ENGLISH 1B: INTRODUCTION TO LITERATURE
ASSIGNMENTS Fall 2006
Amy Hundley
Reading
Journals | Reading Response | Essay
Guidelines | Grading Rubrics
Literary Terms Questions | Literary
Genres | Critical Approaches.
Reading
Journal Entries in Order
| Number and Date Assigned/Theme | Title of Selection | Genre |
| 1.)
8/22/06 Innocence and Experience |
"The House on Mango Street" by Sandra Cisneros (LTHE pgs. 123-124) | Short Story (Fiction) |
| 2.)
8/24/06 Innocence and Experience |
"Young Goodman Brown" by Nathaniel Hawthorne (LTHE pgs. 80-90) | Short Story (Fiction) |
| 3.)
8/29/06 Innocence and Experience |
"Incident" by Countee Cullen (LTHE pg. 146) OR "Advice to My Son" by Peter Meinke (LTHE pgs. 151-152) | Poetry |
| 4.)
8/31/06 Innocence and Experience |
"The Lesson" by Toni Cade Bambara (LTHE pgs. 116-122) | Short Story (Fiction) |
| 5.)
9/5/06 Innocence and Experience |
"My Wicked Wicked Ways" by Sandra Cisneros (LTHE pgs. 158-159) OR "Euphoria" by Major Jackson (LTHE pgs. 159-160) | Poetry |
| 6.)
9/12/06 Conformity and Rebellion |
"The Ones Who Walk Away from Omelas" by Ursula K. Le Guin (LTHE pgs. 335-340) | Short Story (Fiction) |
| 7.)
9/12/06 Conformity and Rebellion |
"The
market economy" by Marge Piercy (LTHE pg. 395) |
Poetry |
| 8.)
9/14/06 Conformity and Rebellion |
"Two Kinds" by Amy Tan (LTHE pgs. 366-374) | Short Story (Fiction) |
| 9.)
9/19/06 Conformity and Rebellion |
"The Unknown Citizen" by W.H. Auden (LTHE pg. 390) OR "An Old Man" by Robert Pinsky (LTHE pgs. 402-403) | Poetry |
| 10.)
9/21/06 Conformity and Rebellion |
A Doll's House by Henrik Ibsen, Act I (LTHE pgs. 437-459) | Drama |
| 11.)
9/26/06 Conformity and Rebellion |
A Doll's House by Henrik Ibsen, Act II (LTHE pgs. 459-477) | Drama |
| 12.)
9/28/06 Conformity and Rebellion |
A Doll's House by Henrik Ibsen, Act III (LTHE pgs. 477-495) | Drama |
| 13.)
10/3/06 Conformity and Rebellion |
"She rose to His Requirement" by Emily Dickinson (LTHE pg. 378) | Poetry |
| 14.)
10/5/06 The American Dream and Love and Hate |
The Great Gatsby by F. Scott Fitzgerald (Chpts. 1-5) | Novel (Fiction) |
| 15.)
10/10/06 The American Dream and Love and Hate |
The Great Gatsby by F. Scott Fitzgerald (Chpts. 6-9) | Novel (Fiction) |
| Journal Check #1--Journals #1-15 collected for grading 10/12/06 | Return to top | |
| 16.)
10/24/06 Culture and Identity |
"Evolution" by Sherman Alexie, Jr. (Handout) | Poetry |
| 17.)
10/24/06 Culture and Identity |
"Lullaby" by Leslie Marmon Silko (Handout) | Short Story (Fiction) |
| 18.)
10/31/06 Culture and Identity |
"Mr. Z. by M. Carl Holman (LTHE pgs. 635-636) OR "Latin Women Pray" by Judith Ortiz Cofer (LTHE pg. 646) | Poetry |
| 19.)
11/2/06 Culture and Identity |
"Sonny's Blues" by James Baldwin (LTHE pgs. 556-579) | Short Story (Fiction) |
| 20.)
11/7/06 Culture and Identity |
"Orbiting" by Bharati Mukherjee (LTHE pgs. 586-598) | Short Story (Fiction) |
| 21.)
11/9/06 Culture and Identity |
"Everyday Use" by Alice Walker (LTHE pgs. 599-605) | Short Story (Fiction) |
| 22.)
11/14/06 Culture and Identity |
A Raisin in the Sun by Lorraine Hansberry, Act I (LTHE pgs. 648-679) | Drama |
| 23.)
11/16/06 Culture and Identity |
A Raisin in the Sun by Lorraine Hansberry, Act II (LTHE pgs. 679-711) | Drama |
| 24.)
11/23/06 Culture and Identity |
A Raisin in the Sun by Lorraine Hansberry, Act III (LTHE pgs. 711-722) | Drama |
| 25.)
11/30/06 The American Dream and Love and Hate |
Bright
Lights, Big City by Jay McInerney (from "It's Six A.M. Do You Know Where You Are? through the end of "Coma Baby Lives!") |
Novel (Fiction) |
| Journal Check #2--Journals
#16-26 collected for grading 12/5/06 |
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Reading Response Journal Questions and Guidelines:
Please
include the following information in the top left hand corner of the blank space
at the top of each page.
Today’s
Date: _________________________________ Journal # _________
Author:
__________________________________________
Genre:___________________________________________
1.) FIRST REACTION:
What is your first reaction or response to the reading?
Describe or explain it.
2.) FEELINGS:
What feelings does the reading awaken in you?
What emotions do you feel as you read?
3.)
PERCEPTIONS: What do you
see happening in the reading? Briefly
retell the main events and points.
4.)
ASSOCIATIONS: What memory
does the reading call to mind—of people, places, events, sights,
smells or
even something more ambiguous, perhaps feelings or attitudes? Does this reading
call to mind any other
selection (poem, play, short story, novel, essay,
nonfiction book, textbook, or film)? If
it does, what is the work and
what is the connection you see between the two?
5.)
THOUGHTS, IDEAS: What
idea or thought is suggested by the reading?
How can this idea or thought work as a
theme or main point for the
reading? Explain.
6.)
FOCUS: Upon
what in the text do you focus most intently as you read—what word, phrase,
image, idea or technique?
What is the most important aspect of the reading? What
direct quote (with page number) most defines the “essence” of this selection
for you?
7.)
AUTHOR, BACKGROUND: What
are some interesting details provided in your text about this author? What sort
of person do you imagine the author to be? When was the piece written? How does
the historical context/time period
contribute to your understanding of this
selection?
8.)
RESPONSE: How do you
respond to the reading—emotionally or intellectually?
Do you feel involved with the
reading, or distant from it? Why?
9.)
PROBLEMS: What is there
in the reading that you have the most trouble understanding? To what extent do
these problem areas hinder your overall response?
10.) EVALUATION:
Do you think this is a
good piece of writing? Why or why not? How does this selection
compare/contrast
other selections in this genre and/or theme?
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Literature: The
Human Experience. The purpose of these essays is to analyze readings from
different
genres, to make connections to the theme, and to focus on what
the work means to you rather than
to merely summarize the plot, to
restate the obvious, or to “borrow” ideas from the Internet or elsewhere.
Ideally, your reading response journals will serve as the starting point
for developing your ideas. You will also complete a longer literary research
paper (6-8 pages, 1,500-2,000)
On every essay, be sure to:
v
have your own original title
v
mention the title and author of the story in your introduction (short
selection titles use quote marks and
longer selection titles are underlined)
v
state and support a thesis.
v
type
your paper using proper MLA format as detailed on syllabus and in your LTHE
text.
correctly use in-text citation and include
a Works Cited page
Essay
#1: Innocence and Experience
(Assigned Week 4 and Due Week 6)
(2-4 pages, 500-1,000 words, plus a
MLA format Works Cited page)
Consider the connection between relationships and the journey from
innocence to experience. How do
parents or other adults in these readings affect
the central characters and the journey from innocence to
experience? These
effects may be negative, positive, or some combination of both. You may also
wish
to consider how setting/place/environment affects the journey from
innocence to experience. You must compare/contrast and analyze at least two
readings from two different genres (poetry and short fiction)
in order to
develop your essay centered on this theme.
“The House on
“Young Goodman Brown” by Nathaniel Hawthorne (LTHE pgs. 80-90)
“Advice to My Son” by Peter Meinke (LTHE pgs. 151-152)
“The Lesson”
by Toni Cade Bambara (LTHE pgs. 116-121)
“My
Wicked Wicked Ways” by Sandra Cisneros (LTHE pgs. 158-159)
“Euphoria” by Major Jackson (LTHE pgs. 159-160)
(2-4
pages, 500-1,000 words, plus a MLA format Works Cited page)
Consider the connection between the individual
and the larger group--family and/or society.
How do the attitudes and actions of
the central characters constitute a sense of conformity with
the status quo?
What is the price of this conformity? How do the attitudes and actions of the
central
characters constitute a rebellion against the status quo? What is the
price of this rebellion? You must compare/contrast and analyze
at least two readings from at least two different genres (poetry, short
fiction, and drama) in order to develop your essay centered on this theme.
“The market economy” by Marge Piercy (LTHE pg. 395)
“Two Kinds” by Amy Tan (LTHE pgs. 366-374)
“The Unknown Citizen” by W.H. Auden (LTHE pg. 390)
“An Old Man” by Robert Pinsky (LTHE pgs. 402-403)
“She rose to His Requirement” by Emily Dickinson (LTHE pgs.
378-379)
A Doll’s House
by Henrik Ibsen (LTHE pgs. 437-495)
(MINIMUM 6-8 pages or 1500-2000 words)
You must use a minimum of
5 sources. Your sources must be varied and not all from
websites or
online sources. Try reference books, encyclopedias, magazines,
newspapers, and databases like
EBSCOhost.
References
serve as evidence to support your own thinking on the topic, not as substitutes
for your own thinking.
You must take notes from your sources.
Highlighted computer printouts
are sources, not notes.
convincingly one of the following questions:
A) Is
Fitzgerald’s The Great Gatsby an important novel because
of its accurate portrayal of a particular time period
(“The Roaring
Twenties” or “The Jazz Age”)?
B) Is it an important novel because of its relevance to modern times?
C) Is it an important novel because of its portrayals of love in
Consider various critical
approaches to this novel and how one or more might be utilized in answering A,
B, or C:
Deconstructionist
Ethical
Feminist
Formalist
Marxist
New Historical
Psychoanalytic
Reader-Response
(2-4 pages, 500-1,000 words, plus a MLA
format Works Cited page)
What forces go into shaping our identity? What role does environment,
particularly our cultural and
ethnic backgrounds, play in shaping our
perspective on our relationships with ourselves and others?
How do the cultural
and ethnic backgrounds of parents and adults affect other characters’ views of
themselves? You must compare/contrast and analyze at least two readings from at
least two different
genres (poetry, short fiction, and drama) in order to
develop your essay centered on this theme.
“Lullaby” by Leslie Marmon Silko (Handout)
“Mr. Z” by M. Carl Holman (LTHE pgs. 635-636)
“Latin Women Pray” by Judith Ortiz Cofer (LTHE pg. 646)
“Orbiting” by Bharati Mukherjee (LTHE pgs. 586-598)
“Everyday Use” by Alice Walker (LTHE pgs. 599-605)
A Raisin in the Sun
by
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Grading
Rubrics:
Rubrics are tools for grading and evaluation. Your
performance on written assignments will be the
primary source of your semester
grade. In general, your essays will be graded for focus, organization,
development, grammar and mechanics, meeting minimum length requirements, and
your overall ability to
engage the assigned readings in a manner appropriate to
transfer-level college work. I will use these rubrics
as my tools for making a
more objective assessment on your writing. They can be useful for you as a
self-evaluation checklist or for peer review.
As you can see from the above
section, Essays #1, 2, 4 are similar in their requirements as
comparison/contrast and literary analysis; the only main difference is thematic
focus and
reading selections. Therefore, the rubrics are identical.
Sample Rubric for Essays #1, 2, 4 Thematic Essays
| A=
|
| FOCUS:
|
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR, MECHANICS |
| B=
|
| FOCUS:
May have some minor lapses in focus or does not fully address one or
both of the chosen selections, exhibits a solid basis of comparison, |
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR, MECHANICS |
| C= (79-70) |
| FOCUS:
May have more problematic or extended lapses in focus or ability to
address one or both of the chosen selections, |
| ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR, MECHANICS |
| D= (69-60) |
| FOCUS:
More problematic or extended lapses in focus or ability to address one
or both of the chosen selections, genres, or theme, weak
or poorly established basis of comparison, may |
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR, MECHANICS |
| F= (59-0) |
| FOCUS:
Shows little or no focus or ability to address one or both of the
chosen selections, genres, or theme, weak
or missing basis of comparison, |
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR, MECHANICS |
Plan
Sheet Complete and On Time?
____________________
Draft and Conference with Instructor?
____________________
Your Score and Grade: _________/100 = _______
25=100%
17=68%
24=96%
16=64%
23=92%
15=60%
22=88%
14=56%
21=84%
13=52%
20=80%
12=48%
19=76%
11=44%
18=72%
10=40%
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Sample Rubric for Essay #3 Literary Research
| A= (200-180) |
| FOCUS: Directly, clearly, and fully addresses the chosen literary research focus, successfully demonstrates the writer’s ability to research a literary topic including critical approaches and to argue persuasively |
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR,
MECHANICS |
| B= (179-160) |
| FOCUS: May have some minor lapses or does not fully address the chosen literary research focus, demonstrates the writer's ability to research a literary topic including critical approaches and to argue persuasively |
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR,
MECHANICS |
| C= (159-140) |
| FOCUS: May have more problematic or extended lapses in focus or ability to address the chosen literary research focus, less effective demonstration of the writer’s ability to research a literary topic including critical approaches and to argue persuasively |
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR,
MECHANICS |
| D= (139-120) |
| FOCUS: More problematic or extended lapses in focus or ability to address the chosen literary research focus, ineffective or inconsistent demonstration of the writer's ability to research a literary topic including critical approaches and to argue persuasively, may stray off-topic to include other details unrelated to essay |
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR,
MECHANICS |
| F= (119-0) |
| FOCUS: Shows little or no focus or ability to address the chosen literary research focus, fails to demonstrate writer's ability to research a literary topic including critical approaches and to argue persuasively, strays significantly off-topic |
|
ORGANIZATION |
|
DEVELOPMENT |
| GRAMMAR,
MECHANICS |
Planning Complete and On
Time?
____________________
Draft and Conference with Instructor?
____________________
Your Score and Grade: _________/100 = ________
Point
Values for each column:
50=100%
44=88%
39=78%
34=68%
29=58%
24=48%
49=98%
43=86%
38=76%
33=66%
28=56%
23=46%
48=96%
42=84%
37=74%
32=64%
27=54%
22=44%
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Literary Terms Questions:
PLOT—The
events of the story
1.) What was your favorite part of the story? Why?
2.) How would you describe the conflict (s) with which the main characters were
struggling? Were any of the conflicts
solved? Explain.
3.) Were the events believable? Why/Why
not? You may wish to give examples of both.
4.) Did the events seem to happen to the characters, or did the characters
themselves bring about the events? Explain,
using examples.
5.) If you could extend the ending of the story, what do you predict would
happen? Why?
SETTING—The time and place of the story
6.)
How does the author use descriptive language to help you experience the world of
the story? Find examples.
7.) How important was the setting to the story?
How did it influence the characters’ lives?
8.) How does the author use the setting of the story to convey moods or
feelings, such as gloominess, happiness,
sadness, or hope?
Find examples.
CHARACTER—The
people
9.)
Who were the main characters in the story? Who were the minor characters in the
story?
10.) Which character did you identify with in the story? Why? If you didn’t
identify with any character explain
why not.
11.) Which of the character (s) in the story seemed most/least interesting? Why?
12.) Did you change your opinion of any of the characters? Which ones? Why?
13.) Did any character (s)
experience an epiphany? Explain.
THEME—The
overall message of the story—the bigger picture
14.)
Did the ideas or situations in the story remind you of anything else that you
have read or experienced? Explain.
15.) Did any of the characters make discoveries about themselves or others?
Explain.
16.) What message or theme do you think the author wanted you to find in the
story?
17.) Explain the title of the story. Did it reflect a theme? Explain.
What do you think would make a good title for this
story? Explain.
NARRATION
AND POINT OF VIEW—The person who tells the story
18.)
Who was the narrator of the story? How does the narrator help you to enter the
world of the story?
19.) How much did the narrator influence how you felt about the characters and
events?
20.) How might this story be different if another narrator had been chosen to
tell it? Choose a different narrator and
describe a short scene using that
character’s point of view.
21.) Did anything about the narrator remind you of yourself or anyone you know?
Give some examples.
AUTHOR’S CRAFT—The author’s techniques and style
22.) How did the
author create images in your mind of people, places, things, feelings, or moods?
23.) How did the author get you interested in what happened to the characters?
24.)
Was there much dialogue in the story? How did the use of dialogue affect the way
you felt about the characters?
25.) Did you
like the author’s style of writing? Why or why not?
Literary
Genres:
A literary genre is a category characterized by a
particular style, form, or content. Below is
introductory information and terminology from your textbook.
| Fiction | "By
inventing, developing, and amassing descriptive details, works of fiction
create the illusion of full, authentic, and realistic reports of human
experience" (LTHE 6). Antagonist Characterization Dynamic Flat Round Static Conflict Epiphany Irony Dramatic Situational Verbal Plot Exposition Rising Action Climax Falling Action Denouement Point of View First-Person Limited Omniscient Omniscient Protagonist Setting Theme Tone |
| Poetry | "Critics
often describe poetry as 'heightened language,' meaning that the poet
strives for precision and richness in the words he or she uses" (LTHE
12). Figurative Language Simile Metaphor Personification Allusion Music of Poetry Rhyme Alliteration Rhythm Symbol Contextual Public Types Ballad Carpe Diem Elegy Pastoral Sonnet Villanelle Word Choice/Diction Connotation |
| Drama | "Drama is fundamentally
different from other literary forms. [. . .] By their nature, plays are
more spectacular than poems or works of fiction. [. . .] they are designed
to show, not tell [. . . ]" (LTHE 19) Characters Antagonist Characterization Dialogue Protagonist Soliloquy Conflict Dramatic Irony Plot Stages and Staging |
| Essays | "Essays differ from
fiction in that they generally do not create imaginary worlds inhabited by
fictional characters. [. . .] Usually, the essay is relatively short, and
it almost always embodies the writer's personal viewpoint" (LTHE
27). Argumentative Essays Descriptive Essays Expository Essays Narrative Essays Structure and Detail Style and Tone Thesis |
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Critical
Approaches Important in the Study of Literature:
In your packet, you have a chart
for these important critical approaches. The following information
is
excerpted from “Glossary
of Critical Approaches” (LTHE pgs. 1131-1139) and from:
Roberts, Edgar V. and Henry E. Jacobs, eds. Literature: An Introduction to
Reading and Writing.
Compact 3rd ed. New Jersey: Pearson, 2006. 1465-1479.
| Deconstruction: |
This critical approach looks at opposition, ambivalence, and contradictions. It arose as a rejection of the formalist approach and its assumptions of authorial control and conscious design. According to this approach, language is, by its very nature, "shifting and unstable" which makes the act of interpretation incomplete and even misleading (LTHE 1133). |
| Ethical Criticism: | This critical approach extends beyond the academic and aesthetic worlds and into the larger realm of ethics and moral judgments. Looking at a literary work using this approach means searching for a broader lesson or message about good or bad behavior. At times, ethical criticism can be grounds for censorship (LTHE 1134). |
| Feminist Criticism: | This critical approach looks at literature as one way that a patriarchal society keeps women subordinate to men. It examines the way that women have been minimized or stereotyped in literature and seeks a more balanced approach. The feminist critical movement has uncovered and promoted the work of women writers in order to broaden the literary canon and therefore reflect the full range of human experience (LTHE 1134). |
| Formalist Criticism: | This critical approach stands in opposition to the reader-response approach and to the ethical approach because literature is viewed as a formal work of art independent of a particular reader and is important for its aesthetics, not for the lessons it may teach. The author is a successful artist if the literary work is "rich, unified," and universal (LTHE 1134-1135). |
| Marxist Criticism: | This critical approach arises from the doctrines of Karl Marx (1818-1883) and looks at literature as one particular human activity that can reflect power relations and economic class divisions, whether knowingly or unknowingly . Literature can also serve as a means to expose oppression and exploitation and bring about enlightenment and even revolution. Unlike the formalist approach, the political and economic message is more important than the aesthetic structure (LTHE 1135-1136). |
| New Historical Criticism: | This critical approach is "new" because it moves beyond the old concept of history as zeitgeist or "spirit of the times" and seeks to broaden the connection between history and other disciplines. Without a thorough knowledge of the relationship between a literary work and its historical context, real knowledge and interpretation is incomplete. |
| Psychoanalytic Criticism: | There are several approaches contained within this critical approach. Freud viewed the self as divided into the id (unconscious, aggressive, primal, erotic urges), the ego (the self), and the superego (similar to what you might define as a conscience). Characters in a literary work struggle to control the primal urges while fulfilling social obligations. The Oedipus complex perhaps one of the most famous examples. Carl Jung, a post-Freudian, argued for a collective unconscious and the idea of archetypes or original patterns that appear and reappear in literature. Some examples include the search for the father (or parent figure), death and resurrection, the quest, and the double (LTHE 1138). Overall, this critical approach looks at the hidden and unconscious motives behind behavior. |
| Reader-Response Criticism: |
This critical approach views the reader as a necessary and equal component in the act of literary interpretation. The relationship between an author, a literary work, and a reader is a dynamic and transactional one. As opposed to other critical approaches, this one is highly subjective and looks at all of the factors that account for readers' differing experiences and interpretations of a literary work such as gender, age, previous knowledge, ethnic/racial background, etc. The journal response questions you use in this course (developed from Robert Probst) are connected to this critical approach (LTHE 1138). |
THESE
ASSIGNMENTS ARE SUBJECT TO CHANGE
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