ENGLISH 3105
BRITISH LITERATURE: 1500—1660
Fall 2009
Dr. Bill Thierfelder
631 244-3098
ThierfeW@dowling.edu
www.thierfelderwilliams.com
OFFICE HOURS:
Sundays: 11:00 AM—12:00 PM Room 330 Racanelli Oakdale Campus
Tuesdays: 4:00—5:00 PM Classroom Building A Brookhaven Campus
Wednesdays: 4:00—5:00 PM Classroom Building A Brookhaven Campus
Thursdays: 4:00—5:00 PM Classroom Building A Brookhaven Campus
By e-mail 7 days: ThierfeW@dowling.edu
CLASS RULES:
1. No cell phones or electronic devices. No text-messaging.
2. You must have active e-mail to be in this course. There are regular on-line assignments and questions.
3. Lateness is rude and disruptive.
4. There are absolutely no make-ups or “take early’s” on any exam. No late papers are accepted. No exceptions. All tests must be taken during the assigned class period. All papers are due on or before the class period. A missed quiz or paper will result in a zero. No exceptions.
5. Every student is allowed 1 absence, 1 lateness, and 1 leave-early without penalty. After that 5 points are taken off the participation grade for the course for each absence. Four absences will result in an automatic failure for the course; no exceptions. Three points will be deducted for each lateness and leave early after the permitted single late/leave. Lateness of more than 30 minutes will be counted as an absence. Attendance is taken from the first day of class, not the first day the student starts attending. No exceptions to any of the attendance policy. Perfect attendance and no lateness’s or leave early’s will be rewarded with 5 points added to the participation grade.
6. Dr. Thierfelder will be in regular contact with all students via e-mail, phone, or regular mail regarding assignments and other “news.” He will also have all papers/tests returned to the students within one to two class periods. Failure to hand back papers in such a timely manner will result in each student receiving 5 points added to that assignment’s grade. If Dr. Thierfelder fails to meet with a class and does not provide a substitute (except in cases of a weather emergency), forcing a class to be cancelled, 5 points will be added to each student’s participation grade.
COURSE DESCRIPTION: This course explores the prose and poetry of the English Renaissance from Skelton, Wyatt and Surry to the Metaphysical poets and John Milton. Attention is paid to the enormous variety of literature produced in this period and explores such topics as Faith in Conflict, the Role of Women, Exploration, the English Civil War. Films and documentaries, as well as the art and music of the period give the social, political, and religious context for the literature being studied.
PURPOSE: Students will come to know how to analyze a text; be able to explicate plot, character, and theme; be able to discuss works of literature in their political and social context; and be able to recognize literary devices and analyze literary texts.
METHODS: Class lectures
TEXT: The Norton Anthology of English Literature, 8th Edition, VOLUME B
GRADING AND ASSESSMENT: 4 Tests 40%
4 two-page papers 40%
Attendance/participation 20%
GENERAL COURSE OBJECTIVES: Upon completion of this course the student should be expected to:
1. Apply communication theory, analytical reading, and critical thinking skills to the interpretation of texts, documentaries, and films.
2. Demonstrate an awareness of language as a tool for learning, communication, and creative thought; this includes knowledge of mood, tone, and diction as key elements of an author’s creative palette.
3. Collect, analyze, and critically evaluate information to produce writing with appropriate documentation (i.e. successfully create short objective research papers).
4. Write well-organized argumentative and analytical essays with a firm thesis and clear introduction, body, and conclusion.
5. Follow the standards of written English, specifically in regard to sentence structure, punctuation, grammar and usage, and spelling.
6. Recognize relations between works of literature, film, and the arts and the cultural and socio-political world in which they are created: i.e. understand the music, art, literature, and current events of a particular era.
7. Be able to present oral reports on a particular work of literature or film.
8. Work co-operatively in small groups and class discussions to develop listening, speaking, interpretive, and debating skills.
SELECTED BIBLIOGRAPHY:
The finest online resource for Renaissance English Poetry is LUMINARIUM: http://www.luminarium.org/renlit/
A. L. Rowse. The England of Elizabeth
W. H. Frere. The English Church in the Reigns of Elizabeth and James.
Bruce Pattison. Music and Poetry of the English Renaissance.
H. O. Taylor. Thought and Expression in the Sixteenth Century.
P. Sheavyn. The Literary Profession in the Elizabethan Age.
V. de Sola Pinto. The English Renaissance.
E. G. R. Taylor. Tudor Geography,1485—1583.
“ “ Late Tudor and Early Stuart Geography, 1583—1650.
WRITING PAPERS AND EXAMS FOR THIS COURSE
Instead of one 8-10 page paper due at the end of the course, 4 two page papers will be required throughout the semester.
A. All papers will be 2 pages in length. Learn to self-edit. No paper over 2 pages will be accepted. Writing focused, short papers compels you to master your material so well that you are able to express your ideas succinctly. NO EXCEPTIONS.
B. All papers will be typed, 1 ½ -- 2 spaces, traditional margins, 12 or 14 point font. No cover pages. Put your name in the corner; the name of course goes under your name; double space, then put the title of paper centered: double space, then begin your text. NO EXCEPTIONS
C. Some papers require research. All articles or online articles must be included with the paper. All papers must properly cite sources. No article; no grade. Put the article(s) and your paper in a pocketed folder with the paper on one side and the article(s) on the other. NO EXCEPTIONS
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1. All papers must have an introduction. Your introduction must clearly state the theme of your paper. Keep your topic focused around two or three main points, which you clearly state in your introduction. Avoid broad generalizations: Tell your reader exactly what you are going to write about. [A lawyer gets in front of the jury on the first day of the trial and tells them what he/she plans to prove.]
2. The body of your essay centers on the two or three points that you have already introduced in the opening and in the same order. [A layer brings in witnesses before the jury, saving the star witness (most important point) for last.] Failure to use illustrations such as quotes or specific references will preclude an A on your paper.
3. A. Make sure each sentence and paragraph builds on the previous one; otherwise you have blocks of ideas that can be moved without affecting the whole. Use transitional words and phrases.
B. Use transition phrases to move reader from idea to idea. Failure to do this results in choppy, incoherent writing, and precludes an A on the paper.
WEAK: The Clash of the Titans talks about the gods. They can be very selfish. I know a man like that. Perseus is told to kill Medusa in order to win Andromeda. Thetis is very angry with Zeus for having mutilated her son, Calibos.
BETTER: the Clash of the Titans tells a tangled tale of revenge and jealousy involving two young men—Perseus and Calibos—and their respective, adoring parents—Zeus and Thetis. Both Zeus and Thetis selfishly want their sons to “win” the hand of the princess Andromeda and go to astounding lengths to insure the victory. Perseus, for example, must kill the dreaded Medusa and the titan named Kraken before he can claim the beautiful princess. To “help” Perseus along, Zeus enlists the aid of several other gods to provide his son with a magical helmet, sword, shield, and even an all-wise mechanical owl.
4. All papers must have a developed conclusion that tells your reader what you’ve proven. Never introduce a new idea or topic in the conclusion. This paragraph is not a repeat of your introduction; merely to repeat means you’ve taken your reader nowhere. The conclusion is an outgrowth of the argument you have constructed. [The lawyer makes his final argument before the jury, telling them what all of his witnesses have proven.] Failure to create a meaningful conclusion precludes an A on the paper.
5. A. Many papers require quotations (specific evidence): If you are writing about an article or a literary piece, you must use quotations. Lack of documentation/citations precludes an A.
B. Make quotations part of your text:
WEAK: Tennyson misses Hallam but he knows that he did the right thing. “’Tis better to have loved and lost than never to have loved at all.” (Tag-on quotes like this example preclude an A.)
BETTER: Though Tennyson misses Hallam very much, he realizes that it is always “better to have loved and lost than never to have loved at all.”
OR: To remain isolated from others out of fear of getting hurt is no excuse for the Narrator. It is “better to [love],” even if it means eventual “loss,” because in daring to love, one is daring to enter fully the human experience and condition.
6. All essays about films, literature, music, painting, etc. must be written about in the present tense. The Arts are alive and well—a poem, a film, a song, or a painting, etc. IS not WAS. If you do not do this or if you skip back and forth between past and present tense, you are precluded from an A on your paper.
7. Avoid shifting past to present or present to past in your paper.
WEAK: Then Sylvia goes into the woods to climb the pine tree. There she found herself looking out over a vast, new world.
BETTER: Then Sylvia goes into the woods to climb the pine tree. There she finds herself looking over a vast, new world.
8. You should use inclusive language. Sexist words like “mankind” or using “he” when you also mean to include women are not acceptable.
WEAK: A good lawyer always brings in his best witness last.
BETTER: Good lawyers always bring in their best witness last.
9. Avoid speaking directly to your reader: YOU or YOUR
WEAK: When you read line 37, you know that Shakespeare has felt love deeply.
BETTER: When readers examine this poem, especially line 37, they know that Shakespeare has felt love deeply.
10. Avoid use of short, choppy sentences: creates a “Police Report” style.
WEAK: Browning wrote “My Last Duchess” in the 1840’s. It tells the story of a greedy Duke. The Duke may have killed his most recent wife. This explains the title. (FACT…FACT…FACT…FACT)
BETTER: Browning’s 1842 poem, “My Last Duchess,” contains a clue right in its title. There is reason to believe that the greedy Duke has had several wives and that the “last” one may have been murdered.
11. Avoid repetition of the same words and phrases from one sentence to the next.
EXAMPLE: AIDS is a horrible epidemic. This epidemic has especially hit hard in Africa. In Africa it is estimated that nearly half the population of some countries is infected. Such devastating infection rates will undermine the economy of the continent. If the economy of the continent goes under, the rest of the world will follow.
12. Do not summarize the plot or content of a work. Stick to your topic. Your reader does not need Cliffs’ Notes.
13. Proofread for important grammar and usage errors, such as run-on sentences, comma splices, sentence fragments, incorrectly used idiomatic expressions, etc. CHECK for correct spelling of words and names. Your professor is not your editor; you are. More than a few important errors will automatically preclude an A on your paper. C or less is the usual grade for papers with faulty grammar and usage.
NOTE WELL: All papers and exams will use the number system of this section for correction purposes. Thus if next to a paragraph in one of your papers, you see 11, that means that repetition/redundancies is a problem. If you see 6, that means you have written about a film or story in the past tense. If you see 3, that means that you have not used transitions between paragraphs or sentences/ideas. If you see 13, that means you have a punctuation, grammar, usage, or idiom error. It is your responsibility to know grammar and usage and to get help if you need it. Etc.
GRAMMAR WEBSITE: http://www.grammarbook.com/
STUDENT’S GUIDE TO GRADING ON PAPERS AND EXAMS IN THIS COURSE:
NOTE WELL: Even if the content of a paper, quiz, or exam is correct, poor writing automatically precludes an A. No exceptions.
A: EXCEPTIONAL. Your work is convincing, persuasive, and exceptional all around; its content and style are superior; penetrating analysis, balanced argument, apt illustrations, and specific evidence are present. Your work is free of grammar and usage errors.
B: GOOD, SOLID WORK. Your work is solid but not completely conclusive; there is substantial content, illustration, and fairly well controlled handling of the material, but there may be errors in organization or in mechanical details like punctuation. Lacks the polish of an A paper.
C: AVERAGE; SATISFACTORY. If your paper has grammar and usage errors, such as fragments and comma splices, your paper automatically starts out at the C level. Only partially successful in explaining or persuading. Such papers often lack substance, conclusive arguments, or specific illustrations. Insufficient use of transitions, specific illustrations, or sentence variety also mean a C, the average grade for a paper.
D: VERY WEAK. If you receive a D, you simply have not written a college-level paper. Contains even more serious errors than a C paper. It may have two or more of the following errors: organizational flaws; brief or unevenly developed paragraphs; no sentence variety; contradictions; paragraphs that can be moved around without effecting the whole; ideas that do not flow from one sentence to another; lack of transitional terms; no/faulty introduction and/or conclusion; lack of focus; excessive wordiness; serious diction/idiomatic faults; serious errors in grammar, punctuation, spelling, and usage.
F: FAILURE. Below college-level writing [OR] suspected or proven plagiarism.
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STRUCTURE OF COURSE
For every session, there is a corresponding section in the Course Workbook. Please read all materials. Answers to homework questions are to be prepared at home before class session; we will go around the room to hear each other’s answers and ideas. Your answers are part of your Participation Grade.
1. SEPTEMBER 8
1. Introduction to the course.
2. What is the Renaissance? Some music and art.
3. Film: A Man For All Seasons: Part 1
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For each author discussed there is a brief biography in your text. Please read it. There will be questions on these biographies on your quizzes.)
2. SEPTEMBER 15
1. The Sixteenth Century: 485—513
2. Skelton: Poem in workbook
3. More: Utopia: The Religion of the Utopians: 579—top 586
4. Film: A Man for All Seasons: Part 2
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3. SEPTEMBER 22
1. The Sonnet (workbook)
2. Sir Thomas Wyatt 594—597
3. Henry Howard, Earl of Surrey 608—609
4. FAITH IN CONFLICT: 616—617
5. WOMEN IN POWER: 662
6. Film: Elizabeth: Part 1
7. PAPER NO. 1. (Follow guidelines A, B, C on page 3 of this syllabus; papers not following guidelines will be returned unread with an “F.”) Pick one (1) of the following topics and write a 2-page essay:
a. In light of your readings and your watching the film, A Man for All Seasons, discuss how is Thomas More a man of the Renaissance. (Cite your workbook and text) <<OR>>
b. Discuss the religion of the Utopians.
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4. SEPTEMBER 29
1. QUIZ NO. 1. TAKE HOME (SESSIONS 1—3)
2. Hoby: The Courtier: The Ladder of Love: 647—661
3. Golding: Ovid’s Metamorphoses, “The Four Ages” 704—705
4. Film: Elizabeth: Part 2
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5. OCTOBER 6
1. Spenser: The Amoretti: Sonnet 54 (904), Sonnet 75 (906)
Faerie Queene, Book I, Canto I: 720—732
2. THE WIDER WORLD 927
3. John Lyly: Euphues: Euphues Introduced: 944—946
4. Sidney: Arcadia: 948—953
The Defense of Poesy: The Poet, Poetry: 955—958
Astrophil and Stella: Sonnets 1, 2, 7
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6. OCTOBER 13
1. Daniel: Delia: 998—999
2. Drayton: Idea: 1000
3. Marlowe: The Passionate Shepherd to His Love: 1022
4. Raleigh: The Nymph’s Reply to the Shepherd: 917
5. Marlowe: Hero and Leander: 1004—1022
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7. OCTOBER 20
1. Shakespeare: Sonnets: 18, 20, 29, 60, 116, 130, 138, 144
(1060—1076)
2. Film: Shakespeare in Love: Part 1
3. PAPER NO. 2 (Follow guidelines A, B, C on page 3 of this syllabus; papers not following guidelines will be returned unread with an “F.”) Pick one (1) of the following topics and write a 2-page essay:
a. Describe and discuss “love” in Hoby’s The Courtier and a sonnet by EIITHER Spenser or Sidney. <<OR>>
b. Compare and contrast Leander in Hero and Leander and the Red Crosse Knight in The Faerie Queene
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8. OCTOBER 27
1. QUIZ NO. 2. TAKE HOME (SESSIONS 4—8)
2. Film: Shakespeare in Love: Part 2
3. Round Robin Discussion about 16th Century
4. The Early Seventeenth Century: 1235—1259
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9. NOVEMBER 3
1. John Donne: The Indifferent 1267
The Canonization 1267
The Ecstacy 1276
Holy Sonnets
10 1296
14 1297
2. Ben Jonson: To John Donne 1429
On My First Son 1430
Inviting a Friend to Supper 1431
Song: To Celia 1436
To The Memory of My Beloved 1444
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10. NOVEMBER 10
1. THE GENDER WARS: 1543
2. Rachel Speght: Of Woman’s Excellency: 1547—1549
3. FORMS OF INQUIRY: 1550
4. Bacon: Of Truth 1552
Of Great Place 1554
5. Hobbes: Leviathan: Part 2, Chapter 17: 1602—1605
6. Documentary: King Charles I
7. QUIZ NO. 3. TAKE HOME (SESSIONS 9 and 10)
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11. NOVEMBER 17
1. George Herbert: The Altar 1607
Easter Wings 1609
Denial 1613
Discipline 1623
2. Henry Vaughan: The Retreat 1629
The World 1632
They are All Gone 1634
3. Richard Crashaw: On The Wounds Of Our Crucified Lord 1644
4. Documentary: The English Civil War: Brother Against Brother
5. PAPER NO. 3 (Follow guidelines A, B, C on page 3 of this syllabus; papers not following guidelines will be returned unread with an “F.”) Pick one (1) of the following topics and write a 2-page essay:
a. The Narrator of Donne’s “The Indifferent” meets Rachel Speght. They discuss Women. What would they say to each other? <<OR>>
b. Compare and contrast the Narrators of John Donne’s “Holy Sonnet 14” and George Herbert’s “The Altar”
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12. NOVEMBER 24
1. Robert Herrick: To The Virgins 1659
Upon The Nipples 1661
The Night-Piece, to Julia 1663
2. Thomas Carew: A Rapture 1672
3. Richard Lovelace: To Lucasta 1682
The Grasshopper 1682
4. Abraham Cowley: The Grasshopper (workbook)
5. Andrew Marvell : Dialogue 1699
To His Coy Mistress 1703
The Picture of Little T.C. 1705
Damon the Mower 1707
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13. DECEMBER 1
1. John Milton: Lycidas 1805
Paradise Lost: Book 9
2. Documentary: Paradise Lost: The Life and Times of Milton
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14. DECEMBER 8
1. Milton: To the Lord General Cromwell 1827
When I Consider 1828
2. General Review of the Period: What are the big issues?
3. QUIZ NO. 4. IN CLASS: Multiple choice, short answers, fill-ins covering SESSIONS 11—14
3. PAPER NO. 4. (Follow guidelines A, B, C on page 3 of this syllabus; papers not following guidelines will be returned unread with an “F.”) Pick one (1) of the following topics and write a 2-page essay:
a. How is the portrait of Eve in Book 9 of Paradise Lost both “traditional” and “revolutionary?” <<OR>>
b. Compare and contrast Herrick’s “To The Virgin” and Marvell’s “To His Coy Mistress.”
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