval reader, or listener) to understand reality?  When is the author being satirical?  Humorous?  Serious? What is the relationship between the author and his or her characters?  What is the genre of the text (allegory, lai, epic, dream-vision, etc.) and how does the genre determine the work’s meaning?

Required Texts:       The Lais of Marie de France. Hanning &
                                     Ferrante, trans.  Grand Rapids,
                                    Michigan:  Baker, 2008
                        Canterbury Tales, Geoffrey Chaucer.  Kolve, ed.
                                Norton, 1989.
                        Arthurian Romances. Chretien De Troyes.  Kibler, trans.
                                Penguin, 2004.
                        Sir Gawain & the Green Knight/Patience/Pearl. 
                               Marie Borroff,
                               Trans.New York: Yale UP, 2001.
                        The Faerie Queene, Book I.  Edmund Spenser.
                              Carol Kaske,
                               Ed.  Indianapolis:  Hackett, 2006

Office Hours:  MWF 10-11, TR 8:30-9:30, 11-1*
And By Appointment
*I sometimes have meetings during part of the 11-1 hours.

Grading:          Paper #1                  10%
                        Paper #2                 10%
                        Paper # 3                10%
                        Participation            30%
                        Research Paper        40%

Students with special needs must contact the instructor as soon as possible and he will make all reasonable accommodations.
Students suspected of plagiarism will have to convince the instructor that their work is original.  Plagiarists will fail the class.
You must complete all assignment to pass the class.
Late papers are occasionally accepted if arrangements are made prior to the due date.  Late papers often have a habit of lowering your paper grade by one letter a day.
Students who miss more than three classes will have their final grades lowered by one decrement per absence.

Goofus & Gallant in College Writing Class

Goofus skims through the reading—
when he actually does the reading.
He’s never taken a note, nor has he
ever once looked up in the dictionary
a word in the text he doesn’t know.
Gallant reads with a sharp pencil in hand.
He underlines passages that confuse, impress,
or trouble him.  He circles words he doesn’t know and looks them up later, writing the definitions in the margins.
Goofus strays into class, usually
around starting time.  He often brings his book, but usually doesn’t open it.  If he is talking in class, it’s off-the-cuff,
without much thought or reference
to the text.  Goofus usually finds school
texts boring.
Gallant arrives a few minutes early to class to look over the reading, his notes, and some ideas he wants to work on for his paper.  He
uses class discussion to test his ideas; he also
listens seriously to what other students say.
The more familiar Gallant gets with the texts,
The more interesting they seem.
Two minutes before class is over, Goofus readjusts his baseball cap and puts his untouched  text and note book back in his pack,  then heads out for the next class.
Gallant takes a minute or two to make notes of
the discussion points in class, to mark the
passages the instructor pointed out, and to ask
the instructor any questions he has.
Goofus begins his work for class after
Classes, practice, dinner, and a little
“me time” (four hours’ worth).  It’s
usually pretty late, so he’s tired and
not real patient.
Gallant actually schedules his work time.  He
always spends at least an hour in the library
when the sun is up.  He browses the stacks
and gets to know the reference librarians.
Goofus writes his “essay” a day or two
before the due date.  He never revises,
because he wants it “to be real.”
Goofus has never understood
paragraphs, so he just indents every
four inches.  Goofus finds ANY
source that mentions the title of
the book he is writing on and sticks
a quotation in—without explanation
or context—at least once per page.
Gallant has been thinking and jotting down ideas
for his paper since the class began reading the
book.  He has visited the professor  few times
to help work out his ideas and plot out his
thesis statement.  He has revised his paper
four or five times before the first edit
session.  He knows whether his sources
support, challenge or locate his thesis.
Goofus thinks that the formalities of
a Notes page and a Works Cities page
are so twentieth-century.  His paper has no notes, and a Works Cited page that is like a jigsaw puzzle missing half the pieces.
Gallant learns how freaking simple the Works
Cites and Notes pages are, so he does it
mostly right the first time, and gets it
perfect the second time.
When Goofus gets his paper back, he
ignores the marginal notes and
comments at the end and looks only at
 the grade, which he knows is far too low for the paper.  This confirms his sense that the professor doesn’t like him.
Gallant reads the comments and marginal notes, trying to figure out where his paper worked and where the logic was flawed.  Once a grammatical error is pointed out, he learns how to correct the problem.  He makes an appointment
with his professor if he has any questions.