30 September 2010

Blood Donor Questionnaire

Have you ever had sex, even once, with a man?
Have you ever taken money in return for sex?
Have you ever had sex with an intravenous drug user?
Have you ever had sex in return for drugs?
Have you, in the last ten years, been to Ghana, Chad, The Ivory Coast, Ethiopia, Cameroon, Angola, Somalia, Senegal, or Togo?
Have you been, between 1978 and 1989, in Haiti, the Dominican Republic or Belize?
Have you, in the last six months, been incarcerated for more than 72 hours?
Have you, in the last three months, had a tattoo?
Have you, in the last month, had a piercing?
Have you, in the last three days, had a tooth filled?
Have you, in the last twelve hours, had an aspirin?
Are you feeling good today?

Have you even been incarcerated, even once, with a man from Ghana?
Have you ever had a tattoo of someone who has taken drugs or money in exchange for sex?
Have you, between 1978 and 1989, had sex with another man who has had his teeth filled in the past three days?
Have you ever had a piercing while visiting Africa with someone who has been an intravenous drug user in exchange for sex?
In the last six months, have you thought about Ghana, Chad or Haiti while having sex in exchange for drugs or money, or just peace and quiet in the household for a change?
Have you ever, even once, had sex with a man from The Ivory Coast who promised, but did not deliver, the drugs?
Have you ever, even once, had sex between 1978 and 1989?
Did you ever think about having sex with someone who had sex with someone else who had sex with an intravenous drug user?
Have you ever had sex with someone who took aspirin?
Have you ever not had sex because you couldn’t find the aspirin?
How are you feeling now?

Okay, have you ever had sex while being pierced through your new tattoo of Angola, Ethiopia, or Haiti by a man who ate beef in the United Kingdom between 1980 and 1992 in exchange for money or drugs or a cavity filling since his tooth had been killing him while he was incarcerated for 72 hours for intravenous drug use?

Middleton Place, South Carolina

A woman is spinning, spinning
endless loops of blonde wool
drawn off the limpid ponds,
corn silk blown over tidal pools.
Every naked device of sustenance
plants a prison seed of wealth,
which has undone us all.

(Do not look for the grand house,
that would bear down on you
from the curve-limbed Ashley:
even bricks can burn, acrid smoke
mingling with sodden heat.)

She bends, silent, combing
thorns, burrs from off-white,
ignoring the ghosts
who gather by her spun hair

Behind you looms live oak,
telling, too late, of Indian trails
inland.  Translated bamboo edges
cypress trees that brood over knees,
hold them in water, suspended.

Her lips purse, but shape
no hymn to mark fallen
dark figures, headstones
leaned against the barn.
Engravings ease their variations.

The drip of the spring house
beneath the still carved rise
trickles to the rice pond
under thin white wings.

She turns the wheel, a spherical  whirl
for thriving azaleas, unkempt camellias,
stilling echoes of cooper, smith,
chandler, tanner, ostler.

(You wait until night, longing
for the tap and click of birds
that abide classical gardens,
for the penned mules to maraud
beyond their bounds, seeking acreage.)

Under barred rose-blue clouds
tipping into thick magnolia,
a woman whirlpools string
spiraling everything to a thinness
that dissolves in the lines of a patient palm.

29 September 2010

ENG331 2010

Medieval Studies              Autumn 2010
ENG331                          Professor Mead

        30    M     Introduction
         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”
         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
         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
         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.

28 September 2010

Checklist For Research Papers

____      Three drafts (including final) that trace the process of the writing.

____     Fully filled-out Edit Sheets (2)

____     Pages Numbered

____     Clear parenthetical citations (MLA)

____     Notes Pages (MLA)
                        (At least one note explaining primary text)

____     Works Cited Page (MLA)
                        (Minimum 10 sources from scholarly journals or university presses)

____     Close reading for every quotation

____     Interpretive Thesis

____     Methodology Explained in Intro Paragraph

____     Topic Sentences

____     Title, but no title page

____     Consideration of strong counter-argument (optional)

____     To Be search & destroy

____     Proofread