(Office: Allgood Hall, E-238)
(Tel: 667-4431; e-mail: nprinsky@aug.edu)

(a) When due Assignments are to be read or completed before class meets on the date scheduled. (b) Abbreviations: Roberts or RJ7 = Edgar V. Roberts' and Henry Jacobs' Literature: An Introduction to Reading and Writing, 7th ed. (Prentice-Hall, 2004); SFHW = Maxine Hairston's and John Ruskiewicz's The Scott, Foresman Handbook for Writers, 6th ed. (Longman, 2002)or 7th ed. (Longman, 2004); Pep2 = Prinsky's "Engl. 1102 Pamphlet" (available online at my ASU website: www.aug.edu/~nprinsky). (b) Bring the books Bring  RJ7  to class (also, a thick paperback or collegiate dictionary, is generally desirable). (c) Write your name in your textbooks To help prevent the loss of your textbooks, write your name and telephone number in all textbooks (for this and other classes). This information will make retrieving a lost or forgotten book much easier and more likely. Use pencil for books you plan to sell back, though every book for this course is worth keeping permanently, for reasons explained in class and in my English 1102 pamphlet. (d) Be sure to ponder my study questions and study material on the assigned reading for each class session, posted on my Engl. 1102 webpage (www.aug.edu/~nprinsky), as well as the study questions in RJ7 on the assigned reading, prior to the class session(s) on the assigned reading   (e) Check to see if a quiz on the assigned material has been posted on my Engl. 1102 webpage; if a quiz is posted, then it should be taken and transferred to Scantron forms (distributed in class), and is due the first session the material is to be gone over;  (f) Optional, extra-credit out-of-class essays OCE3 may be written about the experience of attending the ASU drama production this semester; follow the directions for OCE3 in Appendix C of pep2. OCE4 is a thorough, detailed analysis of song lyrics (plus accompanying audiotape or CD with a track that has the song on it) of all the poetic components and themes of uptempo popular song lyrics (in any kind of popular music--but uptempo, with a good beat that a drummer would find rousing) and is due by the end of the course. (See "Dr. Prinsky's Rock and Roll Career" materials on my ASU website, for why the popular song should appeal to a drummer.) Follow directions for OCE4 in Appendix C of pep2 (online).

Don't let the detail of the following class schedule make you uneasy. The purpose of the great detail in the class schedule below is to save you work by indicating small specific portions to read and letting the rest go. You do not have to read every page of each chapter of the textbooks, just the material specified.

The underlined lowercase letters in parentheses (e.g., (a1), (b), and so on) in the assignments below are meant to subdivide the assignment into parts; parts of the assignment very closely related to each other in content are given numbers as well (e.g., a1, a2, and so on)
 

  Jan. 10 (T)    fill out student info. forms; go over general course syllabus; go over course requirements

  Jan. 12 (Th)    (a) very brief lecture on the professional and personal benefits of Eng. 1102 (and Humanities); (b) listen to Rock concert (on audiotape), related to personal benefits of Eng. 1102; discussion of Rock lyrics (related to personal benefits of Eng. 1102); (c) read Edward Arlington Robinson's "Richard Cory" in RJ7 (look up the author and title in the RJ7 index; also, informally try to answer study questions in RJ7 on the poem); (d) look over Pep2: section 5c; (e) from your composition handbook study material on quotation marks or underlining (italics) for titles, and commas or no commas for nonrestrictive or restrictive material

[prose fiction: short stories]

  Jan. 17 (T)   first half of Ch. 1 of RJ7 ("Introduction: Reading, Responding, and Writing About Literature"), pp. 1-24 (up to "Use the Plus-Minus . . . Together"); discussion of Guy de Maupassant's short story "The Necklace"

  Jan. 19  (Th)   (a) second half of Ch. 1 of RJ7, pp. 24-43 and also from Ch. 2, pp. 98-106 (material also dealing with Maupassant's "The Necklace"); continued discussion of Guy de Maupassant's "The Necklace"; (b) brief discussion of "the intentional fallacy" concept

  Jan. 24 (T)   (a) format and mechanics of word processed in-class essays; (b) make sure you have found out your password and can log on to a campus computer -- if not, check with campus Computer Services/Information & Technology; (c) study MLA format in sec. 48b/pp. 760-763 (SFHW6) or 53e/pp. 822-825 (SFHW7); (d) also access and print out my "Using Microsoft Word" on my Engl.1101 or Engl. 1102 webpage

  Jan. 26  (Th)  in-class essay on Maupassant's "The Necklace" (open book); have studied (a1) from your composition handbook (SFHW), the material on organizing an essay, the thesis sentence, transition, quotation marks or underlining (italics) for titles, impromptu (essay test) writing, and non-title page MLA format for the first two pages of an essay; also remarks in Pep2 and your composition handbook about writing comparison and contrast paragraphs and essays; (a2) whatever material in your composition handbook covering errors you have been alerted you have in past English classes (e.g., spelling, apostrophe, comma splice, fragment); (b) in RJ7, "Using Verb Tenses" (29), "Always Keep to Your Point" (34-36) and "Using the Names of Authors" (40); (c) see the chapter on comparison & contrast in Prinsky's Engl. 1101 or Engl. 1102 Pamphlet (online on Prinsky's ASU website)

 Jan. 31 (T)  (a) from Ch. 3 ("Plot and Structure: The Development and Organization of Stories") of RJ7 the editorial material (107-112, 148-56; includes two sample essays on the assigned short story) and William Faulkner's "A Rose for Emily" (as well as the questions in RJ7, 130-36); (b) from Ch. 9 ("Symbolism and Allegory: Keys to Extended Meaning") of RJ7 the editorial material (393-98, 428-37); (c) study for discussion Claude Lorraine's painting (p. 109; also Insert I-4)

  Feb. 2  (Th)   (a) from Ch. 4 ("Characters: The People in Stories") of RJ7 the editorial material (157-64, 218-23) and Amy Tan's "Two Kinds" (as well as the questions in RJ7, 211-18); (b) from Ch. 10 ("Idea or Theme: The Meaning and the Message in Fiction") of RJ7 the editorial material (439-444, 494-98); (c) study for discussion Verrochio's portrait sculpture of Lorenzo de Medici (p. 158)

  Feb. 7 (T)   from Ch. 5 ("Point of View: The Position and Stance of the Narrator or Speaker") of RJ7 the editorial material (225-34, 268-73), and Shirley Jackson's "The Lottery" (as well as the study questions and sample paper on the story), 244-50

  Feb. 9  (Th)    (a)  from Ch. 6 ("Setting: The Background of Place, Objects, and Culture in Stories") of RJ7 the editorial material (275-79, 306-10) and James Joyce's "Araby" (as well as the study questions in RJ7): 294-98;  (b) from Ch. 7 of RJ7 ("Style: The Words That Tell the Story"), the editorial material (312-19, 344-48); (c) study for discussion the paintings by Boucher and Hopper (p. 176 & Inserts II-2 & II-3)

  Feb. 14  (T)    (a) from Ch. 8 ("Tone: Attitude and Control in Fiction") of RJ7 the editorial material (350-56, 386-91) and Kate Chopin's "The Story of an Hour" (as well as the study questions in RJ7): 362-64; (b) material on tone in your composition handbook, as listed in the index of SFHW under "tone"; (c) study for discussion the painting by Bierstadt (pp. 350-51 & Insert II-4)

 Feb. 20 (F)    Out-of-class essay #1 due, using Amy Tan's "Two Kinds"; see Appendix C of pep2 (online) which has all out-of-class essay assignments. See the chapter on out-of-class essays in Pep2. Review in SFHW6 or SFHW7 Chs. 1a-f, 2c; 3a-c; 4a-b; and Ch. 5; in SFHW6 study 48d (model MLA format; do include a works cited page, with just one entry,  using #29 from 48b of SFHW6: use the first example of Robert King, but, as per the sample essays in RJ7, cite just paragraph numbers in parentheses in the paper, as shown in the sample essays in RJ7); in SFHW7 study 53e (model MLA format; do include a works cited page, with just one entry, using #29 from 53c: use the first example of Robert King, but, as per the sample essays in RJ7, cite paragraph numbers in parentheses in the paper, as shown in the sample essays in RJ7); the paper is due in my department mailbox or under my office door anytime on Friday;  if you are not on campus on Fridays, you may mail the paper, folding it in thirds to fit an ordinary 4" X 9" business envelope and making sure it is postmarked (one regular postage stamp should be all that is needed) no later than Saturday, Feb. 21 (mailed to: Prof. Norman Prinsky / Dept. of Langs-Lit-Comm / Augusta State University / Augusta, GA  30904-2200)

[drama: plays]

  Feb. 16 (Th), Feb. 21 (T)    (a) from Ch. 26 ("The Dramatic Vision: An Overview") of RJ7 the editorial material (1163-81, 1240-46) (b) from Ch. 26 ("Drama: An Overview") of RJ7, Eugene O'Neill's Before Breakfast and editorial material on it (1208-15)

  Feb. 23 (Th),  Feb. 28 (T)    (a)  from Ch. 28 ("The Comic Vision: Restoring the Balance"), the editorial material on 1484-92 & 1568-70; (b) Anton Chekhov's The Bear and editorial material on it in Ch. 28 (1570-79); (c) the sample essay on the play from former editions of Roberts & Jacobs, posted online with my notes and questions on the play

 Mar. 2  (Th)    In-class essay (open book) on the Chekhov play; review the play, textbook material about the play, all study questions about the plays, and class notes on the plays; review material on organization, paragraphs, coherence, transition, grammar, usage, and punctuation in SFHW; review sections in my English 1102 pamphlet on writing about literature, and on writing in-class and impromptu essays

[poetry: poems]

  Mar. 7  (T)    (a) from Ch. 13 of RJ7, pp. 615-616 (how to read a poem), Robert Herrick's "Here a Pretty Baby Lies" (and the comment on it) [pp. 613-614], "Sir Patrick Spens" (and the comment on it) [617-619] and 631-33 (sample essay);  (b) from Ch. 23 of RJ7, pp. 955-60 & 979-83; (c) the relevant online Prinsky study questions and material on Ch. 13 of RJ7

  Mar. 14  (T)    (a) RJ7 Ch. 15 ("Character and Setting: Who, What, Where, and When in Poetry"), pp. 664-67 (through "Additional Information about Speakers"); study for discussion "Western Wind" and "Bonny George Campbell"; (b) from Prinsky's "Further Introductory Material About Poetry" in Ch. 5 of pep2 (online) [also in my online study questions for Ch. 13], sections 1 - 2; (c) the relevant online Prinsky study questions and material on Ch. 15 of RJ7

  Mar. 16  (Th)    (a) conclude discussion of RJ7 Ch. 15, pp. 667-71, 689-94; (b) study for discussion Jonson's "Drink to Me," Blake's "London," and Browning's "My Last Duchess"; (c) the relevant online Prinsky study questions and material on Ch. 15 of RJ7

 Mar. 21 (T)   (a) RJ7 Ch. 14 ("Words: The Building Blocks of Poetry"), pp. 635-43; (b) study for discussion Graves' "The Naked and the Nude" and Blake's "The Lamb"

  Mar. 23 (Th)    (a) conclude discussion of RJ7 Ch. 14, pp. 659-62 (including sample essay); (b) study for discussion Eberhart's "The Fury of Aerial Bombardment" and Stephen Spender's "I Think Continually of Those Who Were Truly Great"

 Mar. 24  (F)    (may be postmarked 3/24 or 3/25; see instructions for OCE1, above) ; word processed preliminary documented (research) paper Works Cited page due (in MLA format, with your surname and the page number 8 in the upper righthand corner, with at least six entries -- one for the poem you have chosen, as well as five secondary sources (sources of criticism about the poet's other poetry, not the poem you have picked), one from a book, one from a periodical, and one from the Internet); see the Works Cited page on the sample MLA format research papers in SFHW; study carefully what secondary sources are allowed and which are not allowed in the Documented Paper directions from my Engl. 1102 webpage

  Mar. 28  (T)     (a) RJ7 Ch. 16 ("Imagery: The Poem's Link to the Senses"), pp. 695-700 ; (b) study for discussion John Masefield's "Cargoes" as well as Herkomer's painting (pp. 696-98)

  Mar. 30  (Th)   (a) RJ7  Ch. 16, pp. 695-700 and 719-23; study Wilfred Owen's poem "Anthem for Doomed Youth," Elizabeth Bishop's poem "The Fish," and  T.S. Eliot's poem "Preludes"  for discussion; (b) from Ch. 21 ("Symbolism and Allusion: Windows to a Wide Expanse of Meaning"), editorial material: 885-92, 915-19

  Apr. 11 (T)   (a) from RJ7 Ch. 17 ("Figures of Speech, or Metaphorical Language: A Source of Depth and Range in Poetry"), pp. 725-29 (up to "Other Figures of Speech"); (b) study for discussion Keats's "On First Looking into Chapman's Homer"

   Apr. 13 (Th)    (a) from RJ7 Ch. 17, pp. 729-33 ("Other Figures of Speech"); (b) study for discussion Keats's "Bright Star" and Gay's "Let Us Take the Road"; (c) conclude discussion of RJ7 Ch. 17, including pp. 750-56 (including sample paragraph on Wordsworth poem and sample essay on Thomas Hardy poem, respectively); (d) study for discussion Wordsworth's "London, 1802" and Thomas Hardy's "The Convergence of the Twain"

  Apr. 17 (M)   (may be postmarked 4/17; see directions for OCE1, above); out-of-class essay #2 due;  see appendix C of pep2 for the assignment; see instructions above for handing in out-of-class essay #1 on a non-class day

  Apr. 18 (T)   (a) from RJ7 Ch. 19 ("Prosody: Sound, Rhythm, and Rhyme in Poetry"), pp. 794-804 (up to "Segmental Poetic Devices"); study for discussion Henry Wadsworth Longfellow's "The Sound of the Sea" and Gwendolyn Brooks' "We Real Cool"; (b)  from RJ7 Ch. 19, "Segmental Poetic Devices" (p. 804) through "Rhyme Schemes" (p. 810) and concluding chapter material (pp. 836-44); study for discussion Robert Herrick's "Upon Julia's Voice" and Robert Browning's "Porphyria's Lover"

  Apr. 20  (Th)    from RJ7 Ch. 20 ("Form: The Shape of the Poem"), pp. 845-53 (up to "Open-Form Poetry"), including Tennyson's "The Eagle," "Spun in high, dark clouds," and Shakespeare's Sonnet 116; study for discussion Jean Toomer's "Reapers," Elizabeth Bishop's "One Art," and Dylan Thomas's "Do Not Go Gentle"

  Apr. 25  (T)    from RJ7 Ch. 20, "Open-Form Poetry" through the comment on Herbert's "Easter Wings" in "Visual Poetry Connects the Ideas of Language with Visiual Forms" (pp. 853-57) and pp. 879-83; study for discussion the Whitman and two Herbert poems, plus e.e. cummings' "Buffalo Bill's/defunct"

 Apr. 27 (Th)  class evaluations; discussion of problems with the documented paper

 May 2 (T)   word processed rough draft of at least the first couple pages of the documented paper due; keep working continuously on the paper after turning in the rough draft
 

final exam

[for Section N]   May 8  (Mon.)    Final exam,   1-3 p.m.   , in a place with computers for word processing;

[for Section WW]   May 9 (Tues.)     Final exam,   8:30 - 10:30 p.m.   , in a place with computers for word processing;

[for Section ] __________ Final exam, ______________, in a place with computers for word processing;
 

(a) The final exam topic Open book: essay analyzing themes, ideas, characterization or depiction or definition of human nature or behavior or life, conveyed by literary components in a poem, chosen by the instructor from RJ7, along with suggestive questions about the poem, identifying, among other things, its main subjects or topics. (b) What to bring for the final exam Be sure to bring RJ7 and collegiate dictionary. (c) What to study for the final exam In addition to doing the documented (library) paper analyzing your poem, review (c1) chs. 13-21 and 23 of RJ7, (c2) the sections on literary analysis, impromptu essays, and in-class essays in Pep2, and (c3) material on grammar, usage, and punctuation problems in SFHW (especially areas that have consistently cropped up in your preceding essays).