Lit 185-B:
Contemporary Literature
Fall 2008 MWF 10:10-11:05 Building 2 Room 17
Professor: Sharran S. Slinkard
Office: 2-05U Hours: Monday-Friday: 11:30-12:30,
and by appointment
Telephone: 964-6549 E-mail: ssslinkard@dmacc.edu
Webpage: http://www.dmacc.edu/instructors/ssslinkard
Course Description: Introduction
to the study and appreciation of significant contemporary writers and literary
movements since 1945. The relationship between current literature to society
and basic critical approaches is emphasized.
Required Text and Materials:
1. The Art of the Short Story. Ed. Dana Gioia & R.S. Gwynn
2. Loose-leaf paper, pocket folder, stapler
Attendance and Participation: Regular attendance is required because it is critical to understanding material in this discussion-oriented course. Successful literature students come to class prepared: their reading is done and they are ready to engage in intelligent and lively discussion. Students' well thought-out opinions, relevant questions, and astute observations will make the course more valuable for everyone. Because this is a discussion-oriented class, all students are required to participate. If you do not attend class for any reason, you miss that day’s lecture and discussion. Head’s up: coming to class unprepared could result in dismissal from the day’s discussion. Because coming to class late creates a disturbance, two tardies equal one absence. The same holds for leaving class early.
Late Work:
Literature Assignments:
Academic Journal (60%):
Students will keep a three-phase academic journal containing written responses based
on our readings, lecture, and class discussions. Details are distributed in
class with the syllabus.
Due dates:
Unit 1: September 29
Unit 2: October 29
Unit 3: December 5—no late option
Papers (40%): In lieu
of comprehensive midterm and final exams, students will write literary analysis papers averaging five-seven
pages in length. Papers must be typed, double-spaced in the MLA style, New
Courier size 12 font, and written in correct Standard
English. Details are distributed in
class with the syllabus. Incorrect formatting will result in grade
penalty.
Due dates:
Midterm Paper: October 8
Final Paper: December 8—no late option
Extra Credit: Students who come on time and attend every class
for each discussion unit will earn an additional 1/3 letter grade on their
academic journal.
A+ 100 B+ 89 C+ 79 D+ 69
A 96 B 86 C 76 D 66
A- 93 B- 83 C- 73 D- 63
F 50
0 no work done
Integrity and Civility: Students are expected to be respectful, honest, and, courteous. There are consequences for cheating, dishonesty, rudeness, etc. as will be discussed in class. In other words, the manners of polite society apply in the classroom.
Special Needs: It is the policy of
DMACC to accommodate students with disabilities. Any student with a documented disability who
requires reasonable accommodation should contact the special needs coordinator
at
Additional Assistance: I highly
recommend that students take advantage of the academic services available free
of charge. Successful students visit the
DMACC EMAIL: In the event of my absence, I will email students early in the morning, if not the evening before (emergencies notwithstanding). All DMACC students are assigned a DMACC email address. Accessing your DMACC email:
On the DMACC web page (www.dmacc.edu) click on the “Web mail” link in the upper right hand corner of the screen.
Enter your user name and password. For assistance, click on the Help Desk link to obtain your user name and student ID#. Your password is the last four digits of your Student ID#. For additional information, call (515-965-7300 or 1-800-362-2127 ext. 7300) or email (helpdesk@dmacc.edu) the Help Desk.
DISCLAIMER:
I reserve the right to change this syllabus at any time. Changes will be announced
in class. Any exceptions to stated policies and requirements will be addressed
on an individual basis and only for reasons that meet specific requirements.
Reminder: Assignments are due for
discussion the day they are listed in the schedule.
Week One: aUGUST 25, 27, 29
Monday: Introduction to course.
Wednesday: Getting acquainted. Please have all your course materials with you.
Reread the syllabus and bring your questions about course requirements.
Friday: For today, write a pre-reading journal entry responding to the following questions, 1. What is literature? 2. Why should one study literature? Your journal entries will form the basis of today’s discussion.
Week
Two: SEPTEMBER 1, 3, 5
Monday:
Wednesday: Read the “Art of the Short Story,” “Critical Approaches to Literature,” “Biographical Criticism,” and “Historical Criticism,” in The Art of the Short Story text. Provide a well developed journal entry for each of these brief readings, addressing how each critical approach will be useful in your study of literature. Students are responsible for this material, whether or not the class discusses all of the assignment. Discussion: The Short Story.
Friday: Unit One: Foundations of the Short Story. “Young Goodman Brown,” 1835—Nathaniel Hawthorne. Read “Plot” found in The Elements of Short Fiction section of your text.
Note: For all short stories, read the biographical material preceding the stories and “Author’s Perspective,” which follows the readings. Discussion questions for the short stories are distributed in class with the syllabus.
Week Three: SEPTEMBER 8, 10, 12
Monday: “The Tell-Tale Heart,” 1843—Edgar Allan Poe.
Read
“Formalist Criticism.”
Wednesday: “The Death of Ivan Ilych,” 1886—
Leo Tolstoy. Read “Characterization” found in The Elements of Short Fiction section of your text.
Friday:
“Araby,” 1914—James Joyce. Read “Theme” found in The Elements of Short Fiction
section of your text.
Week Four: SEPTEMBER 15, 17, 19
Monday: “The Metamorphosis,” 1915—Franz Kafka. Read “Point of View” found in The Elements of Short Fiction section of your text. Read “Psychological Criticism.”
Wednesday: “Miss Brill,” 1922—Katherine Mansfield. Read “Setting” found in The Elements of Short Fiction section of your text.
Friday: “The Rocking-Horse Winner,” 1933—
D.H. Lawrence. Discussion: Symbolism.
Week Five: SEPTEMBER 22,
24, 26
Monday:
“A Clean Well-Lighted Place,” 1933—
Ernest Hemingway. Read “Style” found in The Elements of Short Fiction section of your text.
Wednesday: “Barn Burning,” 1939—William Faulkner. Read “Sociological Criticism.”
Friday: Discussion: Writing About Literature. Read “Writing about Fiction” (863-877) and the midterm paper materials found below. Prepare your questions about the paper as pre-discussion responses.
Week
Six: SEPTEMBER 29, OCTOBER 1, 3
Monday: Unit Two: Coming of Age in the Post-Modern World.
“The
Garden of Forking Paths,” 1941—Jorge Luis Borges.
Unit 1 journal due.
Wednesday: “The Lottery,” 1949—Shirley Jackson. Read “Gender Criticism.”
Friday: NO
CLASS.
Week Seven: OCTOBER 6, 8, 10
Monday: “Dead Men’s Path,” 1953–Chinua Achebe.
Late journal due—no exceptions.
Wednesday: “A Very Old Man with Enormous Wings,” 1955–Gabriel Garcia Marquez. Midterm paper due.
Friday: “A Good Man Is Hard to Find,” 1955–Flannery
O’Connor.
Week Eight: OCTOBER 13, 15, 17
Monday: “Sonny’s Blues,” 1957–James Baldwin.
Read
“Formalist Criticism.”
Wednesday: “A Party Down at the Square,” Ralph Ellison.
Late midterm paper due—no exceptions.
Friday: “The Guest,” 1957—Albert Camus.
Week Nine:
OCTOBER 20, 22, 24
Monday: “Patriotism,” 1961–Yukio Mishima.
Wednesday: “A Woman on a Roof,” 1963–Doris Lessing.
Friday: “The Swimmer,” 1964–John Cheever.
Week Ten: OCTOBER 27, 29, 31
Monday: “A Company of Laughing Faces,” 1965–Nadine Gordimer.
Wednesday: Unit Three: Grappling with our Modern World. “Where Are You Going, Where Have You Been,” 1970–Joyce Carol Oates.
Unit 2 journal due.
Friday: NO CLASS.
Week Eleven: NOVEMBER 3,
5, 7
Monday: “Everyday Use,” 1973–Alice
Wednesday: “How I Met My Husband,” 1974–Alice Munro.
Late journal due—no exceptions.
Friday: “The Ones Who Walk Away from Omelas,” 1975–Ursula K. LeGuin.
Week Twelve: NOVEMBER
10, 12, 14
Monday: “Separating,” 1979–John Updike.
Wednesday: “The Man to Send Rain Clouds,” 1981–Leslie Marmon Silko.
Friday: Open.
Week Thirteen: NOVEMBER 17,
19, 21
Monday: “
Wednesday: “Cathedral,” 1983—Raymond Carver.
Friday: “Barbie-Q,” 1991—Sandra Cisneros.
Week Fourteen: NOVEMBER 24, 26, 28
Monday:
“Saboteur,” 2000—Ha Jin.
Wednesday: “Happy Endings,” 1983–Margaret Atwood.
Friday: DMACC Closed for Thanksgiving
Week Fifteen: DECEMBER 1, 3, 5
Monday: Discussion: Final paper.
Wednesday: The Short Story Oscars. Answer each question below, providing your reasons as well.
1. Which story represents the best example of literature?
2. Which story represents the worst example of literature?
3. Which is your favorite story?
4. Which story do you like the least?
5. Which story disturbed you the most?
6. Which character do you like the most?
7. Which narrator do you find the most reliable?
8. Which story taught you the most?
9. Which story did you find the most challenging?
10. Taking into account the selections made by the class, what stories seemed to be overlooked? Why do you think that these stories were not considered in this election?
Friday: Discussion continues.
Journal due—no exceptions. If you wish to have your paper returned, it must be submitted by today.
Week
Sixteen: DECEMBER 8
Monday: Course Conclusions. Final paper due—no exceptions. Papers will not be returned.