https://grlucas.net/api.php?action=feedcontributions&user=Grlucas&feedformat=atomGerald R. Lucas - User contributions [en]2024-03-28T22:01:25ZUser contributionsMediaWiki 1.39.0https://grlucas.net/index.php?title=ENGL_2111/Spring_2024/Online/Schedule&diff=21128ENGL 2111/Spring 2024/Online/Schedule2024-03-28T12:54:12Z<p>Grlucas: Tweaked format.</p>
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<div>{{:ENGL 2111/Spring 2024/Online/Tabs}} __NOTOC__<br />
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{{Schedule-nh}} {{More}}<br />
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<div class="res-img">[[File:Joseph Mallord William Turner 064.jpg]]</div><br />
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{{Collapse top|title=Overview and Instructions for Work|bg=#F0F2F5|left=yes}}<br />
{{mbox|type=speedy|text=Read ahead so that you can plan your work to meet deadlines. Read specifically the weeks when the midterm and final are scheduled. In addition, the due date for the [[Short Lit Crit Response|Lit-Crit Response]] is at the end of the semester, but you may submit it at any time on D2L. I recommend that you try to get to it earlier, as you might find getting to this short research assignment at the end of the semester a bit challenging.}}<br />
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All assignments are due '''Tuesday evenings at 11:59 pm'''. Have the assigned text(s) read by Sundays at the latest, so you can post your questions and responses to Packback well ahead of the due date. '''Procrastination and posting at the last minute will earn you lower grades.''' I suggest the following work schedule for each week:<br />
<br />
* Wed: Begin reading the week’s text(s), including background materials; [[September 27, 2020|take notes]] as you read.<br />
* Sat/Sun: Post your question to [https://app.packback.co/ Packback]. Read{{refn|Even if you do not respond to a seed prompt, you are required to read them and the links they contain. This is crucial background material about the texts and course content. Failure to read these will result in potential lower grades and failure.}} and consider responding to a seed prompt: i.e., one of the questions I have asked about the material.{{refn|Again: pay attention to these prompts, as they might give hints as to what is important for you to know for the test. These are often asking about the background materials I have posted for the primary texts, usually based on lectures.}}<br />{{A note}} You are not ''required'' to write on Packback every week, but for each '''text''' that we study. The one question/two responses is the ''minimum'' requirement per text, so I encourage you to write more, especially on texts that we cover over multiple weeks, like the ''Odyssey''.<br />
* Sun: Finish the reading. Take the reading quiz on D2L.<br />
* Mon: Participate in the discussion on Packback. Be sure to support your discussions with evidence from the the week’s primary text and/or the secondary texts, like background materials and assigned videos.<br />
* Tue: Add follow-up posts to Packback.<br />
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Look ahead and plan your reading accordingly. I have tried to keep reading to a minimum, but if you are a slower reader, like I am, you may want to plan out your reading schedule so that you can meet the course deadlines.<br />
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Once again: '''Procrastination and posting at the last minute will earn you lower grades.''' Even technological issues (especially with D2L) may impact your ability to submit assignments. If you begin early, you will mitigate any unforeseen problems.<br />
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{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! rowspan="2" | 1 <br />
| style="min-width: 150px;" rowspan="2" | Jan 10–16 || style="background-color: #D1F2EB;" |<br />
=====Course Introduction=====<br />
{{bulleted list<br />
|Read the syllabus carefully and completely.{{refn|It is imperative that you have the unit complete by the end of the first week of class. Failure to do so will have you reported as a no-show, and you will be removed from the class. If this happens, '''you will not be readmitted'''.}}<br />
|Read: “[[How to Do Well in My Class]]” and “[[Writing in the Liberal Arts]].”{{refn|You ''must'' follow the writing conventions and guidelines outlined in this document, including the presentation of titles. This should all be review from ENGL 1102.}}|Take Introduction Quiz on D2L<br />
|Register for [https://app.packback.co/ Packback] if you have not already.{{refn|You should have received an invitation from Packback already, unless you just registered for the course. If you were not invited, please [[ENGL 2111/Summer 2022/Instructor|let me know]] or register yourself. Note: you need to know your course section number when registering.}} See [[{{BASEPAGENAME}}/Requirements#Packback|Requirements > Packback]] for instructions, including the necessary course key.<br />
|Introduce yourself on Packback: Who are you?{{refn|You will need to be signed in to Packback and have access to our course to answer all responses. Read the Packback tab for instructions. This will count as one of your required responses for this week.}} <br />
}}<br />
|-<br />
|<br />
=====Epic Poetry=====<br />
{{Bulleted list<br />
|Read [[Epic Poetry]].<ref name="bg">I post background materials on all of the texts for the class. These are essays meant to take the place of in-class lectures. I strongly recommend that you read this material to help you with your understanding of the literature and for your exams.</ref> <br />
|Watch “[https://youtu.be/3jxLKDWFgJ0 Blue Talks Epic Poetry].”<br />
|Post your question and response (only one more ''response'' is required this week since you introduced yourself above) about epic poetry on Packback.<ref name="pb">Be sure you read the seed prompts on this week’s material even if you do not respond to them. Then, ask one question and respond to at least one thread and/or question. This is the minimum participation on Packback to meet your writing requirement. See the outline of the week above for guidance on how to approach your writing on Packback.</ref><br />
|Take the Epic Poetry quiz on D2L.<br />
}}<br />
|-<br />
! 2<br />
| Jan 17–23 ||<br />
<br />
=====''The Epic of Gilgamesh''=====<br />
{{bulleted list<br />
|Read [[The Epic of Gilgamesh|''Gilgamesh'' background materials]].<br />
|Watch “[https://tinyurl.com/26c4mnrs ''The Epic of Gilgamesh'': Invitation to World Literature].”{{refn|Like most of the videos in this class, this documentary is available via Films on Demand. You will be prompted to login to your MGA account if you’re not on campus.}}<br />
|Read ''The Epic of Gilgamesh'', translated by N. K. Sandars.<br />
|Take the ''Gilgamesh'' reading quiz on D2L.<br />
|Watch “[https://tinyurl.com/2x5v73hb The King Who Tried to Conquer Death]” ❗️{{refn|The ❗️ means that this video is optional, but recommended.}}<br />
|Post your question and responses on Packback.<ref name="pb" /><br />
}}<br />
|-<br />
! 3 <br />
| Jan 24–30 || <br />
====={{c|Homer}}, from the ''Iliad''=====<br />
{{bulleted list<br />
|Read [[Iliad|''Iliad'' background materials]].<br />
|Watch “[https://tinyurl.com/ymkxsphc The Wrath of Achilles].” ❗️<br />
|Read books 1 and 6 of the ''Iliad''; translated by Robert Fagles.<br />
|Watch “[https://tinyurl.com/5ya2nbc9 Patroclus and the Myrmidons].” ❗️<br />
|Read books 16 and 22 of the ''Iliad''. <br />
|Take the ''Iliad'' reading quiz on D2L.<br />
|Post to PackBack.<br />
}}<br />
|-<br />
! 4 <br />
| Jan 31–Feb 6 || style="background-color: #FADBD8;" |<br />
=====Test 1=====<br />
{{bulleted list|Review [[Writing on World Literature|background materials and study guides]] for the texts we’ve read so far.|You might have a look at [[CompFAQ/Essay Exam|Crafting Strong Exam Answers about Literature]].|Complete your first test on D2L. Be sure to read the directions carefully before you begin.}}<br />
|-<br />
! 5 <br />
| Feb 7–13 ||<br />
=====Homer, from the ''Odyssey'' 1=====<br />
{{bulleted list<br />
|Read [[Odyssey|''Odyssey'' background materials]].<br />
|Watch “[https://tinyurl.com/2nk4y6td ''The Odyssey''].”<br />
|Read books 1–4, the “Telemachy,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
|Take the ''Odyssey'' 1 reading quiz on D2L.<br />
|Post to PackBack.<br />{{A note}} Your usual one question/two responses is due Feb 27, but you may want to begin this week.<br />
}}<br />
|-<br />
! 6 <br />
| Feb 14–20 || <br />
=====Homer, from the ''Odyssey'' 2=====<br />
{{bulleted list<br />
|Review [[Odyssey|''Odyssey'' background materials]].<br />
|Watch “[https://tinyurl.com/p8s5ka86 Literary Classics - ''The Odyssey''].” ❗️<br />
|Read books 9–12, “Odysseus’ Tale,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
|Take the ''Odyssey'' 9–12 reading quiz on D2L.<br />
|Post to PackBack.<br />{{A note}} Your usual one question/two responses is due Feb 27, but you may want to participate this week.<br />
}}<br />
|-<br />
! 7 <br />
| Feb 21–27 || <br />
=====Homer, from the ''Odyssey'' 3=====<br />
{{bulleted list<br />
|Review [[Odyssey|''Odyssey'' background materials]].<br />
|Watch “[https://tinyurl.com/4bvdvt4b A Critical Guide to ''The Odyssey''].” ❗️<br />
|Read books 22 & 23, “Odysseus’ Homecoming,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
|Take the ''Odyssey'' 3 reading quiz on D2L.<br />
|Post to PackBack.}}<br />
|-<br />
! 8 <br />
| Feb 28–Mar 5 || style="background-color: #FADBD8;" |<br />
<br />
=====Test 2=====<br />
{{bulleted list|Review [[Odyssey|background materials and study guides for the ''Odyssey'']].|You might have a look at [[CompFAQ/Essay Exam|Crafting Strong Exam Answers about Literature]].|Complete your second test on D2L.}}<br />
|-<br />
! 9<br />
| Mar 6–12 ||<br />
=====Aristotle, from ''Poetics''=====<br />
{{bulleted list<br />
|Read “[[Tragedy]].”<br />
|Watch “[https://tinyurl.com/5n8ee8pf Greek Drama: From Ritual to Theater].” ❗️<br />
|Read the [[Greek Tragedy/Poetics|excerpt from ''Poetics'']].<br />
|Watch [https://youtu.be/sNWrOuwzax8 “What is Theater?”]; [https://youtu.be/VeTeK9kvxyo “Thespis, Athens, and The Origins of Greek Drama”]; [https://youtu.be/nGlQkaoIfBI “Tragedy Lessons from Aristotle”] <br />
|Take Greek Tragedy quiz on D2L.<br />
|Post to PackBack.<br />
}}<br />
|-<br />
! 10 <br />
| Mar 13–26 || <br />
=====Sophocles, ''Oedipus the King'' 1=====<br />
{{bulleted list<br />
|Read [[Oedipus the King|''Oedipus the King'' background materials]].<br />
|Watch “[https://tinyurl.com/3asth6t9 The Greek Dramatists: Aeschylus, Sophocles and Euripides].”<br />
|Read ''Oedipus Rex''; translated by Robert Fagles.<br />
|Take the ''Oedipus the King'' reading quiz on D2L.<br />
|Post to PackBack, due Apr 2.<br />
|Since Spring Break is included this assignment, you might want to begin on your [[Short Lit Crit Response]], due at the end of the course.}}<br />
|-<br />
! 11 <br />
| Mar 27–Apr 2 ||<br />
<br />
=====Sophocles, ''Oedipus the King'' 2=====<br />
{{bulleted list<br />
|Review [[Oedipus the King|''Oedipus the King'' background materials]].<br />
|Watch [https://tinyurl.com/bdad8nkk ''Oedipus Rex''] on Films on Demand.<br />
|Post to PackBack. Be sure at least one post is on the performance.<br />
}}<br />
|-<br />
! 12 <br />
| Apr 3–9 || <br />
=====Euripides, ''Medea'' 1=====<br />
{{bulleted list<br />
|Read [[Medea|''Medea'' background materials]].<br />
|Watch “[https://tinyurl.com/5n6an3ff Medea, Murderous Love—The Great Greek Myths].”<br />
|Read the play; translated by Rex Warner.<br />
|Take the ''Medea'' reading quiz on D2L.<br />
|Post to PackBack, due Apr 16.<br />
}}<br />
|-<br />
! 13 <br />
| Apr 10–16 || <br />
=====Euripides, ''Medea'' 2=====<br />
{{bulleted list<br />
|Review [[Medea|''Medea'' background materials]].<br />
|Watch [https://tinyurl.com/28hd4w7f ''Medea''] on Films on Demand.<br />
|Post to PackBack. Be sure at least one post is on the performance.<br />
}}<br />
|-<br />
! 14<br />
| Apr 17–23 || style="background-color: #FADBD8;" |<br />
=====Test 3=====<br />
{{bulleted list|Review background materials and study guides for tragedy, Sophocles, and Euripides.|You might have a look at [[CompFAQ/Essay Exam|Crafting Strong Exam Answers about Literature]].|Complete your third test on D2L.}}<br />
|-<br />
! rowspan="2" | 15<br />
| rowspan="2" | Apr 24–30 || <br />
=====Ovid, from ''The Metamorphoses''=====<br />
{{bulleted list<br />
|Read [[Metamorphoses|''The Metamorphoses'' background materials]].<br />
|Read “[[Apollo and Daphne]]”; “Io and Jove“; “Europa and Jove”; “Iphis and Ianthe”; “[[Pygmalion]].” Translated by Allen Mandelbaum.<br />
|Take reading quiz on D2L.<br />
|Post to PackBack.}}<br />
|-<br />
| style="background-color: #FADBD8;" |<br />
=====Test 4=====<br />
{{bulleted list<br />
|Review [[Metamorphoses|''The Metamorphoses'' background materials]].<br />
|You might have a look at [[CompFAQ/Essay Exam|Crafting Strong Exam Answers about Literature]].<br />
|Complete your fourth test on D2L.}}<br />
|-<br />
! 16<br />
| '''May 3'''{{refn|Note that the deadline is two days after classes end.}} || style="background-color: #FDEBD0;" | <br />
=====Lit-Crit Response=====<br />
{{bulleted list<br />
|Submit your [[Short Lit Crit Response|Lit-Crit Response]] on D2L.<br />
}}<br />
|}<br />
<br />
{{Notes}}<br />
{{ENGL 2111}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=ENGL_1102/Spring_2024/Schedule&diff=21127ENGL 1102/Spring 2024/Schedule2024-03-20T14:45:43Z<p>Grlucas: Updates for Jury Duty.</p>
<hr />
<div>{{:ENGL 1102/Spring 2024/Tabs}}<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:Ancient-calendar.jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{A note}} This schedule is for sections 21339 and 20288 of ENGL 1102. The former sections meets on Mondays & Wednesdays and the latter on Tuesdays & Thursdays. I include both dates below.<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! 1 <br />
| style="min-width: 150px;" | {{date|Jan 10 & 11|none}} || Class Introduction<br />
|-<br />
! rowspan=2 | 2 <br />
| {{date|Jan 16|none}} || rowspan="2" | Sipiora, [https://files.grlucas.com/f/40cf0daa098049a3b4c1/ Chapter 1]{{refn|I told you the password in class on the first day.}} Introduction, including Fitzgerald, “[[Babylon Revisited]]”<br />
|-<br />
| {{date|Jan 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 3 <br />
| {{date|Jan 22 & 23|none}} || rowspan="2" | Sipiora, Chapter 2 '''Reader-Response Criticism''', including Hemingway, “[[Indian Camp]],” and Joyce, “[[Araby]]”<br />
|-<br />
| {{date|Jan 24 & 25|none}} <br />
|-<br />
! rowspan=2 | 4 <br />
| {{date|Jan 29 & 30|none}} || Sipiora, Chapter 6 '''Cultural Criticism''' Introduction; London, “[[To Build a Fire]]”<br />
|-<br />
| {{date|Jan 31|none}} & {{date|Feb 1|none}} || Poetry Day: The Smiths “Girlfriend in a Coma”; Wordsworth “[[The World Is too Much with Us]]”<br />
|-<br />
! rowspan=2 | 5 <br />
| {{date|Feb 5 & 6|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Feb 7 & 8|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #1 Due on Deep Dives{{refn|See their [https://youtu.be/1UVGlJrIVoQ introductory video] for additional assistance.}}}} <br />
|-<br />
! rowspan=2 | 6<br />
| {{date|Feb 12 & 13|none}} || Library Orientation with Samantha Wilcox; Meet in library computer lab #2<br />
|-<br />
| {{date|Feb 14 & 15|none}}{{refn|This Friday 2/16 will be the last day to submit Essay 1 for credit.}} || Poetry Day: Shakespeare “[[February 6, 2023|Sonnet 18]]”<br />{{Small|'''Assignment''': Find two scholarly articles on Shakespeare’s “Sonnet 18” and read them. Summarize the main points of each article in a couple of sentences. List each article as you would on an MLA works cited page, including the summaries. Due next class, word-processed and printed.}}<br />
|-<br />
! rowspan=2 | 7<br />
| {{date|Feb 19 & 20|none}} || Sipiora, Chapter 7 '''Feminist Criticism''', including Chopin, “[[The Story of an Hour]],” and Silko, “Yellow Woman”<br />
|-<br />
| {{date|Feb 21 & 22|none}} || Poetry Day: Dickinson “[[February 22, 2023|Because I Could Not Stop for Death]]”<br />
|-<br />
! rowspan=2 | 8<br />
| {{date|Feb 26 & 27|none}} || Sipiora, Chapter 5 '''Civic Criticism''' Introduction; Vonnegut, “Harrison Bergeron”<br />
|-<br />
| {{date|Feb 28 & 29|none}} || Poetry Day: Donne “[[The Flea]]”<br />{{Small|'''Assignment''': Work with your partner to research the poem and write about a page response or reading of it. Bring this to class next week for discussion and submission.}}<br />
|-<br />
! rowspan=2 | 9<br />
| {{date|Mar 4 & 5|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Mar 6 & 7|none}}{{refn|Midterm grades due on March 8, 2023.}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #2 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 10<br />
| {{date|Mar 11 & 12|none}}{{refn|Drop day in Wednesday, March 16, 2023.}} || rowspan="2" | Sipiora, Chapter 4 '''Ethical Criticism''' Introduction; Baldwin, “Sonny’s Blues”<br />
|-<br />
| {{date|Mar 13 & 14|none}} <br />
|-<br />
! rowspan=2 | 11<br />
| {{date|Mar 25 & 26|none}} || Sipiora, Chapter 8 '''Psychological Criticism''' Introduction; Melville, ''Bartleby, the Scrivener''<br />
|-<br />
| {{date|Mar 27 & 28|none}} || Poetry Day<br />
|-<br />
! rowspan=2 | 12<br />
| {{date|Apr 1 & 2|none}} || No Class<br />
|-<br />
| {{date|Apr 3 & 4|none}} || Sipiora, Chapter 3 '''Formalist Criticism''' Introduction; Poe, “The Cask of Amontillado” (in ch. 8)<br />
|-<br />
! rowspan=2 | 13<br />
| {{date|Apr 8 & 9|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Apr 10 & 11|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #3 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 14<br />
| {{date|Apr 15 & 16|none}} || rowspan="2" | Wilson, ''[[April 19, 2022|Ma Rainey’s Black Bottom]]''<br />
|-<br />
| {{date|Apr 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 15<br />
| {{date|Apr 22 & 23|none}} || rowspan="2" | Screening of Wolfe, ''Ma Rainey’s Black Bottom''<br />
|-<br />
| {{date|Apr 24 & 25|none}}<br />
|-<br />
! rowspan=2 | 16<br />
| {{date|Apr 29 & 30|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Writing #4 on Wilson Due on Deep Dives}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
<br />
{{ENGL 1102}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=ENGL_1102/Spring_2024/Schedule&diff=21126ENGL 1102/Spring 2024/Schedule2024-03-13T14:59:20Z<p>Grlucas: Fix.</p>
<hr />
<div>{{:ENGL 1102/Spring 2024/Tabs}}<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:Ancient-calendar.jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{A note}} This schedule is for sections 21339 and 20288 of ENGL 1102. The former sections meets on Mondays & Wednesdays and the latter on Tuesdays & Thursdays. I include both dates below.<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! 1 <br />
| style="min-width: 150px;" | {{date|Jan 10 & 11|none}} || Class Introduction<br />
|-<br />
! rowspan=2 | 2 <br />
| {{date|Jan 16|none}} || rowspan="2" | Sipiora, [https://files.grlucas.com/f/40cf0daa098049a3b4c1/ Chapter 1]{{refn|I told you the password in class on the first day.}} Introduction, including Fitzgerald, “[[Babylon Revisited]]”<br />
|-<br />
| {{date|Jan 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 3 <br />
| {{date|Jan 22 & 23|none}} || rowspan="2" | Sipiora, Chapter 2 '''Reader-Response Criticism''', including Hemingway, “[[Indian Camp]],” and Joyce, “[[Araby]]”<br />
|-<br />
| {{date|Jan 24 & 25|none}} <br />
|-<br />
! rowspan=2 | 4 <br />
| {{date|Jan 29 & 30|none}} || Sipiora, Chapter 6 '''Cultural Criticism''' Introduction; London, “[[To Build a Fire]]”<br />
|-<br />
| {{date|Jan 31|none}} & {{date|Feb 1|none}} || Poetry Day: The Smiths “Girlfriend in a Coma”; Wordsworth “[[The World Is too Much with Us]]”<br />
|-<br />
! rowspan=2 | 5 <br />
| {{date|Feb 5 & 6|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Feb 7 & 8|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #1 Due on Deep Dives{{refn|See their [https://youtu.be/1UVGlJrIVoQ introductory video] for additional assistance.}}}} <br />
|-<br />
! rowspan=2 | 6<br />
| {{date|Feb 12 & 13|none}} || Library Orientation with Samantha Wilcox; Meet in library computer lab #2<br />
|-<br />
| {{date|Feb 14 & 15|none}}{{refn|This Friday 2/16 will be the last day to submit Essay 1 for credit.}} || Poetry Day: Shakespeare “[[February 6, 2023|Sonnet 18]]”<br />{{Small|'''Assignment''': Find two scholarly articles on Shakespeare’s “Sonnet 18” and read them. Summarize the main points of each article in a couple of sentences. List each article as you would on an MLA works cited page, including the summaries. Due next class, word-processed and printed.}}<br />
|-<br />
! rowspan=2 | 7<br />
| {{date|Feb 19 & 20|none}} || Sipiora, Chapter 7 '''Feminist Criticism''', including Chopin, “[[The Story of an Hour]],” and Silko, “Yellow Woman”<br />
|-<br />
| {{date|Feb 21 & 22|none}} || Poetry Day: Dickinson “[[February 22, 2023|Because I Could Not Stop for Death]]”<br />
|-<br />
! rowspan=2 | 8<br />
| {{date|Feb 26 & 27|none}} || Sipiora, Chapter 5 '''Civic Criticism''' Introduction; Vonnegut, “Harrison Bergeron”<br />
|-<br />
| {{date|Feb 28 & 29|none}} || Poetry Day: Donne “[[The Flea]]”<br />{{Small|'''Assignment''': Work with your partner to research the poem and write about a page response or reading of it. Bring this to class next week for discussion and submission.}}<br />
|-<br />
! rowspan=2 | 9<br />
| {{date|Mar 4 & 5|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Mar 6 & 7|none}}{{refn|Midterm grades due on March 8, 2023.}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #2 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 10<br />
| {{date|Mar 11 & 12|none}}{{refn|Drop day in Wednesday, March 16, 2023.}} || Sipiora, Chapter 4 '''Ethical Criticism''' Introduction; Baldwin, “Sonny’s Blues”<br />
|-<br />
| {{date|Mar 13 & 14|none}} || Poetry Day: Auden “[[The More Loving One]]”<br />
|-<br />
! rowspan=2 | 11<br />
| {{date|Mar 25 & 26|none}} || Sipiora, Chapter 8 '''Psychological Criticism''' Introduction; Melville, ''Bartleby, the Scrivener''<br />
|-<br />
| {{date|Mar 27 & 28|none}} || Poetry Day<br />
|-<br />
! rowspan=2 | 12<br />
| {{date|Apr 1 & 2|none}} || Sipiora, Chapter 3 '''Formalist Criticism''' Introduction; Poe, “The Cask of Amontillado” (in ch. 8)<br />
|-<br />
| {{date|Apr 3 & 4|none}} || Poetry Day: Gabriel “[[Solsbury Hill]]”; Harjo “Eagle Poem”<br />
|-<br />
! rowspan=2 | 13<br />
| {{date|Apr 8 & 9|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Apr 10 & 11|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #3 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 14<br />
| {{date|Apr 15 & 16|none}} || rowspan="2" | Wilson, ''[[April 19, 2022|Ma Rainey’s Black Bottom]]''<br />
|-<br />
| {{date|Apr 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 15<br />
| {{date|Apr 22 & 23|none}} || rowspan="2" | Screening of Wolfe, ''Ma Rainey’s Black Bottom''<br />
|-<br />
| {{date|Apr 24 & 25|none}}<br />
|-<br />
! rowspan=2 | 16<br />
| {{date|Apr 29 & 30|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Writing #4 on Wilson Due on Deep Dives}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
<br />
{{ENGL 1102}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=August_16,_2022&diff=21125August 16, 20222024-03-13T14:17:01Z<p>Grlucas: Upadated.</p>
<hr />
<div>{{jt|title=Packback Feedback for [[ENGL 2111]] Online, Week 1}}<br />{{Small|Updated: March 13, 2024}}<br />
<br />
<br />
{{dc|O}}{{start|ne week down in ENGL 2111.}} Between both sections, there are nearly 60 students registered, so I will do my best at getting evaluations and feedback to you, but I appreciate your patience. As this is the first week, my evaluations are more generous, but I do have a few expectations for your posts each week. Here’s a breakdown of those expectations and the grades for this week.<br />
<br />
# First off, the introductory post was graded separately. However, this counted as one of your required posts this week.<br />
# Therefore, you should have posted '''one question''' and '''one response''' about the subject matter this week: '''[[Epic Poetry|epic poetry]]'''. If you posted two responses, that’s fine. If your grade is lower than expected, you likely did not post enough. Don’t worry about it too much; you’ll have plenty of time to make it up.<br />
# Pay attention to your '''curiosity scores''' for your posts. In general, I use these as letter grades for your contributions, so you really do have the opportunity to score as high as you want. Don’t like the score, edit and revise.<br />
# Last-minute posts received lower grades. This is a discussion forum, so people working ''only'' at the last minute are not really contributing to the conversation. See the suggested timeline on the schedule for when you should be posting.<br />
# Be sure to proofread your posts before submitting them. I recommend the [[Editor’s Checklist]] for this.<br />
# Additionally, you should have already read and been quizzed on [[Writing in the Liberal Arts]]. This page teaches that the titles of epic poems should always be italicized, like Homer’s ''Odyssey''. However, many of you neglected this convention. This is a key literacy of writing about literature and ''must'' be practiced. You might review that document again for other writing conventions.<br />
# Sources should ''not'' be from reference web sites, like Wikipedia or Britannica; sites like Spark Notes are also dubious.{{refn|I’m not saying these sites won’t help. in your understating of the material, but they should not be cited. The best sources—books and journal articles—require a bit more digging.}} Also, just posting a URL at the end of your post is problematic, as it seems to indicate that your entire post was written elsewhere. You should clearly indicate within the text of your post where you use the source. I’m not going to be a big stickler on this point, but better posts will always cite sources clearly. Also, I know Packback software doesn’t make this intuitive or easy. {{crossreference|(See [[Digital Citation]].)}}<br />
# Finally, later posts that repeat what was said earlier will earn fewer points. Yes, the longer you wait to post, the more work you will have to do to earn the necessary points. <br />
<br />
Posts this week ranged from the perfunctory to the focused and creative. The more interesting posts will always be specific and not try to cover everything. Sometimes it’s clear that assigned readings remained unread before posting; this is always a bad idea. Remember: since we do not meet face-to-face, you do not have the luxury of in-class lectures. This background material is in written form on my web site and through linked materials, like videos. In addition, it’s up to you to find further quality sources to help in your understanding of these texts. Unfortunately, [[Considerations for Online Courses|online classes]] often require more and consistent work than do face-to-face ones, but you knew that already, right?<br />
<br />
This week, we will look at ''[[Introduction to Gilgamesh|The Epic of Gilgamesh]]''. I may post seed questions today or tomorrow to help guide your reading and analysis. <br />
<br />
{{Notes|title=note}}<br />
<br />
{{2022}}<br />
[[Category:Feedback]]<br />
[[Category:ENGL 2111]]</div>Grlucashttps://grlucas.net/index.php?title=ENGL_2111/Spring_2024/Online/SS/Schedule&diff=21124ENGL 2111/Spring 2024/Online/SS/Schedule2024-03-09T14:15:59Z<p>Grlucas: Tweak.</p>
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<div>{{:ENGL 2111/Tabs}}<br />
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{{Schedule-nh}} {{More}}<br />
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<div class="res-img">[[File:A term of Ovid, stories from the Metamorphoses for study and sight reading (1920) (14777879244).jpg]]</div><br />
{{Anchor|More}}<br />
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{{Collapse top|title=Overview and Instructions for Work|bg=#F0F2F5|left=yes}}<br />
All assignments are due '''Tuesday evenings at 11:59 pm'''. Have the assigned text(s) read by Fridays at the latest, so you can post your questions and responses to Packback well ahead of the due date. Procrastination and posting at the last minute will earn you lower grades. I suggest the following work schedule for each week:<br />
<br />
* Wednesday: Begin reading the week’s text(s), including background materials; [[September 27, 2020|take notes]] as you read.<br />
* Friday/Saturday: Post your question to Packback.<br />
* Sunday: Finish the reading.<br />
* Monday: Participate in the discussion on Packback.<br />
* Tuesday: Add follow-up posts to Packback. (Remember: you must post one question and two responses each week on Packback.)<br />
<br />
Look ahead and plan your reading accordingly. I have tried to keep reading to a minimum, but if you are a slower reader, like I am, you may want to plan out your reading schedule so that you can meet the course deadlines. <br />
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{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! rowspan="2" | 1 <br />
| style="min-width: 175px;" rowspan="2" | Mar 6–12 || style="background-color: #D1F2EB;" |<br />
=====Course Introduction=====<br />
{{bulleted list<br />
|Read the syllabus carefully and completely.{{refn|It is imperative that you have the unit complete by the end of the first week of class. Failure to do so will have you reported as a no-show, and you will be removed from the class. If this happens, '''you will not be readmitted'''.}}<br />
|Read: “[[How to Do Well in My Class]]” and “[[Writing in the Liberal Arts]].”{{refn|You ''must'' follow the writing conventions and guidelines outlined in this document, including the presentation of titles. This should all be review from ENGL 1102. {{crossreference|(See also the [[CompFAQ|Composition FAQ]].)}}}}<br />
|Take Introduction Quiz on D2L.<br />
|Register for [[{{BASEPAGENAME}}/Requirements#Packback|Packback]] if you have not already.{{refn|You should have received an invitation from Packback, unless you just registered for the course. If you were not invited, please [[{{BASEPAGENAME}}/Instructor|let me know]].}}<br />
|Respond to '''Who are you?''' on Packback for practice.{{refn|You will need to be signed in to Packback and have access to our course to post. Review [[{{BASEPAGENAME}}/Requirements#Packback|Packback]] for instructions.}}<br />
|Complete [[CompFAQ/Lit Survey/ENGL 2111#1. Orientation|Orientation for World Literature 1]].}}<br />
|-<br />
|<br />
=====Epic Poetry=====<br />
{{Bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#2. Epic Poetry|2. Epic Poetry]].}}<br />
|-<br />
! 2<br />
| Mar 13–26 || <br />
=====''The Epic of Gilgamesh''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#3. The Epic of Gilgamesh|3. ''The Epic of Gilgamesh'']].}}<br />
|-<br />
! 3 <br />
| Mar 27–Apr 2 ||<br />
<br />
=====Homer, from the ''Iliad''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#4. Homer’s Iliad|4. Homer’s ''Iliad'']].}}<br />
|-<br />
! 4 <br />
| Apr 3–9 || <br />
=====Homer, from the ''Odyssey''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#5b.|5b. Homer’s ''Odyssey'', Books 9–12]].}}{{A note}} Lessons 5a and 5c are ''not'' required.<br />
|-<br />
! rowspan="2" | 5 <br />
| rowspan="2" | Apr 10–16 || style="background-color: #D1F2EB;" | <br />
=====Midterm Exam=====<br />
{{bulleted list<br />
|Read: [[CompFAQ/Essay Exam|How do I write strong exam answers?]]<br />
|Take midterm exam on D2L. Be sure to read the directions carefully before you begin.}}<br />
|-<br />
| <br />
=====Aristotle, from ''Poetics''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#7. Greek Tragedy|7. Greek Tragedy]].}}<br />
|-<br />
! 6 <br />
| Apr 17–23 || <br />
=====Sophocles, ''Oedipus the King''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#8a.|8a. Sophocles’ ''Oedipus the King'']].}}{{A note}} Lesson 8b is ''not'' required.<br />
|-<br />
! 7 <br />
| Apr 24–30 ||<br />
=====Euripides, ''Medea''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#9a.|9a. Euripides’ ''Medea'']].}}{{A note}} Lesson 9b is ''not'' required.<br />
|-<br />
! 8<br />
| May 1–3 || style="background-color: #D1F2EB;" | <br />
=====Final Exam=====<br />
{{bulleted list<br />
|Review: [[CompFAQ/Essay Exam|How do I write strong exam answers?]]<br />
|Take exam on D2L.<br />
|Submit your [[Short Lit Crit Response|Lit-Crit Response]] on D2L.}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
{{ENGL 2111}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=ENGL_2111/Spring_2024/Online/SS/Requirements&diff=21123ENGL 2111/Spring 2024/Online/SS/Requirements2024-03-07T15:35:56Z<p>Grlucas: </p>
<hr />
<div>{{:ENGL 2111/Tabs}}<br />
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{| class="wikitable floatright" width="25%"<br />
|-<br />
! Requirement !! %{{refn|This is the general percentage breakdown for these requirements. As I use a point system for evaluation, the percentages are just an estimate.}}<br />
|-<br />
| [[#Reading|Reading]] || style="text-align:center;" | 30%<br />
|-<br />
| [[#Writing|Writing]] || style="text-align:center;" | 40%<br />
|-<br />
| [[#Exams|Exams]] || style="text-align:center;" | 30%<br />
|}<br />
{{dc|T}}{{Big|his course is composed of three requirements: reading, writing, and tests. Each requirement will be on-going throughout the semester, will require regular contributions, and may be comprised of various assignments. Tests will be essay and short-answers, one at midterm and one at the conclusion of the course.}} {{More}}<br />
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<div class="res-img">[[File:Medea 01 MJ.jpeg]]</div><br />
{{Anchor|More}}<br />
<br />
===Reading===<br />
Each lesson’s major focus will be reading primary texts (the literature) and secondary texts (critical response to the literature). Reading quizzes (taken on {{D2L}}) will test your knowledge of the materials, focusing on factual details like plot points, rather than interpretative readings. Students should take thorough notes as they read—like character names, plot points, and other details—that will help them on quizzes and later analysis of the texts in their writing.<br />
<br />
'''Reading quizzes cannot be made up for any reason. Please do not ask me to reopen a closed quiz.'''<br />
<br />
===Writing===<br />
Each lesson has students discussing to assigned readings on Packback. This forum is a written class discussion that encourages interaction about the course materials. These posts should be focused, interpretive, and supported by primary and secondary texts. Discussion posts should ''show'' what you’re reading and thinking about in relation to the course content—it is a place to share and develop ideas about the texts. You will discuss to every text you read, the minimum required response per week is '''three''': one question and two response posts. {{crossreference|See Packback below.}}<br />
<br />
====Short Lit-Crit Response====<br />
{{main|Short Lit Crit Response}}<br />
This essay will have students research and write about one of the texts we have studied in class. Choose the text you would like to investigate further, find a secondary, critical article, and write your two-page response. This assignment may be repeated once for extra credit {{crossreference|(also see [[{{BASEPAGENAME}}/Policies#XC Response|XC Response]])}}. For detailed instructions, see [[Short Lit Crit Response]] and be sure you follow them carefully.<br />
<br />
===Exams===<br />
Students’ knowledge of the course texts will be evaluated with a midterm and a final exam. These exams will be composed of essay and short-answer questions. The best answers employ an objective knowledge of the material, thoroughness, depth of insight, precision, and originality. The best way to prepare for these tests is to read the assigned novels thoroughly and have a general understanding of the main themes of the works. Additional research always helps.<br />
<br />
==Required Materials==<br />
[[File:Norton1-world.jpg|thumb]]<br />
Our study of World Literature this semester will use ''either'' of the following: <br />
<br />
* {{cite book |editor-last=Mack |editor-first=Maynard |date={{date|1999}} |title=Norton Anthology of World Masterpieces: Literature of Western Culture Through the Renaissance |series=The Western Tradition |edition=Seventh |volume=1 |url=https://amzn.to/2KCxHTE |location=New York |publisher=W. W. Norton |ref=harv }} <br />
* {{cite book |editor-last=Lawall |editor-first=Sarah |date={{date|2003}} |title=The Norton Anthology of World Literature: Beginnings to A.D. 100 |volume=A |edition=2nd |url=https://amzn.to/2OjZB94 |location=New York |publisher=W. W. Norton |ref=harv }}<br />
<br />
Both of these books are out-of-print, but you should have no problem acquiring one of them, either through the {{Amazon}} links above or another bookstore. These books contain the specific translations that I will be referencing in-class and on exams, so one of the two texts above is '''required'''.{{refn|Get the cheapest one, as one is no better or worse than the other. And the good news is you can sell the book back to Amazon at the end of the term and make most of your money back. Alternatively, since you must spend money on Packback this semester, you can get PDFs of the required texts from [https://files.grlucas.com/d/de08e6e96ae34a08a2fe/ my server] using the password “ReadHomer!”; please do not share this link. Access will expire two weeks after the start of class, so download all the texts right away.}} While readily available, other translations will just be confusing and cause you unnecessary difficulty. <br />
<br />
{{Materials OL}}<br />
<br />
===Packback===<br />
The Packback Questions platform will be used for online discussion about class topics and is a requirement of this course. Packback Questions is an online community where you can ask open-ended questions to build on top of what we are covering in class and relate topics to real-world applications. There will be a Tuesday at 11:59PM EST deadline for submissions. You are not required to post every week, but for every '''text''' we study {{crossreference|(see [[{{BASEPAGENAME}}/Schedule|Schedule]])}}.<br />
<br />
In order to receive full credit, you should submit the following '''minimum requirements'''{{refn|Of course, those who post more quality responses—especially on texts we cover over more than a week—will score higher. A-students do more than the minimum, right?}} per each deadline period:<br />
<br />
* '''One''' (1) open-ended Question every week with a minimum Curiosity Score of 70, worth 33.33% of each assignment grade<br />
* '''Two''' (2) Responses every week with a minimum Curiosity Score of 70, worth 66.67% of each assignment grade<br />
<br />
====How to Register on Packback ====<br />
Register for Packback by following these instructions.<br />
* Create an account by navigating to the [https://app.packback.co Packback website ]and clicking “Sign up for an Account.”{{refn|If you already have an account on Packback you can log in with your credentials.}}<br />
* Then enter our class community’s lookup key into the “Looking to join a community you don't see here?” section in Packback at the bottom of the homepage.<br />{{A note}} Community Lookup Key: <code> 03f62c92-2eb9-4501-8092-038d50b41ab2 </code><br />
* Follow the instructions on your screen to finish your registration.<br />
<br />
{{Notes}}<br />
{{ENGL 2111}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=ENGL_2122/Spring_2022/Schedule/Romantic&diff=21122ENGL 2122/Spring 2022/Schedule/Romantic2024-02-29T14:26:03Z<p>Grlucas: Tweaked title.</p>
<hr />
<div>{{:ENGL 2122/Spring 2022/Tabs}}<br />
{{:ENGL 2122/Spring 2022/Schedule/Tabs}}<br />
<br />
===The Romantic Period===<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Date !! Assignment<br />
|-<br />
! 3/10 <br />
| <br />
[[File:Caspar David Friedrich - Landschaft mit Gebirgssee, Morgen.jpg|thumb]]'''Introduction to Romanticism''' {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/s0m4nh/romanticism/}} {{bulleted list|[[Romanticism: Revolt of the Spirit]]|Editor’s Introduction, pp. 3–30.{{refn|See D2L for an overview of the period.}}|Take Period Introduction Quiz on {{D2L}}. {{RQlnk|url=https://mga.view.usg.edu/d2l/lms/quizzing/user/quiz_summary.d2l?qi=4180657&ou=2497395}}|Respond on {{R:LW|url=https://www.reddit.com/r/LitWiki/comments/s0m4nh/romanticism/|title=Romanticism}} (This link is the same as the {{Rlnksm}} after the title above). }}<br />
|-<br />
! 3/11<br />
| [[File:1794 William Blake Songs of Innocence.jpg|thumb]]'''William Blake''' {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/s0mz5h/william_blake_general/}} {{bulleted list|From ''Songs of Innocence'': {{bulleted list|“[[Introduction (SI)|Introduction]]”|“[[The Lamb]]”|“[[The Chimney Sweeper (SI)|The Chimney Sweeper]]”|“[[The Blossom]]”|“[[The Divine Image]]”}} |From ''Songs of Experience'': {{bulleted list|“[[Introduction (SE)|Introduction]]”|“[[Earth’s Answer]]”|“[[The Tyger]]”|“[[The Chimney Sweeper (SE)|The Chimney Sweeper]]”|“[[The Sick Rose]]”|“[[The Human Abstract]]”|“[[London]]”}} }}<br />Respond on {{R:LW|url=https://www.reddit.com/r/LitWiki/comments/s0mz5h/william_blake_general/|title=William Blake (General)}}. Or, if you want to respond to a particular poem, locate its thread, or if one has not already been created, feel free to start a new one.; e.g. '''Blake: “The Sick Rose”''' as the title of the thread.<br />
|-<br />
! 3/14 <br />
| [[File:Der Alte Matrose b 09.jpg|thumb]]'''Samuel Taylor Coleridge''' {{bulleted list|“[[The Rime of the Ancient Mariner]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/t47cgn/coleridge_rime_of_the_ancient_mariner/}}|“[[Kubla Khan]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/t48bi9/coleridge_kubla_khan/}}}}<br />
|-<br />
! 3/15<br />
| [[File:Tintern Abbey (4702903).jpg|Ashford, ''Tintern Abbey''|thumb]]'''William Wordsworth''' {{bulleted list|“[[Lines Composed a Few Miles Above Tintern Abbey]]”|“[[I wandered lonely as a cloud]]”|“[[I travelled among unknown men]]”|“[[The World Is too Much with Us]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/s1ephw/wordsworth_the_world_is_too_much_with_us}}}}<br />Again, if you wish to respond to poems that do not have a corresponding Reddit thread on {{R:LW}}, you are welcome to start one. This will also hold true on all assignments below.<br />
|-<br />
! 3/16<br />
| '''George Gordon, Lord Byron''' {{bulleted list|“[[She Walks in Beauty]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/t7a9eb/byron_she_walks_in_beauty/}}|“[[Darkness]]”|“[[So We’ll No More Go A-Roving]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/t48m33/byron_aroving/}} }}<br />
|-<br />
! 3/17<br />
| '''Percy Bysshe Shelley''' {{bulleted list|“[[Ozymandias]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/t48od4/shelley_ozymandias/}}|“[[To a Sky-Lark]]”|“[[Ode to the West Wind]]”}}<br />
|-<br />
! 3/18<br />
| {{div col|colwidth=17em}}'''Elizabeth Barrett Browning''' {{bulleted list|“[[The Cry of the Children]]”|“[[How do I love thee?]]”}}'''Dorothy Wordsworth''' {{bulleted list|“[[Grasmere—A Fragment]]” {{RQlnk|url=https://mga.view.usg.edu/d2l/lms/quizzing/user/quiz_summary.d2l?qi=4180638&ou=2497395}}{{div col end}}}}<br />
|-<br />
! 3/28<br />
| [[File:John Keats, portrait by Joseph Severn.jpg|Joseph Severn, ''Portrait of John Keats''|thumb]]'''John Keats''' {{bulleted list|“[[June 9, 2021|On First Looking into Chapman’s Homer]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/t48st3/keats_chapmans_homer/}}|“[[La Belle Dame Sans Merci]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/t48us0/keats_la_belle_dame_sans_merci/}}|“[[When I have fears that I may cease to be]]”|“[[Ode to a Nightingale]]”|“[[Ode on a Grecian Urn]]” {{Rlnksm|url=https://www.reddit.com/r/LitWiki/comments/t48wf6/keats_ode_on_a_grecian_urn/}}}}<br />
|-<br />
! 3/29<br />
| Take the Romanticism Check-In on {{D2L}}<br />
|}<br />
{| class="wikitable" style="border: 1px solid white; width: 100%; text-align: center; font-weight: bold; background: white;"<br />
|-<br />
| style="border-style: none; text-align: left;" | [[ENGL 2122/Spring 2022/Schedule|« Introduction]]<br />
| style="border-style: none; text-align: center;" | &nbsp;<br />
| style="border-style: none; text-align: right;" | [[ENGL 2122/Spring 2022/Schedule/Victorian|The Victorian Age »]]<br />
|}<br />
<br />
{{Notes|width=20em|title=note}}<br />
{{ENGL 2122}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey/ENGL_2122&diff=21121CompFAQ/Lit Survey/ENGL 21222024-02-29T14:25:33Z<p>Grlucas: First save.</p>
<hr />
<div>{{DISPLAYTITLE:<span style="font-size:22px; color:#B2BABB;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}<br />
{{Huge|ENGL 2122: British Literature II Lessons}} __NOTOC__<br />
<br />
''Directions: For each lesson below, follow all links and read them carefully. All primary texts may be found in your required textbook. All writing exercises should be completed on Packback discussions.''<br />
<br />
{{A note}} Before beginning any of the assignments below, consult your [[ENGL 2122|specific course syllabus]]. Not all assignments will be completed by every class. Specific assignments, required materials, due dates, and additional instructions will appear on your syllabus.<br />
<br />
==1. Orientation==<br />
# Read and review the following links:<br />
#* [[CompFAQ/Writing about Literature|I’m not an English major: why should I write about literature?]]<br />
#* [[CompFAQ/Lit Primer|How do I begin writing about literature?]]<br />
#* [[CompFAQ/Literary Analysis|What are the basics of literary analysis?]]<br />
#* [[CompFAQ/Literary Interpretation|What are the basics of interpreting a literary text?]]<br />
#* [[CompFAQ/Conventions|What are the conventions and vocabulary necessary for writing about literature?]]<br />
<br />
==2. The Romantic Period==<br />
<br />
==3. The Victorian Period==<br />
<br />
==4. Edwardian and World War I==<br />
<br />
==5. The Modern Period==<br />
<br />
===5a.===<br />
<br />
===5b.===<br />
<br />
===5c.===<br />
<br />
==6. The Contemporary Period==<br />
<br />
{{notes}}<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:ENGL 2122}}<br />
[[Category: Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=ENGL_1102/Spring_2024/Schedule&diff=21120ENGL 1102/Spring 2024/Schedule2024-02-28T16:18:54Z<p>Grlucas: Update week 8.</p>
<hr />
<div>{{:ENGL 1102/Spring 2024/Tabs}}<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:Ancient-calendar.jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{A note}} This schedule is for sections 21339 and 20288 of ENGL 1102. The former sections meets on Mondays & Wednesdays and the latter on Tuesdays & Thursdays. I include both dates below.<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! 1 <br />
| style="min-width: 150px;" | {{date|Jan 10 & 11|none}} || Class Introduction<br />
|-<br />
! rowspan=2 | 2 <br />
| {{date|Jan 16|none}} || rowspan="2" | Sipiora, [https://files.grlucas.com/f/40cf0daa098049a3b4c1/ Chapter 1]{{refn|I told you the password in class on the first day.}} Introduction, including Fitzgerald, “[[Babylon Revisited]]”<br />
|-<br />
| {{date|Jan 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 3 <br />
| {{date|Jan 22 & 23|none}} || rowspan="2" | Sipiora, Chapter 2 '''Reader-Response Criticism''', including Hemingway, “[[Indian Camp]],” and Joyce, “[[Araby]]”<br />
|-<br />
| {{date|Jan 24 & 25|none}} <br />
|-<br />
! rowspan=2 | 4 <br />
| {{date|Jan 29 & 30|none}} || Sipiora, Chapter 6 '''Cultural Criticism''' Introduction; London, “[[To Build a Fire]]”<br />
|-<br />
| {{date|Jan 31|none}} & {{date|Feb 1|none}} || Poetry Day: The Smiths “Girlfriend in a Coma”; Wordsworth “[[The World Is too Much with Us]]”<br />
|-<br />
! rowspan=2 | 5 <br />
| {{date|Feb 5 & 6|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Feb 7 & 8|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #1 Due on Deep Dives{{refn|See their [https://youtu.be/1UVGlJrIVoQ introductory video] for additional assistance.}}}} <br />
|-<br />
! rowspan=2 | 6<br />
| {{date|Feb 12 & 13|none}} || Library Orientation with Samantha Wilcox; Meet in library computer lab #2<br />
|-<br />
| {{date|Feb 14 & 15|none}}{{refn|This Friday 2/16 will be the last day to submit Essay 1 for credit.}} || Poetry Day: Shakespeare “[[February 6, 2023|Sonnet 18]]”<br />{{Small|'''Assignment''': Find two scholarly articles on Shakespeare’s “Sonnet 18” and read them. Summarize the main points of each article in a couple of sentences. List each article as you would on an MLA works cited page, including the summaries. Due next class, word-processed and printed.}}<br />
|-<br />
! rowspan=2 | 7<br />
| {{date|Feb 19 & 20|none}} || Sipiora, Chapter 7 '''Feminist Criticism''', including Chopin, “[[The Story of an Hour]],” and Silko, “Yellow Woman”<br />
|-<br />
| {{date|Feb 21 & 22|none}} || Poetry Day: Dickinson “[[February 22, 2023|Because I Could Not Stop for Death]]”<br />
|-<br />
! rowspan=2 | 8<br />
| {{date|Feb 26 & 27|none}} || Sipiora, Chapter 5 '''Civic Criticism''' Introduction; Vonnegut, “Harrison Bergeron”<br />
|-<br />
| {{date|Feb 28 & 29|none}} || Poetry Day: Donne “[[The Flea]]”<br />{{Small|'''Assignment''': Work with your partner to research the poem and write about a page response or reading of it. Bring this to class next week for discussion and submission.}}<br />
|-<br />
! rowspan=2 | 9<br />
| {{date|Mar 4 & 5|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Mar 6 & 7|none}}{{refn|Midterm grades due on March 8, 2023.}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #2 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 10<br />
| {{date|Mar 11 & 12|none}}{{refn|Drop day in Wednesday, March 16, 2023.}} || Sipiora, Chapter 4 '''Ethical Criticism''' Introduction; Baldwin, “Sonny’s Blues”<br />
|-<br />
| {{date|Mar 13 & 14|none}} || Poetry Day: Auden “[[The More Loving One]]”<br />
|-<br />
! rowspan=2 | 11<br />
| {{date|Mar 15 & 26|none}} || Sipiora, Chapter 8 '''Psychological Criticism''' Introduction; Melville, ''Bartleby, the Scrivener''<br />
|-<br />
| {{date|Mar 27 & 28|none}} || Poetry Day<br />
|-<br />
! rowspan=2 | 12<br />
| {{date|Apr 1 & 2|none}} || Sipiora, Chapter 3 '''Formalist Criticism''' Introduction; Poe, “The Cask of Amontillado” (in ch. 8)<br />
|-<br />
| {{date|Apr 3 & 4|none}} || Poetry Day: Gabriel “[[Solsbury Hill]]”; Harjo “Eagle Poem”<br />
|-<br />
! rowspan=2 | 13<br />
| {{date|Apr 8 & 9|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Apr 10 & 11|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #3 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 14<br />
| {{date|Apr 15 & 16|none}} || rowspan="2" | Wilson, ''[[April 19, 2022|Ma Rainey’s Black Bottom]]''<br />
|-<br />
| {{date|Apr 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 15<br />
| {{date|Apr 22 & 23|none}} || rowspan="2" | Screening of Wolfe, ''Ma Rainey’s Black Bottom''<br />
|-<br />
| {{date|Apr 24 & 25|none}}<br />
|-<br />
! rowspan=2 | 16<br />
| {{date|Apr 29 & 30|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Writing #4 on Wilson Due on Deep Dives}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
<br />
{{ENGL 1102}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=Darkness&diff=21119Darkness2024-02-27T15:51:58Z<p>Grlucas: Redirected page to February 26, 2024</p>
<hr />
<div>#REDIRECT [[February 26, 2024]]</div>Grlucashttps://grlucas.net/index.php?title=February_26,_2024&diff=21118February 26, 20242024-02-27T15:51:19Z<p>Grlucas: Created entry.</p>
<hr />
<div>{{Jt}}<br />
<div style="padding-top: 30px;"><br />
{{Center|{{Large|Darkness}}<br /><br />
By: [[w:Lord Byron|George Gordon, Lord Byron]] ([[w:Darkness (poem)|1816]]) }}<br />
<div style="display: flex; justify-content: center; padding: 25px 0 25px 0;"><br />
{| style="width: 550px;"<br />
|<br />
<poem><br />
I had a dream, which was not all a dream.<br />
The bright sun was extinguish’d, and the stars<br />
Did wander darkling in the eternal space,<br />
Rayless, and pathless, and the icy earth<br />
Swung blind and blackening in the moonless air; {{ln|5}}<br />
Morn came and went—and came, and brought no day,<br />
And men forgot their passions in the dread<br />
Of this their desolation; and all hearts<br />
Were chill’d into a selfish prayer for light:<br />
And they did live by watchfires—and the thrones, {{ln|10}}<br />
The palaces of crowned kings—the huts,<br />
The habitations of all things which dwell,<br />
Were burnt for beacons; cities were consum’d,<br />
And men were gather’d round their blazing homes<br />
To look once more into each other’s face; {{ln|15}}<br />
Happy were those who dwelt within the eye<br />
Of the volcanos, and their mountain-torch:<br />
A fearful hope was all the world contain’d;<br />
Forests were set on fire—but hour by hour<br />
They fell and faded—and the crackling trunks {{ln|20}}<br />
Extinguish’d with a crash—and all was black.<br />
The brows of men by the despairing light<br />
Wore an unearthly aspect, as by fits<br />
The flashes fell upon them; some lay down<br />
And hid their eyes and wept; and some did rest {{ln|25}}<br />
Their chins upon their clenched hands, and smil’d;<br />
And others hurried to and fro, and fed<br />
Their funeral piles with fuel, and look’d up<br />
With mad disquietude on the dull sky,<br />
The pall of a past world; and then again {{ln|30}}<br />
With curses cast them down upon the dust,<br />
And gnash’d their teeth and howl’d: the wild birds shriek’d<br />
And, terrified, did flutter on the ground,<br />
And flap their useless wings; the wildest brutes<br />
Came tame and tremulous; and vipers crawl’d {{ln|35}}<br />
And twin’d themselves among the multitude,<br />
Hissing, but stingless—they were slain for food.<br />
And War, which for a moment was no more,<br />
Did glut himself again: a meal was bought<br />
With blood, and each sate sullenly apart {{ln|40}}<br />
Gorging himself in gloom: no love was left;<br />
All earth was but one thought—and that was death<br />
Immediate and inglorious; and the pang<br />
Of famine fed upon all entrails—men<br />
Died, and their bones were tombless as their flesh; {{ln|45}}<br />
The meagre by the meagre were devour’d,<br />
Even dogs assail’d their masters, all save one,<br />
And he was faithful to a corse, and kept<br />
The birds and beasts and famish’d men at bay,<br />
Till hunger clung them, or the dropping dead {{ln|50}}<br />
Lur’d their lank jaws; himself sought out no food,<br />
But with a piteous and perpetual moan,<br />
And a quick desolate cry, licking the hand<br />
Which answer’d not with a caress—he died.<br />
The crowd was famish’d by degrees; but two {{ln|55}}<br />
Of an enormous city did survive,<br />
And they were enemies: they met beside<br />
The dying embers of an altar-place<br />
Where had been heap’d a mass of holy things<br />
For an unholy usage; they rak’d up, {{ln|60}}<br />
And shivering scrap’d with their cold skeleton hands<br />
The feeble ashes, and their feeble breath<br />
Blew for a little life, and made a flame<br />
Which was a mockery; then they lifted up<br />
Their eyes as it grew lighter, and beheld {{ln|65}}<br />
Each other’s aspects—saw, and shriek’d, and died—<br />
Even of their mutual hideousness they died,<br />
Unknowing who he was upon whose brow<br />
Famine had written Fiend. The world was void,<br />
The populous and the powerful was a lump, {{ln|70}}<br />
Seasonless, herbless, treeless, manless, lifeless—<br />
A lump of death—a chaos of hard clay.<br />
The rivers, lakes and ocean all stood still,<br />
And nothing stirr’d within their silent depths;<br />
Ships sailorless lay rotting on the sea, {{ln|75}}<br />
And their masts fell down piecemeal: as they dropp’d<br />
They slept on the abyss without a surge—<br />
The waves were dead; the tides were in their grave,<br />
The moon, their mistress, had expir'd before;<br />
The winds were wither’d in the stagnant air, {{ln|80}}<br />
And the clouds perish’d; Darkness had no need<br />
Of aid from them—She was the Universe.<br />
</poem><br />
|}</div><br />
<br />
{{2024}}<br />
[[Category:02/2024]]<br />
[[Category:Lord Byron]]</div>Grlucashttps://grlucas.net/index.php?title=Template:2024&diff=21117Template:20242024-02-27T15:40:00Z<p>Grlucas: </p>
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<div>{{Navbox<br />
| name = 2024<br />
| title = [[Journal]] — [[Journal#2024|2024]]<br />
| state = {{{state<includeonly>|auto</includeonly>}}}<br />
| bodyclass = hlist<br />
<br />
| above =<br />
{{Journal Years}}<br />
<br />
| group1 = January<br />
| list1 =<br />
* [[January 12, 2024|12]]<br />
* [[January 16, 2024|16]]<br />
* [[January 17, 2024|17]]<br />
<br />
| group2 = February<br />
| list2 =<br />
* [[February 1, 2024|1]]<br />
* [[February 4, 2024|4]]<br />
* [[February 20, 2024|20]]<br />
* [[February 26, 2024|26]]<br />
* [[February 27, 2023|27]]<br />
<br />
}}<noinclude><br />
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[[Category:Journal Templates]]<br />
</noinclude></div>Grlucashttps://grlucas.net/index.php?title=Poetry/Contemporary&diff=21116Poetry/Contemporary2024-02-27T15:34:08Z<p>Grlucas: Added Bukowski.</p>
<hr />
<div>{{:Poetry/Tabs}}<br />
{{dc|P}}{{start|oetry after World War II}} is often referred to as the "post-war" or "contemporary" period. <br />
<br />
{{Collapse top|title=General Characteristics|bg=#F0F2F5|left=yes}}<br />
Some general characteristics of contemporary poetry include:<br />
<br />
* Interest in the individual: Like modernist poetry, post-war English poetry places a strong emphasis on the individual, their experiences, and their emotions.<br />
* Rejection of traditional forms: Post-war poets often rejected traditional forms of poetry and experimented with new forms, including free verse, prose poetry, and visual poetry.<br />
* Political and social commentary: Post-war poetry frequently engages with political and social issues of the time, such as the Cold War, civil rights, and feminism.<br />
* Confessional poetry: Some post-war poets, such as Sylvia Plath and Robert Lowell, wrote confessional poetry that explores their own personal struggles, often with mental illness or family issues.<br />
* Use of irony and humor: Post-war poetry often employs irony and humor to critique the social and political status quo.<br />
* Interest in language and sound: Post-war poets often experiment with language, using sound, rhythm, and wordplay to create new effects and meanings.<br />
* Eclectic influences: Post-war poets draw from a wide range of literary and cultural influences, including modernism, surrealism, jazz, and popular culture.<br />
<br />
These characteristics are not exhaustive, and there is considerable variety and diversity within post-war poetry. However, they provide a sense of some of the key features of the period.<br />
{{Collapse bottom}}<br />
{{FH}}<br />
<div style="display: flex; justify-content: center; padding: 25px 0 25px 0;"><br />
{| style="width: 80%;"<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Maya Angelou}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[February 23, 2023|Still I Rise]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Margaret Atwood}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[November 13, 2017|Circe, Mud Poems]]” (excerpt)}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Gwendolyn Brooks}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[May 23, 2020|Primer For Blacks]]”|“[[May 30, 2020#Cool|We Real Cool]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Charles Bukowski}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[The Laughing Heart]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Constantine Cavafy}}<br />
|- style="vertical-align: top;"<br />
| colspan="2" |{{bulleted list|“[[June 14, 2003|And I Lounged and Lay on Their Beds]]”|“[[July 23, 2003|Ithaka]]”}}<br />
| [[File:Konstantinos Kavafis.jpg|thumb|200px]]<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Lucille Clifton}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[June 16, 2020#Hips|homage to my hips]]”|“[[June 16, 2020#Visions|seeker of visions]]”|“[[June 16, 2020|won’t you celebrate with me]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Allen Ginsburg}}<br />
|- style="vertical-align: top;"<br />
| colspan="2" |{{bulleted list|“[[November 9, 2020#Ginsberg|New Democracy Wish List]]”}}<br />
| <br />
[[File:Allen Ginsberg 1979 - cropped.jpg|thumb|200px]]<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Audre Lord}}<br />
|- style="vertical-align: top;"<br />
| colspan="2" |{{bulleted list|“[[February 15, 2023|Who Said It Was Simple]]”}}<br />
| [[File:Audre Lorde.jpg|thumb|200px]]<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Philip Larkin}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[May 15, 1996|The Mower]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Robert Lowell}}<br />
|- style="vertical-align: top;"<br />
| colspan="2" |{{bulleted list|“[[November 15, 2020|Waking Early Sunday Morning]]”}}<br />
| [[File:Robert-lowell-by-elsa-dorfman (cropped).jpg|thumb|200px]]<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Edna St. Vincent Millay}}<br />
|- style="vertical-align: top;"<br />
| colspan="2" |{{bulleted list|“[[April 1, 2018|April]]”}}<br />
| [[File:Edna St. Vincent Millay Portrait (c. 1920).jpg|thumb|200px]]<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Adrienne Rich}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[Diving Into the Wreck]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Carl Sandberg}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[June 29, 2003|Choose]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Patricia Smith}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[February 13, 2023|10-Year-Old Shot Three Times, but She’s Fine]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Mark Strand}}<br />
|- style="vertical-align: top;"<br />
| colspan="3" |{{bulleted list|“[[June 20, 2003|Keeping Things Whole]]”|“[[June 20, 2003#Eating|Eating Poetry]]”}}<br />
|-<br />
| colspan="3" | {{Line}}<br />
|- style="font-align: left;"<br />
| colspan="3" | {{Big|Derek Walcott}}<br />
|- style="vertical-align: top;"<br />
| colspan="2" |{{bulleted list|“[[June 24, 2003|Journey]]”}}<br />
| [[File:Derek Walcott.jpg|thumb|200px]]<br />
|}</div><br />
<br />
[[Category:Index]]<br />
[[Category:Poetry]]<br />
[[Category:Contemporary]]</div>Grlucashttps://grlucas.net/index.php?title=The_Laughing_Heart&diff=21115The Laughing Heart2024-02-27T15:33:46Z<p>Grlucas: Redirected page to February 27, 2024</p>
<hr />
<div>#REDIRECT [[February 27, 2024]]</div>Grlucashttps://grlucas.net/index.php?title=February_27,_2023&diff=21114February 27, 20232024-02-27T15:16:09Z<p>Grlucas: Fixed typo.</p>
<hr />
<div>{{Jt}}<br />
<div style="padding-top: 30px;"><br />
{{Center|{{Large|The Laughing Heart}}<br /><br />
By: [[w:Charles Bukowski|Charles Bukowski]] (1993) }}<br />
<div style="display: flex; justify-content: center; padding: 25px 0 25px 0;"><br />
{| style="width: 500px;"<br />
|<br />
<poem><br />
Your life is your life<br />
Don’t let it be clubbed into dank submission.<br />
Be on the watch.<br />
There are ways out.<br />
There is a light somewhere. {{ln|5}}<br />
It may not be much light but<br />
It beats the darkness.<br />
Be on the watch.<br />
The gods will offer you chances.<br />
Know them. {{ln|10}}<br />
Take them.<br />
You can’t beat death but<br />
You can beat death in life, sometimes.<br />
And the more often you learn to do it,<br />
The more light there will be. {{ln|15}}<br />
Your life is your life.<br />
Know it while you have it.<br />
You are marvelous<br />
The gods wait to delight<br />
In you. {{ln|20}}<br />
</poem><br />
|}</div><br />
<br />
{{2024}}<br />
[[Category:02/2024]]<br />
[[Category:Charles Bukowski]]</div>Grlucashttps://grlucas.net/index.php?title=Category:Charles_Bukowski&diff=21113Category:Charles Bukowski2024-02-27T15:15:10Z<p>Grlucas: Created page with "{{DEFAULTSORT:Bukowski, Charles}} Category:Poetry Category:Criticism"</p>
<hr />
<div>{{DEFAULTSORT:Bukowski, Charles}}<br />
[[Category:Poetry]]<br />
[[Category:Criticism]]</div>Grlucashttps://grlucas.net/index.php?title=February_27,_2023&diff=21112February 27, 20232024-02-27T15:14:20Z<p>Grlucas: Created entry.</p>
<hr />
<div>{{Jt}}<br />
<div style="padding-top: 30px;"><br />
{{Center|{{Large|The Laughing Heart}}<br /><br />
By: [[w:Charles Bukowski|Charles Bukowski]] (1993) }} }}<br />
<div style="display: flex; justify-content: center; padding: 25px 0 25px 0;"><br />
{| style="width: 500px;"<br />
|<br />
<poem><br />
Your life is your life<br />
Don’t let it be clubbed into dank submission.<br />
Be on the watch.<br />
There are ways out.<br />
There is a light somewhere. {{ln|5}}<br />
It may not be much light but<br />
It beats the darkness.<br />
Be on the watch.<br />
The gods will offer you chances.<br />
Know them. {{ln|10}}<br />
Take them.<br />
You can’t beat death but<br />
You can beat death in life, sometimes.<br />
And the more often you learn to do it,<br />
The more light there will be. {{ln|15}}<br />
Your life is your life.<br />
Know it while you have it.<br />
You are marvelous<br />
The gods wait to delight<br />
In you. {{ln|20}}<br />
</poem><br />
|}</div><br />
<br />
{{2024}}<br />
[[Category:02/2024]]<br />
[[Category:Charles Bukowski]]</div>Grlucashttps://grlucas.net/index.php?title=Template:2024&diff=21111Template:20242024-02-27T15:03:08Z<p>Grlucas: </p>
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<div>{{Navbox<br />
| name = 2024<br />
| title = [[Journal]] — [[Journal#2024|2024]]<br />
| state = {{{state<includeonly>|auto</includeonly>}}}<br />
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| above =<br />
{{Journal Years}}<br />
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| group1 = January<br />
| list1 =<br />
* [[January 12, 2024|12]]<br />
* [[January 16, 2024|16]]<br />
* [[January 17, 2024|17]]<br />
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| group2 = February<br />
| list2 =<br />
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* [[February 27, 2023|27]]<br />
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</noinclude></div>Grlucashttps://grlucas.net/index.php?title=ENGL_2111&diff=21110ENGL 21112024-02-25T14:38:41Z<p>Grlucas: Added link.</p>
<hr />
<div>{{Huge|World Literature 1}} __NOTOC__<br />
<br />
{{Big|{{dc|W}}orld Literature I focuses on textual studies of the major genres of this period, [[Epic Poetry|epic]] and [[Tragedy|tragedy]], how those genres influenced later literary works, and how they portray humanist issues throughout the Greek and Roman national literary traditions and beyond.}} {{More}}<br />
<div class="res-img">[[File:Draper-Ulysses and Sirens.jpg]]</div><br />
{{Anchor|More}}<br />
ENGL 2111 demonstrates the continued relevance of ancient works in understanding ourselves as “humans.” Major works covered will include ''Gilgamesh'', the ''Iliad'', the ''Odyssey'', and works by Sophocles, Euripides, and Ovid. Since any survey course has much more literature than one semester-long class can cover, we will attempt to cover only a few works in as much detail as time allows, rather than many works only cursorily.<br />
{{Lit SLOs}}<br />
=== Sections ===<br />
{| class="wikitable sortable" style="width: 100%;"<br />
|-<br />
! Term !! CRN !! Class !! Day and Time !! Room<br />
|-<br />
| rowspan=2 | {{c|Spring 2024}} || 21548 || [[/Spring 2024/Online|ENGL 2111.01]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| 21592 || [[/Spring 2024/Online/SS/Introduction|ENGL 2111.04]] || {{F-Online}} {{2nd}} || {{CNone|-}}<br />
|-<br />
| rowspan=2 | {{c|Fall 2023}} || 82297 || [[/Fall 2023|ENGL 2111.05]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| 82830 || [[/Fall 2023|ENGL 2111.11]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| {{c|Summer 2023}} || 50116 || [[/Summer 2023|ENGL 2111.04]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| rowspan=3 | {{c|Spring 2023}} || 20877 || [[/Spring 2023|ENGL 2111.05]] || colspan="2" | {{Canceled}}<br />
|-<br />
| 21895 || [[/Spring 2023/Online|ENGL 2111.01]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| 22512 || [[/Spring 2023/Online|ENGL 2111.13]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| rowspan=3 | {{c|Fall 2022}} || 80506 || [[/Fall 2022|ENGL 2111.03]] || MW 12:30-13:45 || SOAL-216<br />
|-<br />
| 81312 || [[/Fall 2022/Online|ENGL 2111.05]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| 82063 || [[/Fall 2022/Online|ENGL 2111.18]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| {{c|Summer 2022}} || 55542 || [[/Summer 2022|ENGL 2111.07]] || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| rowspan=2 | {{c|Spring 2022}} || 23909 || [[/Spring 2022|ENGL 2111.05]] || MW 9:30-10:45 || SoAL-206<br />
|-<br />
| 25264 || ENGL 2111.01 || {{F-Online}} || {{D2L}}<br />
|-<br />
| rowspan=2 | {{c|Fall 2021}} || 83647 || [[/Fall 2021|ENGL 2111.03]] || MW 11-12:15 || SoAL-218<br />
|-<br />
| 83634 || ENGL 2111.15 || {{F-Online}} || {{D2L}}<br />
|-<br />
| rowspan=2 | {{c|Spring 2021}} || 20503 || ENGL 2111.21 || {{F-Online}} || {{D2L}}<br />
|-<br />
| 21304 || ENGL 2111.06 || {{F-Online}} {{2nd}} || {{D2L}}<br />
|-<br />
| rowspan=2 | [[/Fall 2020/]] || 80701 || ENGL 2111.03 || MW 11-12:15 ({{H-Online}}) || TEB-231<br />
|-<br />
| 80702 || ENGL 2111.04 || TR 11-12:15 ({{H-Online}}) || SoAL-222<br />
|-<br />
| [[World Literature 1, Spring 2020|Spring 2020]] || 25677 || ENGL 2111.11 || MW 11-12:15 || CoAS-210<br />
|}<br />
<br />
===Resources===<br />
* [[Epic Poetry]]: ''[[The Epic of Gilgamesh]]''; Homer’s ''[[Iliad]]'' and ''[[Odyssey]]''<br />
* [[Greek Tragedy]]: Sophocles’ ''[[Oedipus the King]]''; Euripides’ ''[[Medea]]''<br />
* Ovid’s ''[[Metamorphoses]]''<br />
* [[CompFAQ/Lit Survey/ENGL 2111|Online Lessons]] — be sure to consult your syllabus before completing any o these lessons.<br />
<br />
===Sample Exam Questions===<br />
# ''Gilgamesh'' and the Homeric epics are concerned with periods of expansion: i.e., when peoples are struggling to build their nations, both literally and ideologically. Discuss similarities in these three works in what seems to be necessary in building a strong nation and national identity.<br />
# Discuss and illustrate the theme of hospitality and its importance to the social structure in the ''Odyssey''.<br />
# Discuss the implications of Odysseus as narrator in Book 9-12 of the ''Odyssey''.<br />
# In the ''Poetics'', Aristotle cites ''Oedipus the King'' as exemplifying the best of tragedy. Discuss how ''Oedipus the King'' defines and illustrates what we know as tragedy.<br />
# Many have called Euripides an “iconoclast,” not in a literal sense, but suggesting that his work seems to break the conservative icons of his society; for example: tradition, hierarchy, belief, etc. Examine his iconoclasm citing specific instances from ''Medea''.<br />
# Scholars frequently define an Ovidian concept of love as one that lives “close to the flesh,” suggesting that love in Ovid’s work is really just lust or desire. Discuss the implications of this view on those who love and those who are loved in at least three tales from ''The Metamorphoses''.<br />
<br />
{{Epic}}<br />
{{Tragedy}}<br />
{{ENGL 2111}}<br />
{{Courses}}<br />
[[Category:Courses]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey/ENGL_2111&diff=21109CompFAQ/Lit Survey/ENGL 21112024-02-25T14:36:41Z<p>Grlucas: Added link.</p>
<hr />
<div>{{DISPLAYTITLE:<span style="font-size:22px; color:#B2BABB;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}<br />
{{Huge|[[ENGL 2111]]: World Literature 1 Lessons}} __NOTOC__<br />
<br />
''Directions: For each lesson below, follow all links and read them carefully. All primary texts may be found in your required textbook. All writing exercises should be completed on Packback discussions.''<br />
<br />
{{A note}} Before beginning any of the assignments below, consult your [[ENGL 2111|specific course syllabus]]. Not all assignments will be completed by every class. Specific assignments, required materials, due dates, and additional instructions will appear on your syllabus.<br />
<br />
==1. Orientation==<br />
# Read and review the following links:<br />
#* [[CompFAQ/Writing about Literature|I’m not an English major: why should I write about literature?]]<br />
#* [[CompFAQ/Lit Primer|How do I begin writing about literature?]]<br />
#* [[CompFAQ/Literary Analysis|What are the basics of literary analysis?]]<br />
#* [[CompFAQ/Literary Interpretation|What are the basics of interpreting a literary text?]]<br />
#* [[CompFAQ/Conventions|What are the conventions and vocabulary necessary for writing about literature?]]<br />
<br />
==2. Epic Poetry==<br />
# Read/watch:<br />
#* [[Epic Poetry]].<ref name="bg">I post background materials on all of the texts for the class. These are essays meant to take the place of in-class lectures. I strongly recommend that you read this material to help you with your understanding of the literature and for your exams.</ref> <br />
#* “[https://youtu.be/3jxLKDWFgJ0 Blue Talks Epic Poetry].”<br />
# Post your question and two responses about epic poetry on Packback.<ref name="pb">Be sure you read the seed prompts on this week’s material even if you do not respond to them. Then, ask one question and respond to at least one thread and/or question. This is the minimum participation on Packback to meet your writing requirement. See the outline of the week above for guidance on how to approach your writing on Packback.</ref><br />
# Take the Epic Poetry quiz on D2L.<br />
<br />
==3. ''The Epic of Gilgamesh''==<br />
# Read/watch the following:<br />
#* [[The Epic of Gilgamesh|''Gilgamesh'' background materials]].<br />
#* “[https://tinyurl.com/26c4mnrs ''The Epic of Gilgamesh'': Invitation to World Literature].”{{refn|Like most of the videos in this class, this documentary is available via Films on Demand. You will be prompted to login to your MGA account if you’re not on campus.}}<br />
#* ''The Epic of Gilgamesh'', translated by N. K. Sandars.<br />
#* “[https://tinyurl.com/2x5v73hb The King Who Tried to Conquer Death]” ❗️{{refn|The ❗️ means that this video is optional, but recommended.}}<br />
# Take the ''Gilgamesh'' reading quiz on D2L.<br />
# Post your question and responses on Packback.<ref name="pb" /><br />
<br />
==4. Homer’s ''Iliad''==<br />
# Read/watch:<br />
#* [[Iliad|''Iliad'' background materials]].<br />
#* “[https://tinyurl.com/ymkxsphc The Wrath of Achilles].” ❗️<br />
#* Books 1 and 6 of the ''Iliad''; translated by Robert Fagles.<br />
#* “[https://tinyurl.com/5ya2nbc9 Patroclus and the Myrmidons].” ❗️<br />
#* Books 16 and 22 of the ''Iliad''. <br />
# Take the ''Iliad'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==5. Homer’s ''Odyssey''==<br />
<br />
===5a.===<br />
# Read/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/2nk4y6td ''The Odyssey''].”<br />
#* Books 1–4, the “Telemachy,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 1 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===5b.===<br />
# Review/read/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/p8s5ka86 Literary Classics - ''The Odyssey''].” ❗️<br />
#* Books 9–12, “Odysseus’ Tale,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 9–12 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===5c.===<br />
# Review/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/4bvdvt4b A Critical Guide to ''The Odyssey''].” ❗️<br />
#* Books 22 & 23, “Odysseus’ Homecoming,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 3 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==6. Virgil’s ''Aeneid''==<br />
# Read:<br />
#* [[Virgil's Aeneid|Virgil's ''Aeneid'']]<br />
#* Books 2 and 4 of the ''Aeneid''<br />
# Take the ''Aeneid'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==7. Greek Tragedy==<br />
# Read/watch:<br />
#* “[[Tragedy]].”<br />
#* “[https://tinyurl.com/5n8ee8pf Greek Drama: From Ritual to Theater].” ❗️<br />
#* The [[Greek Tragedy/Poetics|excerpt from ''Poetics'']].<br />
#* [https://youtu.be/sNWrOuwzax8 “What is Theater?”]<br />
#* [https://youtu.be/VeTeK9kvxyo “Thespis, Athens, and The Origins of Greek Drama”]<br />
#* [https://youtu.be/nGlQkaoIfBI “Tragedy Lessons from Aristotle”] <br />
# Take Greek Tragedy quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==8. Sophocles’ ''Oedipus the King''==<br />
===8a.===<br />
# Read/watch:<br />
#* [[Oedipus the King|''Oedipus the King'' background materials]].<br />
#* “[https://tinyurl.com/3asth6t9 The Greek Dramatists: Aeschylus, Sophocles and Euripides].”<br />
#* ''Oedipus the King''; translated by Robert Fagles.<br />
# Take the ''Oedipus the King'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===8b.===<br />
# Review/watch:<br />
#* [[Oedipus the King|''Oedipus the King'' background materials]].<br />
#* [https://tinyurl.com/bdad8nkk ''Oedipus Rex''] on Films on Demand.<br />
# Post to PackBack on the performance.<br />
<br />
==9. Euripides’ ''Medea''==<br />
===9a.===<br />
# Read/watch:<br />
#* [[Medea|''Medea'' background materials]].<br />
#* “[https://tinyurl.com/5n6an3ff Medea, Murderous Love—The Great Greek Myths].”<br />
#* Euripides’ ''Medea''; translated by Rex Warner.<br />
# Take the ''Medea'' reading quiz on D2L.<br />
# Post to the forum.<br />
<br />
===9b.===<br />
# Review/watch: <br />
#* [[Medea|''Medea'' background materials]].<br />
#* [https://tinyurl.com/28hd4w7f ''Medea''] on Films on Demand.<br />
# Post to the forum about the performance.<br />
<br />
==10. Ovid’s ''Metamorphoses''==<br />
# Read:<br />
#* [[Metamorphoses|''The Metamorphoses'' background materials]].<br />
#* “[[Apollo and Daphne]].”{{refn|All selections translated by Allen Mandelbaum.}}<br />
#* “Io and Jove.”<br />
#* “Europa and Jove.”<br />
#* “Iphis and Ianthe.”<br />
#* “[[Pygmalion]].”<br />
# Take reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
{{notes}}<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:ENGL 2111}}<br />
[[Category: Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey/ENGL_2111&diff=21108CompFAQ/Lit Survey/ENGL 21112024-02-25T14:35:29Z<p>Grlucas: Tweaks.</p>
<hr />
<div>{{DISPLAYTITLE:<span style="font-size:22px; color:#B2BABB;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}<br />
{{Huge|ENGL 2111: World Literature 1 Lessons}} __NOTOC__<br />
<br />
''Directions: For each lesson below, follow all links and read them carefully. All primary texts may be found in your required textbook. All writing exercises should be completed on Packback discussions.''<br />
<br />
{{A note}} Before beginning any of the assignments below, consult your [[ENGL 2111|specific course syllabus]]. Not all assignments will be completed by every class. Specific assignments, required materials, due dates, and additional instructions will appear on your syllabus.<br />
<br />
==1. Orientation==<br />
# Read and review the following links:<br />
#* [[CompFAQ/Writing about Literature|I’m not an English major: why should I write about literature?]]<br />
#* [[CompFAQ/Lit Primer|How do I begin writing about literature?]]<br />
#* [[CompFAQ/Literary Analysis|What are the basics of literary analysis?]]<br />
#* [[CompFAQ/Literary Interpretation|What are the basics of interpreting a literary text?]]<br />
#* [[CompFAQ/Conventions|What are the conventions and vocabulary necessary for writing about literature?]]<br />
<br />
==2. Epic Poetry==<br />
# Read/watch:<br />
#* [[Epic Poetry]].<ref name="bg">I post background materials on all of the texts for the class. These are essays meant to take the place of in-class lectures. I strongly recommend that you read this material to help you with your understanding of the literature and for your exams.</ref> <br />
#* “[https://youtu.be/3jxLKDWFgJ0 Blue Talks Epic Poetry].”<br />
# Post your question and two responses about epic poetry on Packback.<ref name="pb">Be sure you read the seed prompts on this week’s material even if you do not respond to them. Then, ask one question and respond to at least one thread and/or question. This is the minimum participation on Packback to meet your writing requirement. See the outline of the week above for guidance on how to approach your writing on Packback.</ref><br />
# Take the Epic Poetry quiz on D2L.<br />
<br />
==3. ''The Epic of Gilgamesh''==<br />
# Read/watch the following:<br />
#* [[The Epic of Gilgamesh|''Gilgamesh'' background materials]].<br />
#* “[https://tinyurl.com/26c4mnrs ''The Epic of Gilgamesh'': Invitation to World Literature].”{{refn|Like most of the videos in this class, this documentary is available via Films on Demand. You will be prompted to login to your MGA account if you’re not on campus.}}<br />
#* ''The Epic of Gilgamesh'', translated by N. K. Sandars.<br />
#* “[https://tinyurl.com/2x5v73hb The King Who Tried to Conquer Death]” ❗️{{refn|The ❗️ means that this video is optional, but recommended.}}<br />
# Take the ''Gilgamesh'' reading quiz on D2L.<br />
# Post your question and responses on Packback.<ref name="pb" /><br />
<br />
==4. Homer’s ''Iliad''==<br />
# Read/watch:<br />
#* [[Iliad|''Iliad'' background materials]].<br />
#* “[https://tinyurl.com/ymkxsphc The Wrath of Achilles].” ❗️<br />
#* Books 1 and 6 of the ''Iliad''; translated by Robert Fagles.<br />
#* “[https://tinyurl.com/5ya2nbc9 Patroclus and the Myrmidons].” ❗️<br />
#* Books 16 and 22 of the ''Iliad''. <br />
# Take the ''Iliad'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==5. Homer’s ''Odyssey''==<br />
<br />
===5a.===<br />
# Read/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/2nk4y6td ''The Odyssey''].”<br />
#* Books 1–4, the “Telemachy,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 1 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===5b.===<br />
# Review/read/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/p8s5ka86 Literary Classics - ''The Odyssey''].” ❗️<br />
#* Books 9–12, “Odysseus’ Tale,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 9–12 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===5c.===<br />
# Review/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/4bvdvt4b A Critical Guide to ''The Odyssey''].” ❗️<br />
#* Books 22 & 23, “Odysseus’ Homecoming,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 3 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==6. Virgil’s ''Aeneid''==<br />
# Read:<br />
#* [[Virgil's Aeneid|Virgil's ''Aeneid'']]<br />
#* Books 2 and 4 of the ''Aeneid''<br />
# Take the ''Aeneid'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==7. Greek Tragedy==<br />
# Read/watch:<br />
#* “[[Tragedy]].”<br />
#* “[https://tinyurl.com/5n8ee8pf Greek Drama: From Ritual to Theater].” ❗️<br />
#* The [[Greek Tragedy/Poetics|excerpt from ''Poetics'']].<br />
#* [https://youtu.be/sNWrOuwzax8 “What is Theater?”]<br />
#* [https://youtu.be/VeTeK9kvxyo “Thespis, Athens, and The Origins of Greek Drama”]<br />
#* [https://youtu.be/nGlQkaoIfBI “Tragedy Lessons from Aristotle”] <br />
# Take Greek Tragedy quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==8. Sophocles’ ''Oedipus the King''==<br />
===8a.===<br />
# Read/watch:<br />
#* [[Oedipus the King|''Oedipus the King'' background materials]].<br />
#* “[https://tinyurl.com/3asth6t9 The Greek Dramatists: Aeschylus, Sophocles and Euripides].”<br />
#* ''Oedipus the King''; translated by Robert Fagles.<br />
# Take the ''Oedipus the King'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===8b.===<br />
# Review/watch:<br />
#* [[Oedipus the King|''Oedipus the King'' background materials]].<br />
#* [https://tinyurl.com/bdad8nkk ''Oedipus Rex''] on Films on Demand.<br />
# Post to PackBack on the performance.<br />
<br />
==9. Euripides’ ''Medea''==<br />
===9a.===<br />
# Read/watch:<br />
#* [[Medea|''Medea'' background materials]].<br />
#* “[https://tinyurl.com/5n6an3ff Medea, Murderous Love—The Great Greek Myths].”<br />
#* Euripides’ ''Medea''; translated by Rex Warner.<br />
# Take the ''Medea'' reading quiz on D2L.<br />
# Post to the forum.<br />
<br />
===9b.===<br />
# Review/watch: <br />
#* [[Medea|''Medea'' background materials]].<br />
#* [https://tinyurl.com/28hd4w7f ''Medea''] on Films on Demand.<br />
# Post to the forum about the performance.<br />
<br />
==10. Ovid’s ''Metamorphoses''==<br />
# Read:<br />
#* [[Metamorphoses|''The Metamorphoses'' background materials]].<br />
#* “[[Apollo and Daphne]].”{{refn|All selections translated by Allen Mandelbaum.}}<br />
#* “Io and Jove.”<br />
#* “Europa and Jove.”<br />
#* “Iphis and Ianthe.”<br />
#* “[[Pygmalion]].”<br />
# Take reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
{{notes}}<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:ENGL 2111}}<br />
[[Category: Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=ENGL_2111/Spring_2024/Online/SS/Schedule&diff=21107ENGL 2111/Spring 2024/Online/SS/Schedule2024-02-23T12:43:54Z<p>Grlucas: Tweaks.</p>
<hr />
<div>{{:ENGL 2111/Tabs}}<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:A term of Ovid, stories from the Metamorphoses for study and sight reading (1920) (14777879244).jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{Collapse top|title=Overview and Instructions for Work|bg=#F0F2F5|left=yes}}<br />
All assignments are due '''Tuesday evenings at 11:59 pm'''. Have the assigned text(s) read by Fridays at the latest, so you can post your questions and responses to Packback well ahead of the due date. Procrastination and posting at the last minute will earn you lower grades. I suggest the following work schedule for each week:<br />
<br />
* Wednesday: Begin reading the week’s text(s), including background materials; [[September 27, 2020|take notes]] as you read.<br />
* Friday/Saturday: Post your question to Packback.<br />
* Sunday: Finish the reading.<br />
* Monday: Participate in the discussion on Packback.<br />
* Tuesday: Add follow-up posts to Packback. (Remember: you must post one question and two responses each week on Packback.)<br />
<br />
Look ahead and plan your reading accordingly. I have tried to keep reading to a minimum, but if you are a slower reader, like I am, you may want to plan out your reading schedule so that you can meet the course deadlines. <br />
{{Collapse bottom}}<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! rowspan="2" | 1 <br />
| style="min-width: 175px;" rowspan="2" | Mar 6–12 || style="background-color: #D1F2EB;" |<br />
=====Course Introduction=====<br />
{{bulleted list<br />
|Read the syllabus carefully and completely.{{refn|It is imperative that you have the unit complete by the end of the first week of class. Failure to do so will have you reported as a no-show, and you will be removed from the class. If this happens, '''you will not be readmitted'''.}}<br />
|Read: “[[How to Do Well in My Class]]” and “[[Writing in the Liberal Arts]].”{{refn|You ''must'' follow the writing conventions and guidelines outlined in this document, including the presentation of titles. This should all be review from ENGL 1102. {{crossreference|(See also the [[CompFAQ|Composition FAQ]].)}}}}<br />
|Take Introduction Quiz on D2L.|Register for [[{{BASEPAGENAME}}/Requirements#Packback|Packback]] if you have not already.{{refn|You should have received an invitation from Packback, unless you just registered for the course. If you were not invited, please [[{{BASEPAGENAME}}/Instructor|let me know]].}}<br />
|Respond to Who are you? on Packback.{{refn|You will need to be signed in to Packback and have access to our course to post. Review [[{{BASEPAGENAME}}/Requirements#Packback|Packback]] for instructions.}}<br />
|Complete [[CompFAQ/Lit Survey/ENGL 2111#1. Orientation|Orientation for World Literature 1]].}}<br />
|-<br />
|<br />
=====Epic Poetry=====<br />
{{Bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#2. Epic Poetry|2. Epic Poetry]].}}<br />
|-<br />
! 2<br />
| Mar 13–26 || <br />
=====''The Epic of Gilgamesh''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#3. The Epic of Gilgamesh|3. ''The Epic of Gilgamesh'']].}}<br />
|-<br />
! 3 <br />
| Mar 27–Apr 2 ||<br />
<br />
=====Homer, from the ''Iliad''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#4. Homer’s Iliad|4. Homer’s ''Iliad'']].}}<br />
|-<br />
! 4 <br />
| Apr 3–9 || <br />
=====Homer, from the ''Odyssey''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#5b.|5b. Homer’s ''Odyssey'', Books 9–12]].}}{{A note}} Lessons 5a and 5c are ''not'' required.<br />
|-<br />
! rowspan="2" | 5 <br />
| rowspan="2" | Apr 10–16 || style="background-color: #D1F2EB;" | <br />
=====Midterm Exam=====<br />
{{bulleted list<br />
|Read: [[CompFAQ/Essay Exam|How do I write strong exam answers?]]<br />
|Take midterm exam on D2L. Be sure to read the directions carefully before you begin.}}<br />
|-<br />
| <br />
=====Aristotle, from ''Poetics''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#7. Greek Tragedy|7. Greek Tragedy]].}}<br />
|-<br />
! 6 <br />
| Apr 17–23 || <br />
=====Sophocles, ''Oedipus the King''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#8a.|8a. Sophocles’ ''Oedipus the King'']].}}{{A note}} Lesson 8b is ''not'' required.<br />
|-<br />
! 7 <br />
| Apr 24–30 ||<br />
=====Euripides, ''Medea''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#9a.|9a. Euripides’ ''Medea'']].}}{{A note}} Lesson 9b is ''not'' required.<br />
|-<br />
! 8<br />
| May 1–3 || style="background-color: #D1F2EB;" | <br />
=====Final Exam=====<br />
{{bulleted list<br />
|Review: [[CompFAQ/Essay Exam|How do I write strong exam answers?]]<br />
|Take exam on D2L.<br />
|Submit your [[Short Lit Crit Response|Lit-Crit Response]] on D2L.}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
{{ENGL 2111}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=ENGL_2111/Spring_2024/Online/SS/Schedule&diff=21106ENGL 2111/Spring 2024/Online/SS/Schedule2024-02-22T15:54:54Z<p>Grlucas: Updated to use new format.</p>
<hr />
<div>{{:ENGL 2111/Tabs}}<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:A term of Ovid, stories from the Metamorphoses for study and sight reading (1920) (14777879244).jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{Collapse top|title=Overview and Instructions for Work|bg=#F0F2F5|left=yes}}<br />
All assignments are due '''Tuesday evenings at 11:59 pm'''. Have the assigned text(s) read by Fridays at the latest, so you can post your questions and responses to Packback well ahead of the due date. Procrastination and posting at the last minute will earn you lower grades. I suggest the following work schedule for each week:<br />
<br />
* Wednesday: Begin reading the week’s text(s), including background materials; [[September 27, 2020|take notes]] as you read.<br />
* Friday/Saturday: Post your question to Packback.<br />
* Sunday: Finish the reading.<br />
* Monday: Participate in the discussion on Packback.<br />
* Tuesday: Add follow-up posts to Packback. (Remember: you must post one question and two responses each week on Packback.)<br />
<br />
Look ahead and plan your reading accordingly. I have tried to keep reading to a minimum, but if you are a slower reader, like I am, you may want to plan out your reading schedule so that you can meet the course deadlines. <br />
{{Collapse bottom}}<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! rowspan="2" | 1 <br />
| style="min-width: 175px;" rowspan="2" | Mar 6–12 || style="background-color: #D1F2EB;" |<br />
=====Course Introduction=====<br />
{{bulleted list<br />
|Read the syllabus carefully and completely.{{refn|It is imperative that you have the unit complete by the end of the first week of class. Failure to do so will have you reported as a no-show, and you will be removed from the class. If this happens, '''you will not be readmitted'''.}}<br />
|Read: “[[How to Do Well in My Class]]” and “[[Writing in the Liberal Arts]].”{{refn|You ''must'' follow the writing conventions and guidelines outlined in this document, including the presentation of titles. This should all be review from ENGL 1102. {{crossreference|(See also the [[CompFAQ|Composition FAQ]].)}}}}<br />
|Take Introduction Quiz on D2L.|Register for [[{{BASEPAGENAME}}/Requirements#Packback|Packback]] if you have not already.{{refn|You should have received an invitation from Packback, unless you just registered for the course. If you were not invited, please [[{{BASEPAGENAME}}/Instructor|let me know]].}}<br />
|Respond to Who are you? on Packback.{{refn|You will need to be signed in to Packback and have access to our course to post. Review [[{{BASEPAGENAME}}/Requirements#Packback|Packback]] for instructions.}}<br />
|Complete [[CompFAQ/Lit Survey/ENGL 2111#1. Orientation|Orientation for World Literature 1]].}}<br />
|-<br />
|<br />
=====Epic Poetry=====<br />
{{Bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#2. Epic Poetry|2. Epic Poetry]].}}<br />
|-<br />
! 2<br />
| Mar 13–26 || <br />
=====''The Epic of Gilgamesh''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#3. The Epic of Gilgamesh|3. ''The Epic of Gilgamesh'']].}}<br />
|-<br />
! 3 <br />
| Mar 27–Apr 2 ||<br />
<br />
=====Homer, from the ''Iliad''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#4. Homer’s Iliad|4. Homer’s ''Iliad'']].}}<br />
|-<br />
! 4 <br />
| Apr 3–9 || <br />
=====Homer, from the ''Odyssey''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#5b.|5b. Homer’s ''Odyssey'', Books 9–12]].}}{{A note}} Lessons 5a and 5c are ''not'' required.<br />
|-<br />
! rowspan="2" | 5 <br />
| rowspan="2" | Apr 10–16 || style="background-color: #D1F2EB;" | <br />
=====Midterm Exam=====<br />
{{bulleted list<br />
|Read: [[CompFAQ/Essay Exam|How do I write strong essay exam answers?]]<br />
|Read: [[CompFAQ/Essay Exam#Crafting Strong Short Answers|How do I write strong exam short answers?]]<br />
|Take midterm exam on D2L. Be sure to read the directions carefully before you begin.}}<br />
|-<br />
| <br />
=====Aristotle, from ''Poetics''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#7. Greek Tragedy|7. Greek Tragedy]].}}<br />
|-<br />
! 6 <br />
| Apr 17–23 || <br />
=====Sophocles, ''Oedipus the King''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#8a.|8a. Sophocles’ ''Oedipus the King'']].}}{{A note}} Lesson 8b is ''not'' required.<br />
|-<br />
! 7 <br />
| Apr 24–30 ||<br />
=====Euripides, ''Medea''=====<br />
{{bulleted list<br />
|Complete assignments under [[CompFAQ/Lit Survey/ENGL 2111#9a.|9a. Euripides’ ''Medea'']].}}{{A note}} Lesson 9b is ''not'' required.<br />
|-<br />
! 8<br />
| May 1–3 || style="background-color: #D1F2EB;" | <br />
=====Final Exam=====<br />
{{bulleted list<br />
|Read: [[CompFAQ/Essay Exam|How do I write strong essay exam answers?]]<br />
|Read: [[CompFAQ/Essay Exam#Crafting Strong Short Answers|How do I write strong exam short answers?]]<br />
|Take exam on D2L.<br />
|Submit your [[Short Lit Crit Response|Lit-Crit Response]] on D2L.}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
{{ENGL 2111}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey/ENGL_2111&diff=21105CompFAQ/Lit Survey/ENGL 21112024-02-22T15:33:47Z<p>Grlucas: Completed v.1.</p>
<hr />
<div>{{DISPLAYTITLE:<span style="font-size:22px; color:#B2BABB;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}<br />
{{Huge|ENGL 2111: World Literature 1}} __NOTOC__<br />
<br />
''Directions: For each lesson below, follow all links and read them carefully. All primary texts may be found in your required textbook. All writing exercises should be completed on Packback discussions.''<br />
<br />
{{A note}} Before beginning any of the assignments below, consult your [[ENGL 2111|specific course syllabus]]. Not all assignments will be completed by every class. Specific assignments, required materials, due dates, and additional instructions will appear on your syllabus.<br />
<br />
==1. Orientation==<br />
# Read and review the following links:<br />
#* [[CompFAQ/Writing about Literature|I’m not an English major: why should I write about literature?]]<br />
#* [[CompFAQ/Lit Primer|How do I begin writing about literature?]]<br />
#* [[CompFAQ/Literary Analysis|What are the basics of literary analysis?]]<br />
#* [[CompFAQ/Literary Interpretation|What are the basics of interpreting a literary text?]]<br />
#* [[CompFAQ/Conventions|What are the conventions and vocabulary necessary for writing about literature?]]<br />
<br />
==2. Epic Poetry==<br />
# Read/watch:<br />
#* [[Epic Poetry]].<ref name="bg">I post background materials on all of the texts for the class. These are essays meant to take the place of in-class lectures. I strongly recommend that you read this material to help you with your understanding of the literature and for your exams.</ref> <br />
#* “[https://youtu.be/3jxLKDWFgJ0 Blue Talks Epic Poetry].”<br />
# Post your question and two responses about epic poetry on Packback.<ref name="pb">Be sure you read the seed prompts on this week’s material even if you do not respond to them. Then, ask one question and respond to at least one thread and/or question. This is the minimum participation on Packback to meet your writing requirement. See the outline of the week above for guidance on how to approach your writing on Packback.</ref><br />
# Take the Epic Poetry quiz on D2L.<br />
<br />
==3. ''The Epic of Gilgamesh''==<br />
# Read/watch the following:<br />
#* [[The Epic of Gilgamesh|''Gilgamesh'' background materials]].<br />
#* “[https://tinyurl.com/26c4mnrs ''The Epic of Gilgamesh'': Invitation to World Literature].”{{refn|Like most of the videos in this class, this documentary is available via Films on Demand. You will be prompted to login to your MGA account if you’re not on campus.}}<br />
#* ''The Epic of Gilgamesh'', translated by N. K. Sandars.<br />
#* “[https://tinyurl.com/2x5v73hb The King Who Tried to Conquer Death]” ❗️{{refn|The ❗️ means that this video is optional, but recommended.}}<br />
# Take the ''Gilgamesh'' reading quiz on D2L.<br />
# Post your question and responses on Packback.<ref name="pb" /><br />
<br />
==4. Homer’s ''Iliad''==<br />
# Read/watch:<br />
#* [[Iliad|''Iliad'' background materials]].<br />
#* “[https://tinyurl.com/ymkxsphc The Wrath of Achilles].” ❗️<br />
#* Books 1 and 6 of the ''Iliad''; translated by Robert Fagles.<br />
#* “[https://tinyurl.com/5ya2nbc9 Patroclus and the Myrmidons].” ❗️<br />
#* Books 16 and 22 of the ''Iliad''. <br />
# Take the ''Iliad'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==5. Homer’s ''Odyssey''==<br />
<br />
===5a.===<br />
# Read/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/2nk4y6td ''The Odyssey''].”<br />
#* Books 1–4, the “Telemachy,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 1 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===5b.===<br />
# Review/read/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/p8s5ka86 Literary Classics - ''The Odyssey''].” ❗️<br />
#* Books 9–12, “Odysseus’ Tale,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 9–12 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===5c.===<br />
# Review/watch:<br />
#* [[Odyssey|''Odyssey'' background materials]].<br />
#* “[https://tinyurl.com/4bvdvt4b A Critical Guide to ''The Odyssey''].” ❗️<br />
#* Books 22 & 23, “Odysseus’ Homecoming,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
# Take the ''Odyssey'' 3 reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==6. Virgil’s ''Aeneid''==<br />
# Read:<br />
#* [[Virgil's Aeneid|Virgil's ''Aeneid'']]<br />
#* Books 2 and 4 of the ''Aeneid''<br />
# Take the ''Aeneid'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==7. Greek Tragedy==<br />
# Read/watch:<br />
#* “[[Tragedy]].”<br />
#* “[https://tinyurl.com/5n8ee8pf Greek Drama: From Ritual to Theater].” ❗️<br />
#* The [[Greek Tragedy/Poetics|excerpt from ''Poetics'']].<br />
#* [https://youtu.be/sNWrOuwzax8 “What is Theater?”]<br />
#* [https://youtu.be/VeTeK9kvxyo “Thespis, Athens, and The Origins of Greek Drama”]<br />
#* [https://youtu.be/nGlQkaoIfBI “Tragedy Lessons from Aristotle”] <br />
# Take Greek Tragedy quiz on D2L.<br />
# Post to PackBack.<br />
<br />
==8. Sophocles’ ''Oedipus the King''==<br />
===8a.===<br />
# Read/watch:<br />
#* [[Oedipus the King|''Oedipus the King'' background materials]].<br />
#* “[https://tinyurl.com/3asth6t9 The Greek Dramatists: Aeschylus, Sophocles and Euripides].”<br />
#* ''Oedipus the King''; translated by Robert Fagles.<br />
# Take the ''Oedipus the King'' reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
===8b.===<br />
# Review/watch:<br />
#* [[Oedipus the King|''Oedipus the King'' background materials]].<br />
#* [https://tinyurl.com/bdad8nkk ''Oedipus Rex''] on Films on Demand.<br />
# Post to PackBack on the performance.<br />
<br />
==9. Euripides’ ''Medea''==<br />
===9a.===<br />
# Read/watch:<br />
#* [[Medea|''Medea'' background materials]].<br />
#* “[https://tinyurl.com/5n6an3ff Medea, Murderous Love—The Great Greek Myths].”<br />
#* Euripides’ ''Medea''; translated by Rex Warner.<br />
# Take the ''Medea'' reading quiz on D2L.<br />
# Post to the forum.<br />
<br />
===9b.===<br />
# Review/watch: <br />
#* [[Medea|''Medea'' background materials]].<br />
#* [https://tinyurl.com/28hd4w7f ''Medea''] on Films on Demand.<br />
# Post to the forum about the performance.<br />
<br />
==10. Ovid’s ''Metamorphoses''==<br />
# Read:<br />
#* [[Metamorphoses|''The Metamorphoses'' background materials]].<br />
#* “[[Apollo and Daphne]]”<br />
#* “Io and Jove“<br />
#* “Europa and Jove”<br />
#* “Iphis and Ianthe”<br />
#* “[[Pygmalion]]” Translated by Allen Mandelbaum.<br />
# Take reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
{{notes}}<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:ENGL 2111}}<br />
[[Category: Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=Virgil%27s_Aeneid&diff=21104Virgil's Aeneid2024-02-22T15:24:30Z<p>Grlucas: Tweaked format. Updated infobox.</p>
<hr />
<div>{{DISPLAYTITLE:Virgil's ''Aeneid''}}<br />
{{nutshell|An introduction and general notes for Virgil’s Roman epic.}}<br />
<br />
{{dc|V}}{{start|[[w:Virgil|irgil]]’s ''[[w:Aeneid|Aeneid]]'' recounts events}} after the fall of Troy (9th century BCE), and written as a [[On the Primary and Secondary Epics|secondary]], or literary, [[Epic Poetry|epic]] by Virgil in 14CE. Out of the destruction of Troy came an heroic figure who would found a new state. The ''Aeneid'' is a story of return that is providentially ruled by the gods. [[w:Aeneis|Aeneas]]’ story is one of founding and rebirth that is very different from the Homeric epics, but borrows from them in important ways.<br />
[[File:Sir Nathaniel Dance-Holland - The Meeting of Dido and Aeneas - Google Art Project.jpg|thumb|500px|''The Meeting of Dido and Aeneas'' by Nathaniel Dance-Holland, 1766.]]<br />
Virgil uses the Greek tradition of the epic, but made it a Roman expression; he wanted to find a place in the Greek history without claiming kinship — to disassociate by association. Aeneas, having been saved by Poseidon from certain death at the hands of Achilles in book twenty of the ''Iliad'' (“it is destined that he shall be a survivor”), provided Virgil (and the Romans) a link to the rich tradition begun by the Greeks.<br />
<br />
Virgil wrote the Aeneid for [[w:Augustus|Augustus]], the first Emperor of Rome. He recast the traditional Roman foundation story in its enduring form in order to authenticate the Roman myth by tying it to the past. It presents the Roman ideals and their mission: to conquer the known world by a sense of duty to family, state, and the gods (''[[w:Pietas|pietas]]'').<br />
<br />
The ''Aeneid'' is an epic of social and national [[The Heroic Ideal|heroism]]. Pietas means a sense of duty to community that the Romans cherished above all values. Aeneas, unlike his Homeric predecessors, exemplifies the true hero: one who sacrifices his own desires in favor of the good of the community. [[w:Turnus|Turnus]] represents the old ways of the Greeks that must be overcome (by violence) so that the new order may begin.<br />
<br />
The journey of Aeneas is typical in an epical tradition. In the ''Aeneid'', Virgil presents the founding of a new empire and the story of its patriarch by manipulating history to show the influence of Greek culture on the Romans, but also to illustrate Rome’s new order and the death of Greek/Trojan ideology and way of life. Aeneas, the typical epic hero, must found the new empire by killing the old, and its representative, Turnus.<br />
<br />
Aeneas, in the tradition of the epic hero, is partially-divine, being the son of [[w:Anchises|Anchises]] and [[w:Venus|Venus]] and is the quintessence of his people. His education was achieved in the Trojan War, where he discovered that he is to found a new kingdom. With his quest clear, he sets out for [[w:Latium|Latium]] and encounters many trials along the way, his personal love for [[w:Dido|Dido]] being the most difficult to overcome in lieu of his destiny. His descent to the Underworld solidifies his destiny by showing him the numerous heroes of Rome waiting to be born. Finally, Aeneas is reborn and able to fulfill his destiny by defeating Turnus.<br />
<br />
Turnus is the symbolic representation of the Greek culture — a culture that Aeneas and his men must defeat to begin their new empire. Turnus, while he may influence the flow of events, is ultimately unable to stop Aeneas from destroying the past ideologies that he represents. Turnus’ death is, therefore, necessary in Aeneas’ quest/destiny to found a new kingdom.<br />
[[File:Heinrich Friedrich Füger 006.jpg|left|thumb|500px|''Dido'' by Heinrich Friedrich Füger, 1792.]]<br />
Another obstacle in Aeneas’ journey is [[Aeneas and Dido|Dido]]. Dido, unlike Turnus, is a very real character, and is therefore a very real threat to Aeneas and his quest. Dido represents a threat to community and duty by offering Aeneas a private life and love. Aeneas momentarily forgets his duty to his people and indulges his own, personal desires. Their relationship is full of the complexities that make Dido more than just a two-dimensional character. Yet, personal love is cast aside in pursuit of communal efficacy. Aeneas is successful in leaving behind the one and embracing the many.<br />
<br />
In the brief portraits of Turnus and Dido, Aeneas is shown to be relentless in his goal to form a new empire in Latium. The death of Turnus and Dido are instances where Virgil structurally bridges the gap between the past and present of Rome. Other instances that show the future of Rome include Aeneas’ journey to the Underworld and the description of Aeneas’ shield. As mentioned above, Aeneas sees the future glory of Rome by witnessing the birth procession of its great leaders and heroes from those who had been great before. Notice that Aeneas is in the [[w:Elysium|Elysian Fields]], the part of the Underworld reserved for great warriors; therefore, the future Romans are to be just as great. But not too great, for the boy who stands next to [[w:Marcellus|Marcellus]] is only to be shown to the earth and no more; Rome would become too powerful if they were to be blessed with this person. There is a sort of elegy before birth for both this boy and Rome. Aeneas’ shield portrays “the story of Italy and the triumphs of the Romans.” Aeneas saw the future heroes of Rome in the Underworld and realized their accomplishments on his shield.<br />
<br />
Virgil, in writing the ''Aeneid'', was able to manipulate historical events into the epical founding of Rome. The ''Aeneid'' both glorifies Virgil’s Rome while romanticizing its genesis linked to the Trojans and their rich, mythical culture. Virgil tied Rome’s roots with the Greek world portrayed in Homer and, yet, still created something novel and compelling in its own right.<br />
<br />
{{Epic}}<br />
<br />
[[Category:World Literature]]<br />
[[Category:Roman]]<br />
[[Category:Ancient]]<br />
[[Category:Epic]]<br />
[[Category:Virgil]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey/ENGL_2111&diff=21103CompFAQ/Lit Survey/ENGL 21112024-02-22T14:07:05Z<p>Grlucas: Added more.</p>
<hr />
<div>{{DISPLAYTITLE:<span style="font-size:22px; color:#B2BABB;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}<br />
{{Huge|ENGL 2111: World Literature 1}} __NOTOC__<br />
<br />
''Directions: For each lesson below, follow all links and read them carefully. All primary texts may be found in your textbook; see your syllabus. See your [[ENGL 2111|individual syllabus]] for due dates and additional instructions. All writing exercises should be completed on Packback discussions.''<br />
<br />
==1. Orientation==<br />
# Read and review the following links:<br />
#* [[CompFAQ/Writing about Literature|I’m not an English major: why should I write about literature?]]<br />
#* [[CompFAQ/Lit Primer|How do I begin writing about literature?]]<br />
#* [[CompFAQ/Literary Analysis|What are the basics of literary analysis?]]<br />
#* [[CompFAQ/Literary Interpretation|What are the basics of interpreting a literary text?]]<br />
#* [[CompFAQ/Conventions|What are the conventions and vocabulary necessary for writing about literature?]]<br />
<br />
==2. Epic Poetry==<br />
# Read [[Epic Poetry]].<ref name="bg">I post background materials on all of the texts for the class. These are essays meant to take the place of in-class lectures. I strongly recommend that you read this material to help you with your understanding of the literature and for your exams.</ref> <br />
# Watch “[https://youtu.be/3jxLKDWFgJ0 Blue Talks Epic Poetry].”<br />
# Post your question and two responses about epic poetry on Packback.<ref name="pb">Be sure you read the seed prompts on this week’s material even if you do not respond to them. Then, ask one question and respond to at least one thread and/or question. This is the minimum participation on Packback to meet your writing requirement. See the outline of the week above for guidance on how to approach your writing on Packback.</ref><br />
# Take the Epic Poetry quiz on D2L.<br />
<br />
==3. ''The Epic of Gilgamesh''==<br />
# Read/ watch the following:<br />
#* [[The Epic of Gilgamesh|''Gilgamesh'' background materials]].<br />
#* “[https://tinyurl.com/26c4mnrs ''The Epic of Gilgamesh'': Invitation to World Literature].”{{refn|Like most of the videos in this class, this documentary is available via Films on Demand. You will be prompted to login to your MGA account if you’re not on campus.}}<br />
#* ''The Epic of Gilgamesh'', translated by N. K. Sandars.<br />
#* “[https://tinyurl.com/2x5v73hb The King Who Tried to Conquer Death]” ❗️{{refn|The ❗️ means that this video is optional, but recommended.}}<br />
# Take the ''Gilgamesh'' reading quiz on D2L.<br />
# Post your question and responses on Packback.<ref name="pb" /><br />
<br />
==4. Homer’s ''Iliad''==<br />
<br />
==5. Homer’s ''Odyssey''==<br />
<br />
==6. Virgil’s ''Aeneid''==<br />
<br />
==7. Greek Tragedy==<br />
<br />
==8. Sophocles’ ''Oedipus the King''==<br />
<br />
==9. Euripides’ ''Medea''==<br />
===9a.===<br />
# Read/watch:<br />
#* [[Medea|''Medea'' background materials]].<br />
#* “[https://tinyurl.com/5n6an3ff Medea, Murderous Love—The Great Greek Myths].”<br />
#* Euripides’ ''Medea''; translated by Rex Warner.<br />
# Take the ''Medea'' reading quiz on D2L.<br />
# Post to the forum.<br />
<br />
===9b.===<br />
# Review/watch: <br />
#* [[Medea|''Medea'' background materials]].<br />
#* [https://tinyurl.com/28hd4w7f ''Medea''] on Films on Demand.<br />
# Post to the forum about the performance.<br />
<br />
==10. Ovid’s ''Metamorphoses''==<br />
# Read:<br />
#* [[Metamorphoses|''The Metamorphoses'' background materials]].<br />
#* “[[Apollo and Daphne]]”<br />
#* “Io and Jove“<br />
#* “Europa and Jove”<br />
#* “Iphis and Ianthe”<br />
#* “[[Pygmalion]]” Translated by Allen Mandelbaum.<br />
# Take reading quiz on D2L.<br />
# Post to PackBack.<br />
<br />
{{notes}}<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:ENGL 2111}}<br />
[[Category: Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey/ENGL_2111&diff=21102CompFAQ/Lit Survey/ENGL 21112024-02-22T13:59:07Z<p>Grlucas: Updated title.</p>
<hr />
<div>{{DISPLAYTITLE:<span style="font-size:22px; color:#B2BABB;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}<br />
{{Huge|ENGL 2111: World Literature 1}} __NOTOC__<br />
<br />
''Directions: For each lesson below, follow all links and read them carefully. All primary texts may be found in your textbook; see your syllabus. See your [[ENGL 2111|individual syllabus]] for due dates and additional instructions. All writing exercises should be completed on Packback discussions.''<br />
<br />
==1. Orientation==<br />
# Read and review the following links:<br />
#* [[CompFAQ/Writing about Literature|I’m not an English major: why should I write about literature?]]<br />
#* [[CompFAQ/Lit Primer|How do I begin writing about literature?]]<br />
#* [[CompFAQ/Literary Analysis|What are the basics of literary analysis?]]<br />
#* [[CompFAQ/Literary Interpretation|What are the basics of interpreting a literary text?]]<br />
#* [[CompFAQ/Conventions|What are the conventions and vocabulary necessary for writing about literature?]]<br />
<br />
==2. Epic Poetry==<br />
# Read [[Epic Poetry]].<ref name="bg">I post background materials on all of the texts for the class. These are essays meant to take the place of in-class lectures. I strongly recommend that you read this material to help you with your understanding of the literature and for your exams.</ref> <br />
# Watch “[https://youtu.be/3jxLKDWFgJ0 Blue Talks Epic Poetry].”<br />
# Post your question and two responses about epic poetry on Packback.<ref name="pb">Be sure you read the seed prompts on this week’s material even if you do not respond to them. Then, ask one question and respond to at least one thread and/or question. This is the minimum participation on Packback to meet your writing requirement. See the outline of the week above for guidance on how to approach your writing on Packback.</ref><br />
# Take the Epic Poetry quiz on D2L.<br />
<br />
==3. ''The Epic of Gilgamesh''==<br />
# Read/ watch the following:<br />
#* [[The Epic of Gilgamesh|''Gilgamesh'' background materials]].<br />
#* “[https://tinyurl.com/26c4mnrs ''The Epic of Gilgamesh'': Invitation to World Literature].”{{refn|Like most of the videos in this class, this documentary is available via Films on Demand. You will be prompted to login to your MGA account if you’re not on campus.}}<br />
#* ''The Epic of Gilgamesh'', translated by N. K. Sandars.<br />
#* “[https://tinyurl.com/2x5v73hb The King Who Tried to Conquer Death]” ❗️{{refn|The ❗️ means that this video is optional, but recommended.}}<br />
# Take the ''Gilgamesh'' reading quiz on D2L.<br />
# Post your question and responses on Packback.<ref name="pb" /><br />
<br />
==4. Homer’s ''Iliad''==<br />
<br />
==5. Homer’s ''Odyssey''==<br />
<br />
==6. Virgil’s ''Aeneid''==<br />
<br />
==7. Greek Tragedy==<br />
<br />
==8. Sophocles’ ''Oedipus the King''==<br />
<br />
==9. Euripides’ ''Medea''==<br />
<br />
==10. Ovid’s ''Metamorphoses''==<br />
<br />
{{notes}}<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:ENGL 2111}}<br />
[[Category: Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey/ENGL_2111&diff=21101CompFAQ/Lit Survey/ENGL 21112024-02-22T13:57:48Z<p>Grlucas: Started page.</p>
<hr />
<div>{{Huge|ENGL 2111: World Literature 1}} __NOTOC__<br />
<br />
''Directions: For each lesson below, follow all links and read them carefully. All primary texts may be found in your textbook; see your syllabus. See your [[ENGL 2111|individual syllabus]] for due dates and additional instructions. All writing exercises should be completed on Packback discussions.''<br />
<br />
==1. Orientation==<br />
# Read and review the following links:<br />
#* [[CompFAQ/Writing about Literature|I’m not an English major: why should I write about literature?]]<br />
#* [[CompFAQ/Lit Primer|How do I begin writing about literature?]]<br />
#* [[CompFAQ/Literary Analysis|What are the basics of literary analysis?]]<br />
#* [[CompFAQ/Literary Interpretation|What are the basics of interpreting a literary text?]]<br />
#* [[CompFAQ/Conventions|What are the conventions and vocabulary necessary for writing about literature?]]<br />
<br />
==2. Epic Poetry==<br />
# Read [[Epic Poetry]].<ref name="bg">I post background materials on all of the texts for the class. These are essays meant to take the place of in-class lectures. I strongly recommend that you read this material to help you with your understanding of the literature and for your exams.</ref> <br />
# Watch “[https://youtu.be/3jxLKDWFgJ0 Blue Talks Epic Poetry].”<br />
# Post your question and two responses about epic poetry on Packback.<ref name="pb">Be sure you read the seed prompts on this week’s material even if you do not respond to them. Then, ask one question and respond to at least one thread and/or question. This is the minimum participation on Packback to meet your writing requirement. See the outline of the week above for guidance on how to approach your writing on Packback.</ref><br />
# Take the Epic Poetry quiz on D2L.<br />
<br />
==3. ''The Epic of Gilgamesh''==<br />
# Read/ watch the following:<br />
#* [[The Epic of Gilgamesh|''Gilgamesh'' background materials]].<br />
#* “[https://tinyurl.com/26c4mnrs ''The Epic of Gilgamesh'': Invitation to World Literature].”{{refn|Like most of the videos in this class, this documentary is available via Films on Demand. You will be prompted to login to your MGA account if you’re not on campus.}}<br />
#* ''The Epic of Gilgamesh'', translated by N. K. Sandars.<br />
#* “[https://tinyurl.com/2x5v73hb The King Who Tried to Conquer Death]” ❗️{{refn|The ❗️ means that this video is optional, but recommended.}}<br />
# Take the ''Gilgamesh'' reading quiz on D2L.<br />
# Post your question and responses on Packback.<ref name="pb" /><br />
<br />
==4. Homer’s ''Iliad''==<br />
<br />
==5. Homer’s ''Odyssey''==<br />
<br />
==6. Virgil’s ''Aeneid''==<br />
<br />
==7. Greek Tragedy==<br />
<br />
==8. Sophocles’ ''Oedipus the King''==<br />
<br />
==9. Euripides’ ''Medea''==<br />
<br />
==10. Ovid’s ''Metamorphoses''==<br />
<br />
{{notes}}<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:ENGL 2111}}<br />
[[Category: Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=February_22,_2023&diff=21100February 22, 20232024-02-21T13:59:09Z<p>Grlucas: Fix.</p>
<hr />
<div>{{Jt}}<br />
<div style="padding-top: 30px;"><br />
{{Center|{{Large|Because I Could Not Stop for Death}}{{refn|Many suggest that Dickinson’s poem, No. 712, is a Christian poem since the narrator personifies both Death and Immortality, as if these two metaphysical companions accompany the narrator into eternity. Yet, while there does seem to be this hope, the poem expresses an anxiety in waiting: as if the poet watches her persona die, but has yet to reach immortality herself, literally of course, but her figurative implication dominates. The horses look toward eternity, but they have not reached it, nor has the one side of the narrator’s perspective. Perhaps “eternity” remainds forever out of reach for the poet/narrator. Seriously, her grave-house in the fourth stanza is pretty damn frightening.<br />{{sp}}However, Dickinson’s calm tone does seem to support the idea that Death is nothing to fear. Notice, too, the cyclical images of life and nature and time seem to suggest a continuity, a hope perhaps of a promise in death that suggests eternity at least. Birth, death, re-birth?<br />{{sp}}Polarities and opposites abound within the poem, and the contrast between real life and imagination might be central.}}<br /><br />
By: [[w:Emily Dickinson|Emily Dickinson]] ([[w:Because I could not stop for Death|1890]]) }}<br />
<div style="display: flex; justify-content: center; padding: 25px 0 25px 0;"><br />
{| style="width: 500px;"<br />
|<br />
<poem><br />
Because I could not stop for Death—<br />
He kindly stopped for me—<br />
The Carriage held but just Ourselves—<br />
And Immortality.{{refn|Death’s persona here seems to be equated to a gentleman suitor, or maybe even a fairytale prince. Indeed, “carriage” here suggests a regality to the experience, and the tone of the poem is one of formal gentility, as if Death is an honored suitor. There might also be a suggestion, then, of Death as bridegroom, and the narrator as bride. Indeed, Death does bring the narrator to her new house in the fourth stanza. This interpretation is further supported by the presence of “Immortality,” since marriage is supposed to last forever. Maybe this is a stretch, but whatever the case, Death is certainly not a “grim reaper” here.}}<br />
<br />
We slowly drove—He knew no haste, {{ln|5}}<br />
And I had put away<br />
My labor and my leisure too,<br />
For His Civility—<br />
<br />
We passed the School, where Children played,<br />
At Recess—in the Ring— {{ln|10}}<br />
We passed the Fields of Gazing Grain—<br />
We passed the Setting Sun—{{refn|The journey of life seems represented in this stanza, one of human endeavors marked by the natural cycle of the sun. Paradoxically, the experience of death can only come about through life, perhaps the central irony of the poem.}}<br />
<br />
Or rather—He passed Us—<br />
The Dews drew quivering and chill—<br />
For only {{H:title|Used to refer to something very light, thin, and insubstantial or delicate.|Gossamer}}, my Gown— {{ln|15}}<br />
My {{H:title|A woman's long fur scarf or shawl worn around the neck and shoulders.|tippet}}—only {{H:title|A soft, fine silk, cotton, or nylon material-like net, used for making veils and dresses.|tulle}}—<br />
<br />
We paused before a House that seemed<br />
A Swelling of the Ground—<br />
The Roof was scarcely visible—<br />
The {{H:title|An ornamental molding around the wall of a room just below the ceiling, like crown molding.|cornice}}—in the Ground. {{ln|20}}<br />
<br />
Since then—’tis Centuries—but each<br />
Feels shorter than the Day{{refn|Time is irrelevant in death?}}<br />
I first surmised the Horses Heads<br />
Were toward Eternity—<br />
</poem><br />
|}</div><br />
<br />
{{Notes}}<br />
{{2023|state=expanded}}<br />
<br />
[[Category:02/2023]]<br />
[[Category:Emily Dickinson]]<br />
[[Category:Annotated]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Conventions&diff=21099CompFAQ/Conventions2024-02-21T13:43:15Z<p>Grlucas: Addition.</p>
<hr />
<div>{{CompFAQ-head}}<br />
<br />
{{Large|Understanding Common Conventions and Vocabulary for College Essays}}<br />
<br />
{{dc|W}}{{start|riting about literature}} can be a daunting task, especially for first-year college writers who may not have much experience with literary analysis. But fear not, for there are common conventions and vocabulary used in literary analysis that can help make the process easier to navigate. By understanding and utilizing these tools, you can effectively write about the complexities of literature in your college essays.<br />
<br />
When it comes to writing about literature, there are some necessary conventions that every student writer must learn and practice consistently. The purpose of this post is to introduce first-year college writers to the common conventions and vocabulary for writing about literature.<br />
<br />
===Necessary Conventions for Writing About Literature===<br />
When writing about any cultural text — a book, a poem, a painting, a song, a play, a film, etc. — established conventions should be followed, even when writing digital documents.<br />
* '''Present Tense''': When writing about literature, always use the present tense, as it creates a sense of immediacy that brings the reader closer to the text. For example, “In ''To Kill a Mockingbird'', Scout learns valuable lessons about racism and injustice” rather than “In ''To Kill a Mockingbird'', Scout learned valuable lessons about racism and injustice.”<br />
* '''Textual Evidence''': Always support your arguments with textual evidence. This can include [[CompFAQ/Research/Quotations and Paraphrases|direct quotations or paraphrases]] from the text that support your claims. Be sure to properly cite your sources.<br />
* '''Analysis''': Don’t just summarize the text; provide [[CompFAQ/Literary Analysis|analysis]] and [[CompFAQ/Literary Interpretation|interpretation]] of the text. This means digging deeper and exploring themes, motifs, symbols, and other literary devices used by the author to convey meaning.<br />
* '''Thesis''': Every essay should have a clear thesis statement that presents a specific argument about the text. This thesis should guide the rest of the essay and be supported by evidence and analysis. As a general rule: the more focused an essay’s [[CompFAQ/Topic|topic]], the more interesting and comprehensive it will be.<br />
<br />
====Titles====<br />
{{quote box|title=Title Examples|{{bulleted list|short story: “Hills Like White Elephants”|novel: ''Beloved''|movie: ''Blade Runner''|poem: “To His Coy Mistress”|newspaper: ''New York Times''|TV episode: “The Galileo Seven”|TV series: ''Star Trek: The Next Generation''|essay/article: “A Rape in Cyberspace”|song: “Ants Marching”|play: ''Hamlet''|videogame: ''Call of Duty''}}|width=40%}}<br />
<br />
When writing about literary works, there are specific conventions to follow when it comes to titling them in your essay. Here are some guidelines to keep in mind:<br />
* '''Books''': The titles of full-length books, including novels and novellas, should be italicized, such as ''To Kill a Mockingbird'' by Harper Lee.<br />
* '''Plays''': The titles of plays should also be italicized, such as ''Hamlet'' by William Shakespeare.<br />
* '''Short stories''': The titles of short stories should be enclosed in quotation marks, such as “The Lottery” by Shirley Jackson.<br />
* '''Poems''': The titles of individual poems should also be enclosed in quotation marks, such as “The Love Song of J. Alfred Prufrock” by T.S. Eliot.<br />
<br />
Title format can vary depending on the citation style being used. Always check with your instructor or consult a style guide for specific guidelines.<br />
<br />
===Use Literary Vocabulary===<br />
In addition to the necessary conventions, there is also a specific vocabulary that is used when writing about literature. Each class you take will use a specialized vocabulary for the particular subject. However, there is a general literary vocabulary that you should be familiar with and begin using in your first-year courses. For example, when writing about a novel, write “novel,” not “book” or “story.” Use “protagonist” instead of “main character” or “hero,” and “antagonist” instead of “bad guy.”<br />
<br />
Below are some of the most common literary terms and devices:<br />
* '''Plot''': The events that make up a story.<br />
* '''Characterization''': The process by which the author reveals the personality of a character.<br />
* '''Setting''': The time and place in which a story takes place.<br />
* '''Theme''': The main idea or underlying meaning of a literary work.<br />
* '''Symbolism''': The use of symbols to represent ideas or qualities.<br />
* '''Motif''': A recurring element or idea in a literary work.<br />
* '''Foreshadowing''': The use of hints or clues to suggest what will happen later in the story.<br />
* '''Irony''': A literary device in which the opposite of what is expected occurs.<br />
* '''Point of View''': The perspective from which a story is told.<br />
* '''Tone''': The attitude of the author towards the subject matter.<br />
<br />
Similarly, be sure you know what you’re writing about: don’t call a “book” a “novel” when it isn’t. A precise vocabulary shows your knowledge of the subject matter and lends your writing more [[CompFAQ/Credibility|credibility]].<br />
<br />
{{Plink|https://grlu.us/conventions}}<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:Conventions}}<br />
[[Category:Basics (FAQ)]]<br />
[[Category:Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=ENGL_2111/Spring_2024/Online/Schedule&diff=21098ENGL 2111/Spring 2024/Online/Schedule2024-02-21T13:40:59Z<p>Grlucas: /* Homer, from the Odyssey 3 */ Fix.</p>
<hr />
<div>{{:ENGL 2111/Spring 2024/Online/Tabs}} __NOTOC__<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:Joseph Mallord William Turner 064.jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{Collapse top|title=Overview and Instructions for Work|bg=#F0F2F5|left=yes}}<br />
{{mbox|type=speedy|text=Read ahead so that you can plan your work to meet deadlines. Read specifically the weeks when the midterm and final are scheduled. In addition, the due date for the [[Short Lit Crit Response|Lit-Crit Response]] is at the end of the semester, but you may submit it at any time on D2L. I recommend that you try to get to it earlier, as you might find getting to this short research assignment at the end of the semester a bit challenging.}}<br />
<br />
All assignments are due '''Tuesday evenings at 11:59 pm'''. Have the assigned text(s) read by Sundays at the latest, so you can post your questions and responses to Packback well ahead of the due date. '''Procrastination and posting at the last minute will earn you lower grades.''' I suggest the following work schedule for each week:<br />
<br />
* Wed: Begin reading the week’s text(s), including background materials; [[September 27, 2020|take notes]] as you read.<br />
* Sat/Sun: Post your question to [https://app.packback.co/ Packback]. Read{{refn|Even if you do not respond to a seed prompt, you are required to read them and the links they contain. This is crucial background material about the texts and course content. Failure to read these will result in potential lower grades and failure.}} and consider responding to a seed prompt: i.e., one of the questions I have asked about the material.{{refn|Again: pay attention to these prompts, as they might give hints as to what is important for you to know for the test. These are often asking about the background materials I have posted for the primary texts, usually based on lectures.}}<br />{{A note}} You are not ''required'' to write on Packback every week, but for each '''text''' that we study. The one question/two responses is the ''minimum'' requirement per text, so I encourage you to write more, especially on texts that we cover over multiple weeks, like the ''Odyssey''.<br />
* Sun: Finish the reading. Take the reading quiz on D2L.<br />
* Mon: Participate in the discussion on Packback. Be sure to support your discussions with evidence from the the week’s primary text and/or the secondary texts, like background materials and assigned videos.<br />
* Tue: Add follow-up posts to Packback.<br />
<br />
Look ahead and plan your reading accordingly. I have tried to keep reading to a minimum, but if you are a slower reader, like I am, you may want to plan out your reading schedule so that you can meet the course deadlines.<br />
<br />
Once again: '''Procrastination and posting at the last minute will earn you lower grades.''' Even technological issues (especially with D2L) may impact your ability to submit assignments. If you begin early, you will mitigate any unforeseen problems.<br />
<br />
{{Collapse bottom}}<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! rowspan="2" | 1 <br />
| style="min-width: 150px;" rowspan="2" | Jan 10–16 || style="background-color: #D1F2EB;" |<br />
=====Course Introduction=====<br />
{{bulleted list<br />
|Read the syllabus carefully and completely.{{refn|It is imperative that you have the unit complete by the end of the first week of class. Failure to do so will have you reported as a no-show, and you will be removed from the class. If this happens, '''you will not be readmitted'''.}}<br />
|Read: “[[How to Do Well in My Class]]” and “[[Writing in the Liberal Arts]].”{{refn|You ''must'' follow the writing conventions and guidelines outlined in this document, including the presentation of titles. This should all be review from ENGL 1102.}}|Take Introduction Quiz on D2L<br />
|Register for [https://app.packback.co/ Packback] if you have not already.{{refn|You should have received an invitation from Packback already, unless you just registered for the course. If you were not invited, please [[ENGL 2111/Summer 2022/Instructor|let me know]] or register yourself. Note: you need to know your course section number when registering.}} See [[{{BASEPAGENAME}}/Requirements#Packback|Requirements > Packback]] for instructions, including the necessary course key.<br />
|Introduce yourself on Packback: Who are you?{{refn|You will need to be signed in to Packback and have access to our course to answer all responses. Read the Packback tab for instructions. This will count as one of your required responses for this week.}} <br />
}}<br />
|-<br />
|<br />
=====Epic Poetry=====<br />
{{Bulleted list<br />
|Read [[Epic Poetry]].<ref name="bg">I post background materials on all of the texts for the class. These are essays meant to take the place of in-class lectures. I strongly recommend that you read this material to help you with your understanding of the literature and for your exams.</ref> <br />
|Watch “[https://youtu.be/3jxLKDWFgJ0 Blue Talks Epic Poetry].”<br />
|Post your question and response (only one more ''response'' is required this week since you introduced yourself above) about epic poetry on Packback.<ref name="pb">Be sure you read the seed prompts on this week’s material even if you do not respond to them. Then, ask one question and respond to at least one thread and/or question. This is the minimum participation on Packback to meet your writing requirement. See the outline of the week above for guidance on how to approach your writing on Packback.</ref><br />
|Take the Epic Poetry quiz on D2L.<br />
}}<br />
|-<br />
! 2<br />
| Jan 17–23 ||<br />
<br />
=====''The Epic of Gilgamesh''=====<br />
{{bulleted list<br />
|Read [[The Epic of Gilgamesh|''Gilgamesh'' background materials]].<br />
|Watch “[https://tinyurl.com/26c4mnrs ''The Epic of Gilgamesh'': Invitation to World Literature].”{{refn|Like most of the videos in this class, this documentary is available via Films on Demand. You will be prompted to login to your MGA account if you’re not on campus.}}<br />
|Read ''The Epic of Gilgamesh'', translated by N. K. Sandars.<br />
|Take the ''Gilgamesh'' reading quiz on D2L.<br />
|Watch “[https://tinyurl.com/2x5v73hb The King Who Tried to Conquer Death]” ❗️{{refn|The ❗️ means that this video is optional, but recommended.}}<br />
|Post your question and responses on Packback.<ref name="pb" /><br />
}}<br />
|-<br />
! 3 <br />
| Jan 24–30 || <br />
====={{c|Homer}}, from the ''Iliad''=====<br />
{{bulleted list<br />
|Read [[Iliad|''Iliad'' background materials]].<br />
|Watch “[https://tinyurl.com/ymkxsphc The Wrath of Achilles].” ❗️<br />
|Read books 1 and 6 of the ''Iliad''; translated by Robert Fagles.<br />
|Watch “[https://tinyurl.com/5ya2nbc9 Patroclus and the Myrmidons].” ❗️<br />
|Read books 16 and 22 of the ''Iliad''. <br />
|Take the ''Iliad'' reading quiz on D2L.<br />
|Post to PackBack.<br />
}}<br />
|-<br />
! 4 <br />
| Jan 31–Feb 6 || style="background-color: #FADBD8;" |<br />
=====Test 1=====<br />
{{bulleted list|Review [[Writing on World Literature|background materials and study guides]] for the texts we’ve read so far.|You might have a look at [[CompFAQ/Essay Exam|Crafting Strong Exam Answers about Literature]].|Complete your first test on D2L. Be sure to read the directions carefully before you begin.}}<br />
|-<br />
! 5 <br />
| Feb 7–13 ||<br />
=====Homer, from the ''Odyssey'' 1=====<br />
{{bulleted list<br />
|Read [[Odyssey|''Odyssey'' background materials]].<br />
|Watch “[https://tinyurl.com/2nk4y6td ''The Odyssey''].”<br />
|Read books 1–4, the “Telemachy,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
|Take the ''Odyssey'' 1 reading quiz on D2L.<br />
|Post to PackBack.<br />{{A note}} Your usual one question/two responses is due Feb 27, but you may want to begin this week.<br />
}}<br />
|-<br />
! 6 <br />
| Feb 14–20 || <br />
=====Homer, from the ''Odyssey'' 2=====<br />
{{bulleted list<br />
|Review [[Odyssey|''Odyssey'' background materials]].<br />
|Watch “[https://tinyurl.com/p8s5ka86 Literary Classics - ''The Odyssey''].” ❗️<br />
|Read books 9–12, “Odysseus’ Tale,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
|Take the ''Odyssey'' 9–12 reading quiz on D2L.<br />
|Post to PackBack.<br />{{A note}} Your usual one question/two responses is due Feb 27, but you may want to participate this week.<br />
}}<br />
|-<br />
! 7 <br />
| Feb 21–27 || <br />
=====Homer, from the ''Odyssey'' 3=====<br />
{{bulleted list<br />
|Review [[Odyssey|''Odyssey'' background materials]].<br />
|Watch “[https://tinyurl.com/4bvdvt4b A Critical Guide to ''The Odyssey''].” ❗️<br />
|Read books 22 & 23, “Odysseus’ Homecoming,” of the ''Odyssey''; translated by Robert Fitzgerald.<br />
|Take the ''Odyssey'' 3 reading quiz on D2L.<br />
|Post to PackBack.}}<br />
|-<br />
! 8 <br />
| Feb 28–Mar 5 || style="background-color: #FADBD8;" |<br />
<br />
=====Test 2=====<br />
{{bulleted list|Review [[Odyssey|background materials and study guides for the ''Odyssey'']].|You might have a look at [[CompFAQ/Essay Exam|Crafting Strong Exam Answers about Literature]].|Complete your second test on D2L.}}<br />
|-<br />
! 9<br />
| Mar 6–12 ||<br />
=====Aristotle, from ''Poetics''=====<br />
{{bulleted list<br />
|Read “[[Tragedy]].”<br />
|Watch “[https://tinyurl.com/5n8ee8pf Greek Drama: From Ritual to Theater].” ❗️<br />
|Read the [[Greek Tragedy/Poetics|excerpt from ''Poetics'']].<br />
|Watch [https://youtu.be/sNWrOuwzax8 “What is Theater?”]; [https://youtu.be/VeTeK9kvxyo “Thespis, Athens, and The Origins of Greek Drama”]; [https://youtu.be/nGlQkaoIfBI “Tragedy Lessons from Aristotle”] <br />
|Take Greek Tragedy quiz on D2L.<br />
|Post to PackBack.<br />
}}<br />
|-<br />
! 10 <br />
| Mar 13–26 || <br />
=====Sophocles, ''Oedipus the King'' 1=====<br />
{{bulleted list<br />
|Read [[Oedipus the King|''Oedipus the King'' background materials]].<br />
|Watch “[https://tinyurl.com/3asth6t9 The Greek Dramatists: Aeschylus, Sophocles and Euripides].”<br />
|Read ''Oedipus Rex''; translated by Robert Fagles.<br />
|Take the ''Oedipus the King'' reading quiz on D2L.<br />
|Post to PackBack, due Apr 2.<br />
|Since Spring Break is included this assignment, you might want to begin on your [[Short Lit Crit Response]], due at the end of the course.}}<br />
|-<br />
! 11 <br />
| Mar 27–Apr 2 ||<br />
<br />
=====Sophocles, ''Oedipus the King'' 2=====<br />
{{bulleted list<br />
|Review [[Oedipus the King|''Oedipus the King'' background materials]].<br />
|Watch [https://tinyurl.com/bdad8nkk ''Oedipus Rex''] on Films on Demand.<br />
|Post to PackBack. Be sure at least one post is on the performance.<br />
}}<br />
|-<br />
! 12 <br />
| Apr 3–9 || <br />
=====Euripides, ''Medea'' 1=====<br />
{{bulleted list<br />
|Read [[Medea|''Medea'' background materials]].<br />
|Watch “[https://tinyurl.com/5n6an3ff Medea, Murderous Love—The Great Greek Myths].”<br />
|Read the play; translated by Rex Warner.<br />
|Take the ''Medea'' reading quiz on D2L.<br />
|Post to PackBack, due Apr 16.<br />
}}<br />
|-<br />
! 13 <br />
| Apr 10–16 || <br />
=====Euripides, ''Medea'' 2=====<br />
{{bulleted list<br />
|Review [[Medea|''Medea'' background materials]].<br />
|Watch [https://tinyurl.com/28hd4w7f ''Medea''] on Films on Demand.<br />
|Post to PackBack. Be sure at least one post is on the performance.<br />
}}<br />
|-<br />
! 14<br />
| Apr 17–23 || style="background-color: #FADBD8;" |<br />
=====Test 3=====<br />
{{bulleted list|Review background materials and study guides for tragedy, Sophocles, and Euripides.|You might have a look at [[CompFAQ/Essay Exam|Crafting Strong Exam Answers about Literature]].|Complete your third test on D2L.}}<br />
|-<br />
! 15<br />
| Apr 24–30 || <br />
=====Ovid, from ''The Metamorphoses''=====<br />
{{bulleted list<br />
|Read [[Metamorphoses|''The Metamorphoses'' background materials]].<br />
|Read “[[Apollo and Daphne]]”; “Io and Jove“; “Europa and Jove”; “Iphis and Ianthe”; “[[Pygmalion]].” Translated by Allen Mandelbaum.<br />
|Take reading quiz on D2L.<br />
|Post to PackBack.<br />
|Take test four on D2L.<br />
}}<br />
|-<br />
! 16<br />
| '''May 3'''{{refn|Note that the deadline is two days after classes end.}} || style="background-color: #FADBD8;" | <br />
=====Lit-Crit Response=====<br />
{{bulleted list<br />
|Submit your [[Short Lit Crit Response|Lit-Crit Response]] on D2L.<br />
}}<br />
|}<br />
<br />
{{Notes}}<br />
{{ENGL 2111}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey/Introduction&diff=21097CompFAQ/Lit Survey/Introduction2024-02-21T13:28:05Z<p>Grlucas: First version.</p>
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<div>{{DISPLAYTITLE:<span style="font-size:22px; color:#B2BABB;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}<br />
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{{cquote|width=70%|Literature is where I go to explore the highest and lowest places in human society and in the human spirit, where I hope to find not absolute truth but the truth of the tale, of the imagination and of the heart.|author=Salman Rushdie}}<br />
<br />
{{Dc|I}}{{start|In the vast landscape of academia,}} there exists a realm that transcends the boundaries of time, culture, and language—a realm where words dance on the page, ideas spring to life, and the human experience is illuminated in all its complexity. Welcome to the world of literary studies.<br />
<br />
Literature, in its myriad forms and expressions, holds a special place in the tapestry of human knowledge and understanding. It serves as a mirror reflecting the diverse facets of our existence, a window through which we glimpse different cultures and perspectives, and a bridge connecting us to the collective wisdom of humanity. In these courses, we embark on a journey to explore the significance of literature studies and the liberal arts—a journey that promises to enrich our minds, deepen our empathy, and empower us as thoughtful, informed members of society.<br />
<br />
At the heart of literary studies lies the fundamental importance of strong skills in writing and reading. Whether dissecting the poetic verses of Shakespeare, unraveling the intricate narratives of Tolstoy, or grappling with the existential musings of Kafka, strong writing and reading abilities are integral tools for engaging with literary texts. In college and beyond, the ability to comprehend, analyze, and articulate ideas effectively through writing is not merely advantageous—it is essential for academic success, professional advancement, and meaningful civic engagement.<br />
<br />
Strong reading skills are the foundation upon which [[CompFAQ/Critical Thinking|critical thinking]] is built. As we explore literary works that span different genres, time periods, and cultural contexts, we sharpen our [[CompFAQ/Analysis|analytical faculties]], hone our [[CompFAQ/Interpretation|interpretive abilities]], and cultivate a nuanced understanding of the complexities of the human condition. In essence, literature serves as a training ground for the mind, shaping us into discerning readers, empathetic listeners, and thoughtful communicators.<br />
<br />
Beyond the classroom, the study of literature fosters thoughtful, empathetic, and informed communities. Through the exploration of diverse voices, perspectives, and experiences, literature cultivates empathy, expands our capacity for understanding, and fosters a sense of connectedness with others. In a world marked by increasing polarization and division, the ability to empathize with the lived experiences of others is more crucial than ever. Literature serves as a powerful catalyst for empathy, inviting us to walk in the shoes of characters who inhabit worlds vastly different from our own, and to see the world through their eyes.<br />
<br />
Literature has the power to spark dialogue, provoke introspection, and inspire social change. From the abolitionist literature of the 19th century to the feminist writings of the 20th century, literature has been a driving force behind many social movements, challenging prevailing norms, amplifying marginalized voices, and advocating for justice and equality. By engaging critically with literary texts, we not only deepen our understanding of social issues but also equip ourselves with the tools to effect positive change in our communities and beyond.<br />
<br />
In our exploration of literature, we will embark on a journey through the artistic periods of national literary traditions. Each unit or chapter of this book will consider the works of major authors from a specific time period, offering insights into the cultural, historical, and artistic contexts that shaped their writings. From the Romantic poets of the 19th century to the modernist novelists of the 20th century, we will traverse the landscapes of literary history, encountering masterpieces that continue to resonate with readers across time and space.<br />
<br />
Central to our study of literature is the acquisition of critical vocabulary for literary analysis. Each unit will introduce key terms and concepts relevant to the understanding and interpretation of literary texts, empowering readers to engage with works of literature with depth and sophistication. From elements of narrative structure to techniques of poetic form, from theories of literary criticism to modes of literary representation, we will equip ourselves with the tools necessary to navigate the complexities of literary analysis with confidence and insight.<br />
<br />
Finally, it is essential to recognize the indispensable role that literature plays in shaping an educated citizenry in a democracy. In a world inundated with information and misinformation, literature serves as a beacon of truth, a source of wisdom, and a catalyst for critical inquiry. By cultivating in us the virtues of empathy, critical thinking, and civic engagement, literature prepares us to navigate the complexities of the world with discernment and integrity. As engaged citizens and lifelong learners, we carry with us the transformative power of literature, enriching our lives and enriching the world around us.<br />
<br />
In the chapters that follow, we will embark on a journey of discovery, immersing ourselves in the timeless beauty of literary masterpieces, unraveling the mysteries of language and form, and engaging in dialogue with the voices that have shaped our cultural heritage.<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:Introduction}}<br />
[[Category:Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Lit_Survey&diff=21096CompFAQ/Lit Survey2024-02-20T15:45:54Z<p>Grlucas: Created index.</p>
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<div>{{:CompFAQ/Tabs}}<br />
{{Large|Writing about Reading: A Sophomore Literature Coursebook}}<br />
<br />
{{Dc|I}}{{start|In the vast landscape of academia,}} there exists a realm that transcends the boundaries of time, culture, and language—a realm where words dance on the page, ideas spring to life, and the human experience is illuminated in all its complexity. Welcome to the world of literary studies.<br />
<br />
Literature, in its myriad forms and expressions, holds a special place in the tapestry of human knowledge and understanding. It serves as a mirror reflecting the diverse facets of our existence, a window through which we glimpse different cultures and perspectives, and a bridge connecting us to the collective wisdom of humanity. In these courses, we embark on a journey to explore the significance of literature studies and the liberal arts—a journey that promises to enrich our minds, deepen our empathy, and empower us as thoughtful, informed members of society.<br />
<br />
<div style="margin:0.5em 0.2em 0.2em 0.3em; padding:0.5em 0.2em 0.2em 0.3em; text-align:right;">[[/Introduction|Read the Introduction »]]</div><br />
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{{Line}}<br />
Select your course:<br />
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{{Clickable button 2|/ENGL 2111|ENGL 2111|class=mw-ui-progressive}} {{Clickable button 2|/ENGL 2122|ENGL 2122|class=mw-ui-progressive}}<br />
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{{Plink|https://grlu.us/litsurvey}}<br />
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{{DEFAULTSORT:Literature Survey}}<br />
[[Category: Index (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=February_20,_2024&diff=21095February 20, 20242024-02-20T13:30:23Z<p>Grlucas: Tweaked image size.</p>
<hr />
<div>{{jt|title=Happy 86th!}}<br />
[[File:20240217.jpg|500px|thumb|Photo by Sharon]]<br />
{{dc|T}}{{start|oday {{Dad}} turns 86.}} Last weekend, Tim, {{HSL}}, and I drove up to surprise him in Pigeon Forge. This was my fist trip in the Tesla Model Y, and it performed great. Dad was pleased to see us, as we showed up with pizzas and dessert. We spent most of Saturday with him and brought donuts Sunday morning before snapping the photo on the right and heading home.<br />
<br />
The trip was quick, and Dad and Sharon seemed disappointed that our wives and Max were not with us. I can see that. Still, it was a good visit. Hopefully, we can get back there this summer.<br />
<br />
Happy birthday, Dad, and many happy returns.<br />
<br />
{{2024}}<br />
[[Category:02/2024]]<br />
[[Category:Travel]]</div>Grlucashttps://grlucas.net/index.php?title=February_20,_2024&diff=21094February 20, 20242024-02-20T13:29:25Z<p>Grlucas: Created entry.</p>
<hr />
<div>{{jt|title=Happy 86th!}}<br />
[[File:20240217.jpg|thumb|Photo by Sharon]]<br />
{{dc|T}}{{start|oday {{Dad}} turns 86.}} Last weekend, Tim, {{HSL}}, and I drove up to surprise him in Pigeon Forge. This was my fist trip in the Tesla Model Y, and it performed great. Dad was pleased to see us, as we showed up with pizzas and dessert. We spent most of Saturday with him and brought donuts Sunday morning before snapping the photo on the right and heading home.<br />
<br />
The trip was quick, and Dad and Sharon seemed disappointed that our wives and Max were not with us. I can see that. Still, it was a good visit. Hopefully, we can get back there this summer.<br />
<br />
Happy birthday, Dad, and many happy returns.<br />
<br />
{{2024}}<br />
[[Category:02/2024]]<br />
[[Category:Travel]]</div>Grlucashttps://grlucas.net/index.php?title=File:20240217.jpg&diff=21093File:20240217.jpg2024-02-20T13:26:08Z<p>Grlucas: Category:GHL
Category:GRL
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<div>== Summary ==<br />
[[Category:GHL]]<br />
[[Category:GRL]]<br />
[[Category:HSL]]<br />
[[Category:TBL]]</div>Grlucashttps://grlucas.net/index.php?title=Template:2024&diff=21092Template:20242024-02-20T13:18:00Z<p>Grlucas: </p>
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<div>{{Navbox<br />
| name = 2024<br />
| title = [[Journal]] — [[Journal#2024|2024]]<br />
| state = {{{state<includeonly>|auto</includeonly>}}}<br />
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* [[January 12, 2024|12]]<br />
* [[January 16, 2024|16]]<br />
* [[January 17, 2024|17]]<br />
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| group2 = February<br />
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* [[February 1, 2024|1]]<br />
* [[February 4, 2024|4]]<br />
* [[February 20, 2024|20]]<br />
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</noinclude></div>Grlucashttps://grlucas.net/index.php?title=ENGL_1102/Spring_2024/Schedule&diff=21091ENGL 1102/Spring 2024/Schedule2024-02-15T17:31:40Z<p>Grlucas: Added note about essay 1.</p>
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<div>{{:ENGL 1102/Spring 2024/Tabs}}<br />
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{{Schedule-nh}} {{More}}<br />
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<div class="res-img">[[File:Ancient-calendar.jpg]]</div><br />
{{Anchor|More}}<br />
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{{A note}} This schedule is for sections 21339 and 20288 of ENGL 1102. The former sections meets on Mondays & Wednesdays and the latter on Tuesdays & Thursdays. I include both dates below.<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! 1 <br />
| style="min-width: 150px;" | {{date|Jan 10 & 11|none}} || Class Introduction<br />
|-<br />
! rowspan=2 | 2 <br />
| {{date|Jan 16|none}} || rowspan="2" | Sipiora, [https://files.grlucas.com/f/40cf0daa098049a3b4c1/ Chapter 1]{{refn|I told you the password in class on the first day.}} Introduction, including Fitzgerald, “[[Babylon Revisited]]”<br />
|-<br />
| {{date|Jan 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 3 <br />
| {{date|Jan 22 & 23|none}} || rowspan="2" | Sipiora, Chapter 2 '''Reader-Response Criticism''', including Hemingway, “[[Indian Camp]],” and Joyce, “[[Araby]]”<br />
|-<br />
| {{date|Jan 24 & 25|none}} <br />
|-<br />
! rowspan=2 | 4 <br />
| {{date|Jan 29 & 30|none}} || Sipiora, Chapter 6 '''Cultural Criticism''' Introduction; London, “[[To Build a Fire]]”<br />
|-<br />
| {{date|Jan 31|none}} & {{date|Feb 1|none}} || Poetry Day: The Smiths “Girlfriend in a Coma”; Wordsworth “[[The World Is too Much with Us]]”<br />
|-<br />
! rowspan=2 | 5 <br />
| {{date|Feb 5 & 6|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Feb 7 & 8|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #1 Due on Deep Dives{{refn|See their [https://youtu.be/1UVGlJrIVoQ introductory video] for additional assistance.}}}} <br />
|-<br />
! rowspan=2 | 6<br />
| {{date|Feb 12 & 13|none}} || Library Orientation with Samantha Wilcox; Meet in library computer lab #2<br />
|-<br />
| {{date|Feb 14 & 15|none}}{{refn|This Friday 2/16 will be the last day to submit Essay 1 for credit.}} || Poetry Day: Shakespeare “[[February 6, 2023|Sonnet 18]]”<br />{{Small|'''Assignment''': Find two scholarly articles on Shakespeare’s “Sonnet 18” and read them. Summarize the main points of each article in a couple of sentences. List each article as you would on an MLA works cited page, including the summaries. Due next class, word-processed and printed.}}<br />
|-<br />
! rowspan=2 | 7<br />
| {{date|Feb 19 & 20|none}} || Sipiora, Chapter 7 '''Feminist Criticism''', including Chopin, “[[The Story of an Hour]],” and Silko, “Yellow Woman”<br />
|-<br />
| {{date|Feb 21 & 22|none}} || Poetry Day: Dickinson “[[February 22, 2023|Because I Could Not Stop for Death]]”; Lord “[[February 15, 2023|Who Said It Was Simple]]”<br />
|-<br />
! rowspan=2 | 8<br />
| {{date|Feb 26 & 27|none}} || Sipiora, Chapter 5 '''Civic Criticism''' Introduction; Vonnegut, “Harrison Bergeron”<br />
|-<br />
| {{date|Feb 28 & 29|none}} || Poetry Day: Smith “[[February 13, 2023|10-Year-Old Shot Three Times, but She’s Fine]]”<br />
|-<br />
! rowspan=2 | 9<br />
| {{date|Mar 4 & 5|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Mar 6 & 7|none}}{{refn|Midterm grades due on March 8, 2023.}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #2 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 10<br />
| {{date|Mar 11 & 12|none}}{{refn|Drop day in Wednesday, March 16, 2023.}} || Sipiora, Chapter 4 '''Ethical Criticism''' Introduction; Baldwin, “Sonny’s Blues”<br />
|-<br />
| {{date|Mar 13 & 14|none}} || Poetry Day: Auden “[[The More Loving One]]”<br />
|-<br />
! rowspan=2 | 11<br />
| {{date|Mar 15 & 26|none}} || Sipiora, Chapter 8 '''Psychological Criticism''' Introduction; Melville, ''Bartleby, the Scrivener''<br />
|-<br />
| {{date|Mar 27 & 28|none}} || Poetry Day<br />
|-<br />
! rowspan=2 | 12<br />
| {{date|Apr 1 & 2|none}} || Sipiora, Chapter 3 '''Formalist Criticism''' Introduction; Poe, “The Cask of Amontillado” (in ch. 8)<br />
|-<br />
| {{date|Apr 3 & 4|none}} || Poetry Day: Gabriel “[[Solsbury Hill]]”; Harjo “Eagle Poem”<br />
|-<br />
! rowspan=2 | 13<br />
| {{date|Apr 8 & 9|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Apr 10 & 11|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #3 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 14<br />
| {{date|Apr 15 & 16|none}} || rowspan="2" | Wilson, ''[[April 19, 2022|Ma Rainey’s Black Bottom]]''<br />
|-<br />
| {{date|Apr 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 15<br />
| {{date|Apr 22 & 23|none}} || rowspan="2" | Screening of Wolfe, ''Ma Rainey’s Black Bottom''<br />
|-<br />
| {{date|Apr 24 & 25|none}}<br />
|-<br />
! rowspan=2 | 16<br />
| {{date|Apr 29 & 30|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Writing #4 on Wilson Due on Deep Dives}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
<br />
{{ENGL 1102}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=February_6,_2023&diff=21090February 6, 20232024-02-15T17:29:05Z<p>Grlucas: Tweaks and correction.</p>
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<div>{{jt}}<br />
<div style="padding-top: 30px;"><br />
[[File:Shall I Compare Thee-mj.jpeg|thumb|''Shall I Compare Thee?'' // Midjourney 2023]]<br />
{{Center|{{Large|Sonnet 18}}{{refn|This poem takes a new direction in the problem of fading youth and death: instead of procreation as an answer (see previous sonnets), here Shakespeare suggests that poetry, while perhaps ill-equipped to offer traditional comparisons about the subject, might be a better answer. Perhaps the subject, probably the “fair youth” of the previous seventeen sonnets, has dismissed the idea of having children or maybe even a wife, so the poet needs to come up with another idea to mitigate the subject’s anxiety. While summer is temporary, transient, and inconsistent, poetry can make these qualities more permanent. In other words, youth and summer might exist forever in verse, making it a suitable medium for immortality.<br />{{sp}}This idea is not original to Shakespeare—it exists in one of the oldest extant texts, ''[[Gilgamesh]]'', and in many other national traditions throughout history.}}<br /><br />
By: [[w:William Shakespeare|William Shakespeare]] ([[w:Sonnet 18|1609]])}}<br />
<div style="display: flex; justify-content: center; padding: 25px 0 25px 0;"><br />
{| style="width: 600px;"<br />
|<br />
<poem><br />
Shall I compare thee{{refn|This is likely the same “fair youth” that the poet has been addressing in the previous sonnets. That said, the language suggests that the speaker might be addressing someone to whom he is attracted. Indeed, the following “summer’s day” suggests a hot and fertile time, which he plays at likening the subject.}} to a summer’s day?<br />
Thou art more lovely and more temperate.{{refn|No, unlike the weather, the subject is more lovely and more dependable or predictable. The “rough winds” in the next line support this thesis.}}<br />
Rough winds do shake the darling buds of May,<br />
And summer’s lease hath all too short a date.{{refn|Also, summer is over far too soon, whereas the subject endures. Summer, too, might be likened to fun days free of obligation.}}<br />
Sometime too hot the eye of heaven shines,{{refn|Continuing to count the ways that the subject is ''not'' like the summer: sometimes the sun shines too brightly, making the day too hot.}}{{ln|5}}<br />
And often is his gold complexion dimmed;{{refn|And sometimes, clouds may darken the day.}}<br />
And every fair from fair{{refn|Beauty from beautiful; i.e., even beautiful objects have bad days. That seems to be the natural way of things, suggests line 8.}} sometime declines,<br />
By chance, or nature’s changing course, untrimmed;<br />
But thy eternal summer shall not fade,{{refn|Here the sonnet turns, as the summer metaphor is nuanced. Something will salve the fickle summer and the march of time so that the subject will keep his health, beauty, and vitality. This will even subdue death.}}<br />
Nor lose possession of that fair thou {{H:title|Owns or possesses.|ow’st}},{{ln|10}}<br />
Nor shall death brag thou wand’rest in his shade,{{refn|Compare to Psalm 23: “Yea, though I walk through the valley of the shadow of death.” Notice, too, that since the opening of the poem, the sun has been setting, reinforced by words like “dimmed,” “changing course,” “fade,” “declines,” and “shade.” }}<br />
When in eternal lines{{refn|The poet finally suggests the answer to this dilemma: “eternal lines” are of course a reference to lifelines, or the course of a life, but also to Shakespeare’s own “eternal” poetry which is made clear in the closing couplet.}} to Time thou grow’st.<br />
:So long as men can breathe, or eyes can see,<br />
:So long lives this, and this gives life to thee.{{refn|Ah, yes, it’s the power of poetry that lends immortality, as long as men are around to read it. While this is not a new conceit for poetry, Shakespeare’s voice lends it a bit more credence.}}<br />
</poem><br />
|}</div><br />
<br />
{{Notes|title=notes and commentary}}<br />
{{2023}}<br />
[[Category:02/2023]]<br />
[[Category:William Shakespeare]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Literary_Interpretation/Reader_Response&diff=21089CompFAQ/Literary Interpretation/Reader Response2024-02-15T13:16:44Z<p>Grlucas: Tweaked.</p>
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{{Large|A Reader Response Approach to Literary Interpretation}}<br />
<br />
{{dc|L}}{{start|iterary analysis is a pillar of studying literature,}} offering the opportunity to examine texts, uncover their layers of meaning, and appreciate the author’s craft. One effective method of literary [[CompFAQ/Literary Interpretation|interpretation]] is the '''reader response'''. Unlike other more traditional methods, which primarily emphasize the author’s intention or a text’s historical context, Reader response criticism places the reader at the center of the interpretive process. By encouraging personal engagement with the text, reader response provides a platform for readers to reflect on their thoughts, feelings, and reactions, which can lead to significant self-discovery.<br />
<br />
Reader response criticism emerged in the 1970s and holds that a text’s interpretation is a transaction between the reader and the text. This means the reader plays an active role in creating meaning, drawing from his or her “forestructure,”{{sfn|Sipiora|1994|p=23}} or unique experiences, knowledge, and emotions to interpret the text’s significance. In this sense, the ''meaning'' of a text is not a fixed entity but something dynamically generated each time a different reader engages with the text.<br />
<br />
{{quote box|title=Reader Response Overview|width=40%|{{bulleted list|'''Reader as Active Participant''': In reader response criticism, the reader is actively involved in creating meaning from a text.|'''Personal Interpretation''': Each reader’s personal experiences, emotions, and background can shape their interpretation.|'''Democratization''': This approach values multiple valid interpretations, fostering a more democratic reading process.|'''Emotional Engagement''': Reader response criticism encourages a personal, emotional engagement with the text.|'''Variety of Applications''': This approach can be applied to all literary genres, showcasing the diversity of literary interpretations.}} }}<br />
<br />
The reader response approach offers several benefits. Firstly, it democratizes the interpretive process by acknowledging the reader’s role in creating meaning. Secondly, it encourages personal engagement with the text, promoting empathy, critical thinking, and imaginative exploration. Lastly, it emphasizes that literature is not a static artifact but a living dialogue that evolves with every reading.<br />
<br />
Reader response criticism positions the reader not as a passive consumer of literature, but as an active participant in the construction of meaning. This active participation naturally encourages personal engagement with the text as readers are invited to bring their unique experiences, emotions, and perspectives into their interpretation.<br />
<br />
Reader response criticism invites readers to emotionally connect with characters, situations, and themes in a text. Readers can imagine themselves in the shoes of a character, experiencing their joys, sorrows, triumphs, and failures. This practice can increase empathy as readers come to understand and relate to experiences and perspectives different from their own. For instance, reading Harper Lee’s ''To Kill a Mockingbird'' might help readers understand and empathize with the injustices faced by marginalized communities in a racially divided society, even if this is outside their personal experience.<br />
<br />
Similarly with [[CompFAQ/Critical Thinking|critical thinking]], reader response criticism encourages readers to question, analyze, and interpret the text based on their perspectives. This involves active problem-solving and reflection, both crucial to critical thinking. For example, a reader may analyze why they reacted strongly to a particular scene or character, encouraging introspection about their values and assumptions.<br />
<br />
Since this approach posits that a text’s meaning isn’t fixed but is co-created by the reader and the text, readers are free to imagine different interpretations and perspectives. In a text as ambiguous as Franz Kafka’s ''The Metamorphosis'', readers can let their imaginations roam, crafting interpretations that range from viewing it as an allegory of alienation to an exploration of identity and transformation.<br />
<br />
Let’s examine how this approach can be applied to various genres of literature. {{c|F. Scott Fitzgerald}}’s ''The Great Gatsby'' provides an excellent case. Here, different readers might identify with various aspects of the novel based on their forestructure. For instance, an American reader might respond to themes of the American Dream or social mobility, while a reader familiar with the excesses of the Roaring Twenties might focus on the critique of materialism and hedonism. A feminist reader might engage with the representations of Daisy and Jordan, while an environmentalist might ponder the symbolic implications of the “valley of ashes.” In this way, each reader’s response contributes to a richer, multifaceted understanding of the novel.<br />
<br />
In short stories, {{c|Edgar Allan Poe}}’s “The Tell-Tale Heart” offers fertile ground for reader response criticism. This tale of murder and madness can be interpreted differently based on the reader’s emotional state or personal experiences. A reader who has experienced guilt might respond to the protagonist’s internal conflict and his eventual breakdown, while one who has experienced fear might relate more to the creeping tension and horror in the story.<br />
<br />
When applied to poetry, reader response criticism can be especially insightful due to the form’s inherent ambiguity and emotional resonance. For example, {{c|Emily Dickinson}}’s “[[Because I Could Not Stop for Death]]” may elicit varied responses based on the reader’s personal encounters with mortality. Someone who has lost a loved one might focus on the themes of death and eternity, while another reader might see the poem as a contemplation on life’s fleetingness.<br />
<br />
In another example, Arthur Miller’s play ''The Crucible'' presents different layers of meaning depending on the reader’s knowledge and experiences. A reader familiar with the historical Salem witch trials might delve into the play’s accuracy in depicting these events, while another reader, aware of the [[w:McCarthyism|McCarthy era]], might see the play as an allegory for the [[w:Red Scare|Red Scare]]. Someone who has encountered peer pressure or mob mentality might connect with the theme of mass hysteria.<br />
<br />
Reader response criticism offers a powerful and democratic approach to literary analysis. By recognizing the active role of the reader in creating meaning, it encourages a personal, engaged relationship with the text. It fosters an appreciation of literature as a living dialogue that transforms and evolves with each reader’s unique response. Whether dealing with novels, short stories, poems, or plays, the reader response approach illuminates the rich and varied interpretations that make literature such a dynamic field of study.<br />
<br />
===Steps for a Reader Response===<br />
Writing a reader response is an active, engaging process that invites readers to delve into their personal reactions to a literary work. Here are some steps to guide you through writing a reader response:<br />
# '''Read Thoroughly''': Start by reading the text carefully. You may need to read it more than once to fully grasp its nuances. Make sure to note down your immediate reactions, thoughts, and feelings.<br />
# '''Reflect''': After reading, take time to reflect on the text. Ask yourself: How did it make you feel? What themes or elements stood out to you? Did it remind you of any personal experiences or other texts you've read? How did your expectations match or differ from the text’s actual content?<br />
# '''Identify Significant Passages''': Go back through the text and find passages that sparked strong reactions or were particularly meaningful to you. These will serve as the backbone of your response.<br />
# '''Analyze''': Ask why these passages had such an impact on you. What literary techniques did the author use that were effective? How do these passages relate to the larger themes of the work? This step allows you to move from personal response to analytical insight.<br />
# '''Formulate Your Response''': Based on your reflections and analysis, formulate your response. This can be an interpretation of the text, a commentary on its themes, or an exploration of its impact on you as a reader.<br />
# '''Write''': Begin writing your response. Start with an introduction that provides basic information about the text (title, author, brief summary) and a preview of your main points. Then, present your analysis, using the passages you’ve identified as evidence. Be sure to include both your personal reactions and analytical insights. Finally, wrap up with a conclusion that summarizes your response and reflects on the significance of your analysis.<br />
# '''Review and Revise''': After writing your initial draft, review and revise. Check for clarity, coherence, and correctness. Ensure that your analysis is well-supported with evidence from the text, and your personal reactions are clearly articulated and integrated with your analysis.<br />
<br />
Remember, the goal of a reader response is not to provide an “objective” or “correct” interpretation of a text but to explore your unique engagement with it. Be honest, reflective, and thorough, and you’ll find that writing a reader response can be a rewarding way to interact with literature.<br />
<br />
===Example Format===<br />
While there is no fixed template for a reader response, it typically follows a structured approach to effectively convey the reader’s thoughts and insights. Below is a general form that a reader response essay might take:<br />
<br />
====Introduction====<br />
* Provide an overview of the literary work being analyzed, including the title, author, and genre.<br />
* Focus on elements that are relevant to your analysis and support your interpretation.<br />
* Introduce your personal connection with the story under consideration.<br />
* Present your [[CompFAQ/Thesis|thesis statement]], which should articulate your overall reaction or interpretation of the text.<br />
====Body====<br />
* Express your personal reaction to the text. This can include emotional responses, intellectual engagement, or any other feelings or thoughts evoked by the work.<br />
* Discuss your initial impressions of the characters, plot developments, writing style, and thematic elements.<br />
* Reflect on how your own forestructure—experiences, beliefs, and cultural background—influenced your reading of the text.<br />
====Analysis and Interpretation====<br />
* Analyze specific passages, scenes, or characters that stood out to you during your reading.<br />
* Explore the literary techniques employed by the author and their effectiveness in conveying meaning or eliciting a response from the reader.<br />
* Interpret the themes, symbols, and motifs present in the text, providing evidence from the work to support your analysis.<br />
* Consider how the author’s choices contribute to the overall impact and significance of the literary work.<br />
====Engagement with Secondary Sources (optional)====<br />
* If applicable, incorporate insights from literary criticism or scholarly articles that offer different perspectives on the text.<br />
* Compare and contrast your own interpretation with those of other scholars or critics.<br />
* Use secondary sources to enrich your analysis and provide additional context or depth to your argument.<br />
====Conclusion====<br />
* Reemphasize the key points of your analysis and restate your thesis in light of the evidence presented.<br />
* Reflect on the significance of your reading experience and how it deepened your understanding of the text or its themes.<br />
* Offer any final thoughts or reflections on the literary work, its relevance to broader literary traditions, or its impact on contemporary readers.<br />
====Works Cited (if using secondary sources)====<br />
* Provide a list of all sources cited in the essay, following MLA citation style.<br />
<br />
Remember to maintain a coherent and [[CompFAQ/Organization|organized structure]] throughout the essay, with [[CompFAQ/Transitions|clear transitions]] between different sections. Additionally, support your claims and interpretations with [[CompFAQ/Evidence|textual evidence]] and avoid overly subjective or unsupported assertions.<br />
<br />
===Bibliography===<br />
{{Refbegin|indent=yes|20em}}<br />
* {{cite book |last=Fish |first=Stanley |date={{date|1980}} |title=Is There a Text in This Class? The Authority of Interpretive Communities |url=https://archive.org/details/istheretextinthi0000fish |location=Cambridge |publisher=Harvard UP |ref=harv }}<br />
* {{cite book |last=Iser |first=Wolfgang |date={{date|1980}} |title=The Act of Reading: a Theory of Aesthetic Response |url=https://archive.org/details/actofreadingtheo0000iser |location=Baltimore |publisher=Johns Hopkins UP |ref=harv }}<br />
* {{cite web |url=https://grlucas.net/grl/January_12,_2014 |title=Reader-Response Criticism |last=Lucas |first=Gerald R. |date={{date|2014}} |website=GRLucas.net |publisher= |access-date=2023-06-02 |quote= |ref=harv }}<br />
* {{cite book |last=Rosenblatt |first=Louise M. |date={{date|1994}} |title=The Reader, the Text, the Poem: the Transactional Theory of the Literary Work |url=https://archive.org/details/readertextpoemtr0000rose_m4t4 |location=Carbondale, IL |publisher=Southern Illinois UP |ref=harv }}<br />
* {{cite book |last=Sipiora |first=Phillip |date={{date|1994-01-01|MDY}} |title=Reading and Writing About Literature |url=https://amzn.to/3Cjywyn |location=Upper Saddle River, NJ |publisher=Prentice Hall |ref=harv }}<br />
{{Refend}}<br />
{{Notes}}<br />
<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:Reader Response}}<br />
[[Category:Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=ENGL_1102/Spring_2024/Schedule&diff=21088ENGL 1102/Spring 2024/Schedule2024-02-12T17:00:42Z<p>Grlucas: Added more detail.</p>
<hr />
<div>{{:ENGL 1102/Spring 2024/Tabs}}<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:Ancient-calendar.jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{A note}} This schedule is for sections 21339 and 20288 of ENGL 1102. The former sections meets on Mondays & Wednesdays and the latter on Tuesdays & Thursdays. I include both dates below.<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! 1 <br />
| style="min-width: 150px;" | {{date|Jan 10 & 11|none}} || Class Introduction<br />
|-<br />
! rowspan=2 | 2 <br />
| {{date|Jan 16|none}} || rowspan="2" | Sipiora, [https://files.grlucas.com/f/40cf0daa098049a3b4c1/ Chapter 1]{{refn|I told you the password in class on the first day.}} Introduction, including Fitzgerald, “[[Babylon Revisited]]”<br />
|-<br />
| {{date|Jan 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 3 <br />
| {{date|Jan 22 & 23|none}} || rowspan="2" | Sipiora, Chapter 2 '''Reader-Response Criticism''', including Hemingway, “[[Indian Camp]],” and Joyce, “[[Araby]]”<br />
|-<br />
| {{date|Jan 24 & 25|none}} <br />
|-<br />
! rowspan=2 | 4 <br />
| {{date|Jan 29 & 30|none}} || Sipiora, Chapter 6 '''Cultural Criticism''' Introduction; London, “[[To Build a Fire]]”<br />
|-<br />
| {{date|Jan 31|none}} & {{date|Feb 1|none}} || Poetry Day: The Smiths “Girlfriend in a Coma”; Wordsworth “[[The World Is too Much with Us]]”<br />
|-<br />
! rowspan=2 | 5 <br />
| {{date|Feb 5 & 6|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Feb 7 & 8|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #1 Due on Deep Dives{{refn|See their [https://youtu.be/1UVGlJrIVoQ introductory video] for additional assistance.}}}} <br />
|-<br />
! rowspan=2 | 6<br />
| {{date|Feb 12 & 13|none}} || Library Orientation with Samantha Wilcox; Meet in library computer lab #2<br />
|-<br />
| {{date|Feb 14 & 15|none}} || Poetry Day: Shakespeare “[[February 6, 2023|Sonnet 18]]”<br />{{Small|'''Assignment''': Find two scholarly articles on Shakespeare’s “Sonnet 18” and read them. Summarize the main points of each article in a couple of sentences. List each article as you would on an MLA works cited page, including the summaries. Due next class, word-processed and printed.}}<br />
|-<br />
! rowspan=2 | 7<br />
| {{date|Feb 19 & 20|none}} || Sipiora, Chapter 7 '''Feminist Criticism''', including Chopin, “[[The Story of an Hour]],” and Silko, “Yellow Woman”<br />
|-<br />
| {{date|Feb 21 & 22|none}} || Poetry Day: Dickinson “[[February 22, 2023|Because I Could Not Stop for Death]]”; Lord “[[February 15, 2023|Who Said It Was Simple]]”<br />
|-<br />
! rowspan=2 | 8<br />
| {{date|Feb 26 & 27|none}} || Sipiora, Chapter 5 '''Civic Criticism''' Introduction; Vonnegut, “Harrison Bergeron”<br />
|-<br />
| {{date|Feb 28 & 29|none}} || Poetry Day: Smith “[[February 13, 2023|10-Year-Old Shot Three Times, but She’s Fine]]”<br />
|-<br />
! rowspan=2 | 9<br />
| {{date|Mar 4 & 5|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Mar 6 & 7|none}}{{refn|Midterm grades due on March 8, 2023.}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #2 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 10<br />
| {{date|Mar 11 & 12|none}}{{refn|Drop day in Wednesday, March 16, 2023.}} || Sipiora, Chapter 4 '''Ethical Criticism''' Introduction; Baldwin, “Sonny’s Blues”<br />
|-<br />
| {{date|Mar 13 & 14|none}} || Poetry Day: Auden “[[The More Loving One]]”<br />
|-<br />
! rowspan=2 | 11<br />
| {{date|Mar 15 & 26|none}} || Sipiora, Chapter 8 '''Psychological Criticism''' Introduction; Melville, ''Bartleby, the Scrivener''<br />
|-<br />
| {{date|Mar 27 & 28|none}} || Poetry Day<br />
|-<br />
! rowspan=2 | 12<br />
| {{date|Apr 1 & 2|none}} || Sipiora, Chapter 3 '''Formalist Criticism''' Introduction; Poe, “The Cask of Amontillado” (in ch. 8)<br />
|-<br />
| {{date|Apr 3 & 4|none}} || Poetry Day: Gabriel “[[Solsbury Hill]]”; Harjo “Eagle Poem”<br />
|-<br />
! rowspan=2 | 13<br />
| {{date|Apr 8 & 9|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Apr 10 & 11|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #3 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 14<br />
| {{date|Apr 15 & 16|none}} || rowspan="2" | Wilson, ''[[April 19, 2022|Ma Rainey’s Black Bottom]]''<br />
|-<br />
| {{date|Apr 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 15<br />
| {{date|Apr 22 & 23|none}} || rowspan="2" | Screening of Wolfe, ''Ma Rainey’s Black Bottom''<br />
|-<br />
| {{date|Apr 24 & 25|none}}<br />
|-<br />
! rowspan=2 | 16<br />
| {{date|Apr 29 & 30|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Writing #4 on Wilson Due on Deep Dives}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
<br />
{{ENGL 1102}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=ENGL_1102/Spring_2024/Schedule&diff=21087ENGL 1102/Spring 2024/Schedule2024-02-12T16:54:56Z<p>Grlucas: Added info.</p>
<hr />
<div>{{:ENGL 1102/Spring 2024/Tabs}}<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:Ancient-calendar.jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{A note}} This schedule is for sections 21339 and 20288 of ENGL 1102. The former sections meets on Mondays & Wednesdays and the latter on Tuesdays & Thursdays. I include both dates below.<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! 1 <br />
| style="min-width: 150px;" | {{date|Jan 10 & 11|none}} || Class Introduction<br />
|-<br />
! rowspan=2 | 2 <br />
| {{date|Jan 16|none}} || rowspan="2" | Sipiora, [https://files.grlucas.com/f/40cf0daa098049a3b4c1/ Chapter 1]{{refn|I told you the password in class on the first day.}} Introduction, including Fitzgerald, “[[Babylon Revisited]]”<br />
|-<br />
| {{date|Jan 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 3 <br />
| {{date|Jan 22 & 23|none}} || rowspan="2" | Sipiora, Chapter 2 '''Reader-Response Criticism''', including Hemingway, “[[Indian Camp]],” and Joyce, “[[Araby]]”<br />
|-<br />
| {{date|Jan 24 & 25|none}} <br />
|-<br />
! rowspan=2 | 4 <br />
| {{date|Jan 29 & 30|none}} || Sipiora, Chapter 6 '''Cultural Criticism''' Introduction; London, “[[To Build a Fire]]”<br />
|-<br />
| {{date|Jan 31|none}} & {{date|Feb 1|none}} || Poetry Day: The Smiths “Girlfriend in a Coma”; Wordsworth “[[The World Is too Much with Us]]”<br />
|-<br />
! rowspan=2 | 5 <br />
| {{date|Feb 5 & 6|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Feb 7 & 8|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #1 Due on Deep Dives{{refn|See their [https://youtu.be/1UVGlJrIVoQ introductory video] for additional assistance.}}}} <br />
|-<br />
! rowspan=2 | 6<br />
| {{date|Feb 12 & 13|none}} || Library Orientation with Samantha Wilcox; Meet in library computer lab #2<br />
|-<br />
| {{date|Feb 14 & 15|none}} || Poetry Day: Shakespeare “[[February 6, 2023|Sonnet 18]]”<br />{{Small|'''Assignment''': Find two scholarly articles on Shakespeare’s “Sonnet 18” and read them. Summarize the main points of each article in a couple of sentences. List each article as you would on an MLA works cited page, including the summaries. Due next class.}}<br />
|-<br />
! rowspan=2 | 7<br />
| {{date|Feb 19 & 20|none}} || Sipiora, Chapter 7 '''Feminist Criticism''', including Chopin, “[[The Story of an Hour]],” and Silko, “Yellow Woman”<br />
|-<br />
| {{date|Feb 21 & 22|none}} || Poetry Day: Dickinson “[[February 22, 2023|Because I Could Not Stop for Death]]”; Lord “[[February 15, 2023|Who Said It Was Simple]]”<br />
|-<br />
! rowspan=2 | 8<br />
| {{date|Feb 26 & 27|none}} || Sipiora, Chapter 5 '''Civic Criticism''' Introduction; Vonnegut, “Harrison Bergeron”<br />
|-<br />
| {{date|Feb 28 & 29|none}} || Poetry Day: Smith “[[February 13, 2023|10-Year-Old Shot Three Times, but She’s Fine]]”<br />
|-<br />
! rowspan=2 | 9<br />
| {{date|Mar 4 & 5|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Mar 6 & 7|none}}{{refn|Midterm grades due on March 8, 2023.}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #2 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 10<br />
| {{date|Mar 11 & 12|none}}{{refn|Drop day in Wednesday, March 16, 2023.}} || Sipiora, Chapter 4 '''Ethical Criticism''' Introduction; Baldwin, “Sonny’s Blues”<br />
|-<br />
| {{date|Mar 13 & 14|none}} || Poetry Day: Auden “[[The More Loving One]]”<br />
|-<br />
! rowspan=2 | 11<br />
| {{date|Mar 15 & 26|none}} || Sipiora, Chapter 8 '''Psychological Criticism''' Introduction; Melville, ''Bartleby, the Scrivener''<br />
|-<br />
| {{date|Mar 27 & 28|none}} || Poetry Day<br />
|-<br />
! rowspan=2 | 12<br />
| {{date|Apr 1 & 2|none}} || Sipiora, Chapter 3 '''Formalist Criticism''' Introduction; Poe, “The Cask of Amontillado” (in ch. 8)<br />
|-<br />
| {{date|Apr 3 & 4|none}} || Poetry Day: Gabriel “[[Solsbury Hill]]”; Harjo “Eagle Poem”<br />
|-<br />
! rowspan=2 | 13<br />
| {{date|Apr 8 & 9|none}} || Essay workshop<br />{{Small|'''Assignment''': Bring two (2) printed rough drafts with you to class ready to share with your classmates.}}<br />
|-<br />
| {{date|Apr 10 & 11|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #3 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 14<br />
| {{date|Apr 15 & 16|none}} || rowspan="2" | Wilson, ''[[April 19, 2022|Ma Rainey’s Black Bottom]]''<br />
|-<br />
| {{date|Apr 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 15<br />
| {{date|Apr 22 & 23|none}} || rowspan="2" | Screening of Wolfe, ''Ma Rainey’s Black Bottom''<br />
|-<br />
| {{date|Apr 24 & 25|none}}<br />
|-<br />
! rowspan=2 | 16<br />
| {{date|Apr 29 & 30|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Writing #4 on Wilson Due on Deep Dives}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
<br />
{{ENGL 1102}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=ENGL_1102/Spring_2024/Schedule&diff=21086ENGL 1102/Spring 2024/Schedule2024-02-12T16:50:31Z<p>Grlucas: Added assignment.</p>
<hr />
<div>{{:ENGL 1102/Spring 2024/Tabs}}<br />
<br />
{{Schedule-nh}} {{More}}<br />
<br />
<div class="res-img">[[File:Ancient-calendar.jpg]]</div><br />
{{Anchor|More}}<br />
<br />
{{A note}} This schedule is for sections 21339 and 20288 of ENGL 1102. The former sections meets on Mondays & Wednesdays and the latter on Tuesdays & Thursdays. I include both dates below.<br />
<br />
{| class="wikitable" style="width: 100%;"<br />
|-<br />
! Week !! Date !! Assignments<br />
|-<br />
! 1 <br />
| style="min-width: 150px;" | {{date|Jan 10 & 11|none}} || Class Introduction<br />
|-<br />
! rowspan=2 | 2 <br />
| {{date|Jan 16|none}} || rowspan="2" | Sipiora, [https://files.grlucas.com/f/40cf0daa098049a3b4c1/ Chapter 1]{{refn|I told you the password in class on the first day.}} Introduction, including Fitzgerald, “[[Babylon Revisited]]”<br />
|-<br />
| {{date|Jan 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 3 <br />
| {{date|Jan 22 & 23|none}} || rowspan="2" | Sipiora, Chapter 2 '''Reader-Response Criticism''', including Hemingway, “[[Indian Camp]],” and Joyce, “[[Araby]]”<br />
|-<br />
| {{date|Jan 24 & 25|none}} <br />
|-<br />
! rowspan=2 | 4 <br />
| {{date|Jan 29 & 30|none}} || Sipiora, Chapter 6 '''Cultural Criticism''' Introduction; London, “[[To Build a Fire]]”<br />
|-<br />
| {{date|Jan 31|none}} & {{date|Feb 1|none}} || Poetry Day: The Smiths “Girlfriend in a Coma”; Wordsworth “[[The World Is too Much with Us]]”<br />
|-<br />
! rowspan=2 | 5 <br />
| {{date|Feb 5 & 6|none}} || Essay workshop: bring printed rough drafts.<br />
|-<br />
| {{date|Feb 7 & 8|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #1 Due on Deep Dives{{refn|See their [https://youtu.be/1UVGlJrIVoQ introductory video] for additional assistance.}}}} <br />
|-<br />
! rowspan=2 | 6<br />
| {{date|Feb 12 & 13|none}} || Library Orientation with Samantha Wilcox; Meet in library computer lab #2<br />
|-<br />
| {{date|Feb 14 & 15|none}} || Poetry Day: Shakespeare “[[February 6, 2023|Sonnet 18]]”<br />{{Small|'''Assignment''': Find two scholarly articles on Shakespeare’s “Sonnet 18” and read them. Summarize the main points of each article in a couple of sentences. List each article as you would on an MLA works cited page, including the summaries. Due next class.}}<br />
|-<br />
! rowspan=2 | 7<br />
| {{date|Feb 19 & 20|none}} || Sipiora, Chapter 7 '''Feminist Criticism''', including Chopin, “[[The Story of an Hour]],” and Silko, “Yellow Woman”<br />
|-<br />
| {{date|Feb 21 & 22|none}} || Poetry Day: Dickinson “[[February 22, 2023|Because I Could Not Stop for Death]]”; Lord “[[February 15, 2023|Who Said It Was Simple]]”<br />
|-<br />
! rowspan=2 | 8<br />
| {{date|Feb 26 & 27|none}} || Sipiora, Chapter 5 '''Civic Criticism''' Introduction; Vonnegut, “Harrison Bergeron”<br />
|-<br />
| {{date|Feb 28 & 29|none}} || Poetry Day: Smith “[[February 13, 2023|10-Year-Old Shot Three Times, but She’s Fine]]”<br />
|-<br />
! rowspan=2 | 9<br />
| {{date|Mar 4 & 5|none}} || Essay workshop: bring printed rough drafts.<br />
|-<br />
| {{date|Mar 6 & 7|none}}{{refn|Midterm grades due on March 8, 2023.}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #2 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 10<br />
| {{date|Mar 11 & 12|none}}{{refn|Drop day in Wednesday, March 16, 2023.}} || Sipiora, Chapter 4 '''Ethical Criticism''' Introduction; Baldwin, “Sonny’s Blues”<br />
|-<br />
| {{date|Mar 13 & 14|none}} || Poetry Day: Auden “[[The More Loving One]]”<br />
|-<br />
! rowspan=2 | 11<br />
| {{date|Mar 15 & 26|none}} || Sipiora, Chapter 8 '''Psychological Criticism''' Introduction; Melville, ''Bartleby, the Scrivener''<br />
|-<br />
| {{date|Mar 27 & 28|none}} || Poetry Day<br />
|-<br />
! rowspan=2 | 12<br />
| {{date|Apr 1 & 2|none}} || Sipiora, Chapter 3 '''Formalist Criticism''' Introduction; Poe, “The Cask of Amontillado” (in ch. 8)<br />
|-<br />
| {{date|Apr 3 & 4|none}} || Poetry Day: Gabriel “[[Solsbury Hill]]”; Harjo “Eagle Poem”<br />
|-<br />
! rowspan=2 | 13<br />
| {{date|Apr 8 & 9|none}} || Essay workshop: bring printed rough drafts<br />
|-<br />
| {{date|Apr 10 & 11|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Essay #3 Due on Deep Dives}}<br />
|-<br />
! rowspan=2 | 14<br />
| {{date|Apr 15 & 16|none}} || rowspan="2" | Wilson, ''[[April 19, 2022|Ma Rainey’s Black Bottom]]''<br />
|-<br />
| {{date|Apr 17 & 18|none}}<br />
|-<br />
! rowspan=2 | 15<br />
| {{date|Apr 22 & 23|none}} || rowspan="2" | Screening of Wolfe, ''Ma Rainey’s Black Bottom''<br />
|-<br />
| {{date|Apr 24 & 25|none}}<br />
|-<br />
! rowspan=2 | 16<br />
| {{date|Apr 29 & 30|none}} || style="background-color: #fcf3cf;" | {{font|font=Alegreya Sans SC|Writing #4 on Wilson Due on Deep Dives}}<br />
|}<br />
<br />
{{Notes|width=20em}}<br />
<br />
{{ENGL 1102}}<br />
{{Course footer}}</div>Grlucashttps://grlucas.net/index.php?title=Template:ENGL_1102&diff=21085Template:ENGL 11022024-02-12T16:22:38Z<p>Grlucas: Added library link.</p>
<hr />
<div>{{Navbox<br />
| name = ENGL 1102<br />
| title = {{font|font=Alegreya Sans SC|size=24px|[[ENGL 1102|ENGL 1102 📚 English Composition II]]}}<br />
| state = off<br />
| navbar = plain<br />
| basestyle = background: #e8ecef;<br />
| image = [[File:Sergey-nivens-image-of-opened-magic-book-with-magic-lights a-G-12245989-14258395.jpg|150px|link=|alt=]]<br />
| bodyclass = hlist<br />
<br />
| above = {{Lit Res}}<br />
<br />
| group1 = Prerequisite<br />
| list1 =<br />
* At least a C in ENGL 1101.<br />
<br />
| group2 = Description<br />
| list2 =<br />
* This composition course develops writing and research skills beyond the level of proficiency required by [[:Category:ENGL 1101|ENGL 1101]] and emphasizes interpretation and evaluation based on an introduction to fiction, drama, and poetry. An oral communication component may also be required. <br />
<br />
| group3 = Classroom Hours<br />
| list3 =<br />
* Three (3) per week.<br />
<br />
| group4 = Credit Hours<br />
| list4 =<br />
* Three (3) credits.<br />
<br />
| below = {{hlist|📖 {{c|ENGL 1102|Sections by Semester}} |👩🏽💻 [[SG:WL|Study Guide]] | [https://guides.mga.edu/english1102 Research Guide] }}<br />
}}<noinclude>{{documentation}}</noinclude></div>Grlucashttps://grlucas.net/index.php?title=ENGL_1102&diff=21084ENGL 11022024-02-12T16:15:17Z<p>Grlucas: /* Links */ Added link.</p>
<hr />
<div>__NOTOC__{{Huge|English Composition II}}<br />
<br />
{{Big|{{dc|E}}nglish Compostion II—the more exciting sequel to [[ENGL 1101]]—focuses on literary analysis and interpretation in writing. It concentrates on close readings of literary texts, and teaches students critical-thinking, research, and composition skills for college and beyond.}} {{More}}<br />
<div class="res-img">[[File:Book-novel-magic.jpg]]</div><br />
{{Anchor|More}}<br />
ENGL 1102 provides an introduction to traditional literary forms—prose, poetry, and drama—and an examination of other cultural texts, like film, music, and visual arts. This course will also introduce to students various approaches to textual interpretation, like reader-response, ethical, feminist, and psychological modes of criticism. Through various readings, forum posts, research activities, and instructed guidance, students will further develop those written and verbal skills begun in English Composition I.<br />
{{1102 SLOs}}<br />
=== Sections ===<br />
{| class="wikitable sortable" style="width: 100%;"<br />
|-<br />
! Term !! CRN !! Class !! Day and Time !! Room<br />
|-<br />
| rowspan=2 | [[/Spring 2024/]] || 21339 || ENGL 1102.35 || MW 11:00–12:15 || SOAL-216<br />
|-<br />
| 20288 || ENGL 1102.44 || TR 11:00–12:15 || SOAL-206<br />
|-<br />
| [[/Spring 2023/]] || 20323 || ENGL 1102.44 || TR 11:00–12:15 || SOAL-206<br />
|-<br />
| [[/Spring 2022/]] || 24696 || ENGL 1102.29 || {{F-Online}} || {{CNone|-}}<br />
|-<br />
| [[/Fall 2021/]] || 85423 || ENGL 1102.16 || MW 9:30–10:45 || SOAL-218<br />
|}<br />
<br />
===30-Hour Rule===<br />
In accordance with Board of Regents policy, students must complete ENGL 1101 and ENGL 1102 before earning thirty hours of course credit.<br />
<br />
===Exit Requirements===<br />
All students must complete ENGL 1102 with a grade of A, B, or C to receive Area A credit and proceed to 2000-level English survey courses.<br />
<br />
===Regents Exemption===<br />
Students who complete both ENGL 1101 and ENGL 1102 with grades of A, B, or C have fulfilled the University System of Georgia Regents Reading and Writing Requirement.<br />
<br />
===Student Resources===<br />
Tutoring is available free of charge on all MGA campuses for currently enrolled students. To view center contact information, subjects tutored, and tutor availability, see the [http://www.mga.edu/student-success-center/ SSC website]. SSC tutoring sessions may be scheduled online and face-to-face through the “Book an Appointment” link on the Student Success Center website. Other services at the SSC include online academic workshops and a robust website with resources for academic assistance. The centers also have computer workstations, printing, and Internet access.<br />
<br />
==Links==<br />
* [[/Interpretative Approaches/]] // Examples on “[[lw:Babylon Revisited|Babylon Revisited]]”<br />
* [[September 27, 2020|Reading in College]]<br />
* [[/Reading Questions for Poetry/]]<br />
* [[/Research Essay/]]<br />
* [https://guides.mga.edu/english1102 Research Guide] from the MGA Library<br />
* [[/Rewrites|Rewrite Policy]]<br />
<br />
{{ENGL 1102}}<br />
{{Courses}}<br />
[[Category:Courses]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/It_and_This&diff=21083CompFAQ/It and This2024-02-08T16:03:40Z<p>Grlucas: Tweaked format.</p>
<hr />
<div>{{CompFAQ-head}}<br />
<br />
{{Large|Be Wary of “It” and “This”}}<br />
<br />
{{dc|B}}{{start|e careful when using pronouns,}} especially “it” and “this.” One of the main issues is that they can be vague and unclear. When using “it” or “this,” it may not be clear what exactly is being referred to, which can cause confusion for the reader. For example, saying “It is important to study history” doesn't specify what “it” is, leaving the reader to guess at the meaning. Another issue is that using pronouns like “it” and “this” can make the writing seem impersonal and detached. It can also come across as lazy or unengaged if the writer is relying on these pronouns to avoid being specific or clear.<br />
<br />
===Avoid “It”===<br />
Using “it” instead of a real noun and can cause awkward sentences, vague references, passive constructions, and wordiness. Compare:<br />
<br />
:It is the time of year when the leaves change color.<br />
<br />
“It” here is vague reference that renames nothing. Try the sentence with a real noun:<br />
<br />
:Autumn changes the color of the leaves.<br />
<br />
Notice the economy of words, the active verb, and the actual noun. Anytime you use the word “it” in your sentence, ask yourself what is “it”? Chances are that you could use a real noun in place of the ambiguous pronoun to make your sentence more specific and much easier to read. A few more examples clarify this idea. Wordy and weak:<br />
<br />
:It took Menaleus a long time to get home.<br />
<br />
Using the subject and verb where they belong makes the sentence cleaner and more precise:<br />
<br />
:Menaleus took a long time to get home.<br />
<br />
Wordy and weak:<br />
<br />
:Gorgias believed that it is impossible to objectively perceive anything because people cannot look past their opinions.<br />
<br />
What does “it” truly stand for? Use the real subject:<br />
<br />
:Gorgias believed that objective perception is impossible because people cannot look past their opinions.<br />
<br />
===Use “This” as an Adjective===<br />
Only use the word “this” as an ''adjective'', not as a ''pronoun''. For example, in the following sentence, “this” does not rename a noun like a pronoun is supposed to do, but tries to stand by itself as if the meaning is clear:<br />
<br />
:This causes many missed misunderstandings.<br />
<br />
Of course, the context of “this,” you might say, would be understood from the previous sentence. Sure. However, as a developing writer, do not make that assumption. Only use “this” as an adjective preceding a noun; e.g.:<br />
<br />
:This attitude causes many misunderstandings.<br />
<br />
Context is still needed for this example to be fully understood, but the subject is now clear to your reader, and she does not have to pause to figure out what in the world “this” is. Review a professional's writing for “this”—chances are you will see very little of this stylistic faux pas.<br />
<br />
{{plink|https://grlu.us/this}}<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:It This}}<br />
[[Category:Grammar (FAQ)]]<br />
[[Category:Style (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/It_and_This&diff=21082CompFAQ/It and This2024-02-08T16:00:25Z<p>Grlucas: Tweaked format.</p>
<hr />
<div>{{CompFAQ-head}}<br />
<br />
{{Large|Be Wary of “It” and “This”}}<br />
<br />
{{dc|B}}{{start|e careful when using pronouns,}} especially “it” and “this.” One of the main issues is that they can be vague and unclear. When using "it" or "this," it may not be clear what exactly is being referred to, which can cause confusion for the reader. For example, saying "It is important to study history" doesn't specify what "it" is, leaving the reader to guess at the meaning. Another issue is that using pronouns like "it" and "this" can make the writing seem impersonal and detached. It can also come across as lazy or unengaged if the writer is relying on these pronouns to avoid being specific or clear.<br />
<br />
===Avoid “It”===<br />
Using “it” instead of a real noun and can cause awkward sentences, vague references, passive constructions, and wordiness. Compare:<br />
<br />
:It is the time of year when the leaves change color.<br />
<br />
“It” here is vague reference that renames nothing. Try the sentence with a real noun:<br />
<br />
:Autumn changes the color of the leaves.<br />
<br />
Notice the economy of words, the active verb, and the actual noun. Anytime you use the word “it” in your sentence, ask yourself what is “it”? Chances are that you could use a real noun in place of the ambiguous pronoun to make your sentence more specific and much easier to read. A few more examples clarify this idea. Wordy and weak:<br />
<br />
:It took Menaleus a long time to get home.<br />
<br />
Using the subject and verb where they belong makes the sentence cleaner and more precise:<br />
<br />
:Menaleus took a long time to get home.<br />
<br />
Wordy and weak:<br />
<br />
:Gorgias believed that it is impossible to objectively perceive anything because people cannot look past their opinions.<br />
<br />
What does “it” truly stand for? Use the real subject:<br />
<br />
:Gorgias believed that objective perception is impossible because people cannot look past their opinions.<br />
<br />
===Use “This” as an Adjective===<br />
Only use the word “this” as an ''adjective'', not as a ''pronoun''. For example, in the following sentence, “this” does not rename a noun like a pronoun is supposed to do, but tries to stand by itself as if the meaning is clear:<br />
<br />
:This causes many missed misunderstandings.<br />
<br />
Of course, the context of “this,” you might say, would be understood from the previous sentence. Sure. However, as a developing writer, do not make that assumption. Only use “this” as an adjective preceding a noun; e.g.:<br />
<br />
:This attitude causes many misunderstandings.<br />
<br />
Context is still needed for this example to be fully understood, but the subject is now clear to your reader, and she does not have to pause to figure out what in the world “this” is. Review a professionals writing for “this”—chances are you will see very little of this stylistic faux pas.<br />
<br />
{{plink|https://grlu.us/this}}<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:It This}}<br />
[[Category:Grammar (FAQ)]]<br />
[[Category:Style (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Conventions&diff=21081CompFAQ/Conventions2024-02-08T15:41:36Z<p>Grlucas: Added plink.</p>
<hr />
<div>{{CompFAQ-head}}<br />
<br />
{{Large|Understanding Common Conventions and Vocabulary for College Essays}}<br />
<br />
{{dc|W}}{{start|riting about literature}} can be a daunting task, especially for first-year college writers who may not have much experience with literary analysis. But fear not, for there are common conventions and vocabulary used in literary analysis that can help make the process easier to navigate. By understanding and utilizing these tools, you can effectively write about the complexities of literature in your college essays.<br />
<br />
When it comes to writing about literature, there are some necessary conventions that every student writer must learn and practice consistently. The purpose of this post is to introduce first-year college writers to the common conventions and vocabulary for writing about literature.<br />
<br />
===Necessary Conventions for Writing About Literature===<br />
When writing about any cultural text — a book, a poem, a painting, a song, a play, a film, etc. — established conventions should be followed, even when writing digital documents.<br />
* '''Present Tense''': When writing about literature, always use the present tense, as it creates a sense of immediacy that brings the reader closer to the text. For example, “In ''To Kill a Mockingbird'', Scout learns valuable lessons about racism and injustice” rather than “In ''To Kill a Mockingbird'', Scout learned valuable lessons about racism and injustice.”<br />
* '''Textual Evidence''': Always support your arguments with textual evidence. This can include [[CompFAQ/Research/Quotations and Paraphrases|direct quotations or paraphrases]] from the text that support your claims. Be sure to properly cite your sources.<br />
* '''Analysis''': Don’t just summarize the text; provide [[CompFAQ/Literary Analysis|analysis]] and [[CompFAQ/Literary Interpretation|interpretation]] of the text. This means digging deeper and exploring themes, motifs, symbols, and other literary devices used by the author to convey meaning.<br />
* '''Thesis''': Every essay should have a clear thesis statement that presents a specific argument about the text. This thesis should guide the rest of the essay and be supported by evidence and analysis. As a general rule: the more focused an essay’s [[CompFAQ/Topic|topic]], the more interesting and comprehensive it will be.<br />
<br />
====Titles====<br />
{{quote box|title=Title Examples|{{bulleted list|short story: “Hills Like White Elephants”|novel: ''Beloved''|movie: ''Blade Runner''|poem: “To His Coy Mistress”|newspaper: ''New York Times''|TV episode: “The Galileo Seven”|TV series: ''Star Trek: The Next Generation''|essay: “A Rape in Cyberspace”|song: “Ants Marching”|play: ''Hamlet''|videogame: ''Call of Duty''}}|width=40%}}<br />
<br />
When writing about literary works, there are specific conventions to follow when it comes to titling them in your essay. Here are some guidelines to keep in mind:<br />
* '''Books''': The titles of full-length books, including novels and novellas, should be italicized, such as ''To Kill a Mockingbird'' by Harper Lee.<br />
* '''Plays''': The titles of plays should also be italicized, such as ''Hamlet'' by William Shakespeare.<br />
* '''Short stories''': The titles of short stories should be enclosed in quotation marks, such as “The Lottery” by Shirley Jackson.<br />
* '''Poems''': The titles of individual poems should also be enclosed in quotation marks, such as “The Love Song of J. Alfred Prufrock” by T.S. Eliot.<br />
<br />
Title format can vary depending on the citation style being used. Always check with your instructor or consult a style guide for specific guidelines.<br />
<br />
===Use Literary Vocabulary===<br />
In addition to the necessary conventions, there is also a specific vocabulary that is used when writing about literature. Each class you take will use a specialized vocabulary for the particular subject. However, there is a general literary vocabulary that you should be familiar with and begin using in your first-year courses. For example, when writing about a novel, write “novel,” not “book” or “story.” Use “protagonist” instead of “main character” or “hero,” and “antagonist” instead of “bad guy.”<br />
<br />
Below are some of the most common literary terms and devices:<br />
* '''Plot''': The events that make up a story.<br />
* '''Characterization''': The process by which the author reveals the personality of a character.<br />
* '''Setting''': The time and place in which a story takes place.<br />
* '''Theme''': The main idea or underlying meaning of a literary work.<br />
* '''Symbolism''': The use of symbols to represent ideas or qualities.<br />
* '''Motif''': A recurring element or idea in a literary work.<br />
* '''Foreshadowing''': The use of hints or clues to suggest what will happen later in the story.<br />
* '''Irony''': A literary device in which the opposite of what is expected occurs.<br />
* '''Point of View''': The perspective from which a story is told.<br />
* '''Tone''': The attitude of the author towards the subject matter.<br />
<br />
Similarly, be sure you know what you’re writing about: don’t call a “book” a “novel” when it isn’t. A precise vocabulary shows your knowledge of the subject matter and lends your writing more [[CompFAQ/Credibility|credibility]].<br />
<br />
{{Plink|https://grlu.us/conventions}}<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:Conventions}}<br />
[[Category:Basics (FAQ)]]<br />
[[Category:Literature (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Organization/Conclusion&diff=21080CompFAQ/Organization/Conclusion2024-02-08T15:40:18Z<p>Grlucas: Tweaked format.</p>
<hr />
<div>{{CompFAQ-head}}<br />
<br />
{{Large|Nailing the Conclusion: Leave a Lasting Impression}}<br />
<br />
{{See also|CompFAQ/Call to Action}}<br />
<br />
{{dc|C}}{{start|onclusions}} are often the last impression that readers have of your essay, so it’s essential to make them count. A well-crafted conclusion can leave a lasting impact on your [[CompFAQ/Audience|audience]] and reinforce your [[CompFAQ/Thesis|thesis statement]] in their minds. However, many students struggle with writing conclusions, either ending their essays abruptly or repeating information that has already been stated.<br />
<br />
The '''conclusion''' is the final paragraph or section of an essay that summarizes the main points made in the essay and provides a closing statement or message to the reader. The purpose of the conclusion is to bring the essay to a satisfying close and leave a lasting impression on the reader. Consider these strategies in composing your conclusion:<br />
* '''Restate the thesis statement''': Summarize the main points of the essay and restate the thesis statement in a way that emphasizes its importance and relevance. While a bit boring, this strategy is sometimes an effective way to close as part of another strategy. This strategy is more effective in public speaking.<br />
* '''Offer a new perspective''': Provide a fresh perspective or insight that goes beyond what has already been discussed in the essay.<br />
* '''Use a memorable quotation''': End with a quote that relates to the topic and leaves a lasting impression on the reader. That said, try to make the last your own, rather than someone else’s.<br />
* '''Make a call to action''': Encourage the reader to [[CompFAQ/Call to Action|take action]] or think more deeply about the topic.<br />
* '''End with a rhetorical question''': Ask a question that leaves the reader thinking about the topic and its implications.<br />
* '''Use imagery or metaphor''': Use a powerful image or metaphor that ties the essay’s themes together and leaves a lasting impression.<br />
* '''Connect to a larger context''': Place the essay’s topic in a broader context, such as a societal issue, historical event, or personal experience. In other words, your essay’s topic likely narrowed and nuanced a subject, so the conclusion can broaden your focus into a more general perspective.<br />
<br />
In some cases, it can be effective to broaden the discussion in the conclusion by considering the broader implications or relevance of the [[CompFAQ/Topic|topic]] beyond the scope of the essay. This can be particularly effective in persuasive or argumentative essays, where the writer is trying to convince the reader to take a particular action or adopt a certain perspective. However, in other [[CompFAQ/Essay|types of essays]], such as informative or analytical essays, the focus may be more narrowly defined and it may not be necessary or appropriate to extend the discussion beyond the scope of the essay.<br />
<br />
Ultimately, the writer should consider the [[CompFAQ/Purpose|purpose]] and [[CompFAQ/Audience|audience]] of the essay when deciding whether to broaden the discussion in the conclusion. The conclusion should always leave the reader with a clear understanding of the writer’s message or argument, and provide a sense of closure to the essay.<br />
<br />
Be wary of approaches that weaken your conclusion. Firstly, avoid introducing new information or arguments in the conclusion. This can confuse the reader and weaken the overall impact of the essay. Avoid using [[CompFAQ/Cliché|clichéd phrases]] or repeating the thesis statement verbatim. Instead, try to use the conclusion as an opportunity to reiterate the main points of the essay in a fresh and interesting way. Finally, avoid ending the essay abruptly without providing a sense of closure or a final thought for the reader. The conclusion should provide a sense of resolution and leave the reader with a lasting impression.<br />
<br />
The ultimate goal of the conclusion is to be memorable and leave a lasting impact on the reader. Avoid simply summarizing the essay’s main points, and instead, use the conclusion as an opportunity to bring new insights and perspectives to the topic.<br />
<br />
{{Plink|https://grlu.us/conclusion}}<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:Conclusion}}<br />
[[Category:Organization (FAQ)]]</div>Grlucashttps://grlucas.net/index.php?title=CompFAQ/Theme&diff=21079CompFAQ/Theme2024-02-08T15:39:30Z<p>Grlucas: Added plink.</p>
<hr />
<div>{{CompFAQ-head}}<br />
<br />
{{Large|Understanding Theme in Literature}}<br />
<br />
{{dc|A}} {{Start|theme is a central idea, message, or insight}} about life or human nature that the author explores and communicates through the [[CompFAQ/Narrative|narrative]]. It’s not simply what the story is about on a surface level (that’s the plot), but rather what the story is trying to say on a deeper level. Themes can be explicit or implicit, simple or complex, singular or multiple within a single work.<br />
<br />
Themes often pose questions about the human experience, societal norms, morality, and various aspects of life such as love, friendship, courage, identity, freedom, and conflict. For instance, a story may explore the theme of “the struggle for personal freedom versus societal expectations” or “the destructiveness of unchecked ambition.”<br />
<br />
===Identifying Themes===<br />
Themes are not always stated directly; often, they are inferred from various elements of the narrative:<br />
# '''Characters''': Their motivations, conflicts, growth, and interactions can often reflect themes. For instance, a character struggling with their identity could point towards a theme of self-discovery or acceptance.<br />
# '''Plot''': The sequence of events and the conflicts that drive them can suggest a theme. For example, a plot centered around a fight against an oppressive regime could suggest themes of freedom, resistance, and sacrifice.<br />
# '''[[CompFAQ/Symbolism|Symbols]]''': Objects, images, or actions that carry deeper meanings can often indicate themes. A recurring symbol of a bird might represent freedom or aspiration, for example.<br />
# '''Setting''': The time and place where the story unfolds can also highlight themes. A dystopian future setting might engage with themes of technology, control, and dehumanization.<br />
# '''Dialogues''': Conversations between characters can express themes. Pay attention to recurring discussions, debates, or questions.<br />
# '''Narrative Choices''': The author’s choices in structuring the story, presenting characters, and narrative voice can hint at themes. <br />
<br />
Remember, a narrative can and often does explore more than one theme.<br />
<br />
===The Importance of Theme===<br />
Themes give depth and meaning to a story, moving it beyond a simple series of events to a richer exploration of human experience. They allow authors to connect with readers on a deeper level, provoke thought, convey complex emotions, and provide commentary on societal or human issues. <br />
<br />
Understanding the theme of a work is crucial when [[CompFAQ/Literary Analysis|analyzing literature]]. It enables us to appreciate the author’s intentions, understand character motivations, and engage more deeply with the narrative. In writing about literature, clearly articulating the themes of a text and [[CompFAQ/Evidence|providing evidence]] for your [[CompFAQ/Literary Interpretation|interpretations]] is a key skill.<br />
<br />
Just as narratives are more than just their plots, so too are they more than their themes. However, by understanding theme, you’re well on your way to unlocking the rich complexities literature has to offer.<br />
<br />
{{Plink|https://grlu.us/theme}}<br />
{{CompFAQ-foot}}<br />
{{DEFAULTSORT:Theme}}<br />
[[Category:Literature (FAQ)]]<br />
[[Category:Reading (FAQ)]]</div>Grlucas