COLLIN COLLEGE
SPRING COURSE SYLLABUS
ENGLISH 2342: INTRODUCTION TO LITERATURE I: SHORT STORY & NOVEL
Professor: Joyce M. Miller Office: J243, Spring Creek Campus

Office e-mail address: jmiller@ccccd.edu (weekday replies only)
Please include your name and course number in the subject line.

URL for web site: http://iws.ccccd.edu/jmiller/jmiller.htm
Office hours: Monday/Wednesday: 12:45pm-1pm;
Tuesday/Thursday, 9am-10am; 11:15am-1pm
Fridays and other times not listed by appointment.  972.881.5981

CAMPUS POLICY: Campus regulations do not allow food and beverages in the classroom.
  Please do not ask for exceptions to these regulations. 

 AMERICANS WITH DISABILITIES ACT COMPLIANCE: It is the policy of Collin College to provide reasonable and appropriate accommodations for individuals with documented disabilities. This college will adhere to all applicable federal and state laws, regulations, and guidelines with respect to providing reasonable accommodations as required to afford equal educational opportunity. It is the student's responsibility to visit the ACCESS office (G200) or telephone 972.881.5898 (TDD.881.5950) in a timely manner if he or she desires to arrangements accommodations.

 RELIGIOUS HOLIDAYS: In accordance with Section 51.911 of the Texas Education Code, Collin College will allow a student who is absent from class for the observance of a religious holy day to take an examination or complete an assignment scheduled for that day within a reasonable time. Students are required to file a written request with each professor within the first 15 days of the semester to qualify for an excused absence. Please visit or telephone the registrar's office for additional information on procedures and rules.

WITHDRAWAL POLICY -- Course Drop Limit Provisions:
Students who enroll as an entering freshman or a first-time college student in undergraduate courses at any Texas public community college, technical institute, health sciences institution, or any public university offering undergraduate courses must comply with the legislation of TEC51.907. TEC51.907 states that students who enroll for the first time during the fall 2007 semester or any subsequent semester are subject to the course drop limit of six course drops. This includes any course a transfer student has dropped at another institution. Collin College will not begin to count dropped courses until the fall 2008 semester.
NOTE: You will not be allowed to withdraw from classes at Collin if your official transcripts (required for admission) are not on file.
For more information go to
http://www.ccccd.edu/aro/withdrawal.htm

COLLEGE REPEAT POLICY:   You may repeat this course only once after earning a grade, including W. Should you drop the course before the current semester's census date (insert date here), you will not incur a penalty. Should you withdraw from the course after the census date, however, a grade of W will be posted to your transcript and noted as one attempted enrollment in the course.

INCOMPLETE GRADES:  "Incompletes" require that you have a minimum grade of "C" and completed a minimum of 80 percent of the course requirements at the time you request an incomplete grade.  Incomplete grades can occur only if the instructor deems a situation serious enough to warrant them.  A change in job schedules does not qualify for incomplete grades.

CLASSROOM POLICIES: Please be courteous and turn off cell phones and beepers before entering the classroom. You may bring water, not food and beverages, to class. Please note: I do not accept electronic attachments of essays as substitutes for in-class submission of work due. If you cannot attend class when an essay is due, make arrangements for someone else to deliver it to me.
PREREQUISITE: English 1302 Composition/Rhetoric II. Please see me immediately if you have not learned how to document sources using MLA style.
COURSE DESCRIPTION (CATALOG): A study of short stories, novels, and non-fiction. Analysis and evaluation of major writers in these genres, along with their techniques and their contributions to our literary heritage. Three credit hours; three lecture hours.
 COURSE OBJECTIVES: English 2342 is a critical writing/reading/thinking-intensive sophomore-level course designed to introduce students to the pleasures of exploring fiction, of accepting literary conventions with a "willing suspension of disbelief" (Coleridge) or, if you will, an "eager entrance with belief" (Joyce M. Miller). It is also designed to introduce students to the pleasures and challenges of interpreting, confronting, and discovering human experience. However compelling and attractive the parts of a short story or novel may be in isolation (plot, character, theme, point of view, symbol, style, etc.), and acknowledging, certainly, that sound criticism never loses sight of any of the parts, at the completion of this course, students will be able to evaluate the interrelationship of all of the elements for their total effect and interpretive value. In addition, students will have gained a greater appreciation of the philosophic and stylistic diversity of a number of authors, and they also will have strengthened their critical writing, reading, and analytic skills through instruction/review in literary analysis, writing, and research methodology.
INSTRUCTIONAL METHODS: Lectures, class discussion, small group discussions, computer-assisted instruction, audio/visual materials, personal conferences.
REQUIRED TEXTS: Cassill & Bausch, eds., The Norton Anthology of Fiction (Shorter 7th ed., ISBN  0-393-92612-5);  Mary Shelley, Frankenstein (Norton Critical Edition); the write stuff (4th ed., Joyce M. Miller). Because editions change from time to time, please verify selections before purchasing.
RECOMMENDED TEXTS: On reserve, LRC circulation desk: Edgar Roberts, Writing Themes About Literature (Prentice-Hall); Sylvan Barnet, A Short Guide to Writing About Literature (Little, Brown); Gibaldi and Achtert, MLA Handbook for Writers of Research Papers.
 GENERAL REQUIREMENTS: Two examinations over short stories; final examination; and critical essays. Brief in-class literary analyses. (Even though the in-class papers are not used in the computation of total points, they are evaluated.) Oral reports must cover the salient points and research of the critical essay. Excluding the final, the examinations will consist of writing an essay in class along with interpreting as well as identifying (by author, title, and context) brief passages excerpted from our studied works. You will also respond to a number of questions over the major stylistic and philosophical differences among the major authors. The final examination will consist ENTIRELY of responding in essay form to two topics relating to the novel. Because you will have to support your assertions with textual evidence, you may use your novel during the final exam.
CRITICAL ESSAYS: At sophomore level, you should possess competent reading and writing skills. If you stand on somewhat shaky ground here, please see me immediately for instruction (you may also wish to schedule an appointment in the Writing Center). Because one of your critical essays will include at least three literary criticisms (see attached guidelines), follow the suggestions set forth in your handbook or in Barnet's Writing About Literature.  Failure to include your primary as well as at least three secondary sources will result in a failing grade. Using outside sources requires skills in documentation that you are expected to possess; this course will therefore follow the college's general policies on plagiarism. More specific to this course, any paper containing plagiarized work will earn a grade of zero; the student who submits plagiarized work may face additional disciplinary action as set forth in the Collin College's Student Handbook. I also adhere fully to the policies set forth by the University of Texas (click HERE to READ). Note: Research papers require a minimum of four or five double-spaced typed pages and three secondary sources in addition to primary source(s).  Further, papers require clear internal disclosures of sources (authors /page numbers/URL).  Any paper omitting sources in the works cited page and/or parenthetically will result in a failing grade.  Students cannot, for example, credit an author’s source but fail to credit the page number(s) of the source: “The author further notes that Shelley pities the monster" (Bloom).  Although you are should ask questions in class about correct documentation, you probably can locate any pertinent information you need in your text unless you prefer, of course, to access a guide to documenting sources on the Internet. Please review The Critical Paper and The Finished Paper as well. Finally, please retain copies of ALL typed essays.
 LETTER GRADES BASED ON THE FOLLOWING EARNED POINTS:
A 500-450
B 449-400
C 399-350
D 349-300
F 299 or below

VALUE AND PERCENTAGES OF COURSE GRADES:
Essays, researched and non-researched: 200 points, or 40%
Examinations over short stories: 200 points, or 40%
Final exam: 100 points, or 20%
(Based on my experience along with my objective professional judgment, I shall assign grades that mirror your ACTUAL academic achievements, not your potential and effort.)
ATTENDANCE AND MISC. POLICIES: Attendance in a course, whether meeting once, twice, or several times a week, is critical. Naturally, you can only gain the vital instruction you need to achieve the course objectives by attending class in a timely and regular fashion (tardiness always disrupts classroom instruction). The perspective of others, moreover, is an integral part of one's education. Therefore, please note carefully the following course policies and information.An absence from class on the date an essay or other work is due does not automatically excuse the timely submission of your work. I do not give make-up exams or "extra credit" assignments. An essay will lose one letter grade for each day it is late (weekends included); I shall not, however, accept work after the third late day. Three late arrivals equal one absence. Note also that you will lose ten points for each absence beyond the second hour of class time, and if you miss five hours, regardless of the cause(s), I may not accept any work you submit. Keep a record of your tardiness and absences to compare with my record at any point during the semester. Your contribution to class discussion, along with your timeliness and participation in the writing assignments, will be noted and thus considered in the event your total grade points border narrowly between an A and B, a B and C, etc. Finally, you are responsible for notifying the registrar should you withdraw from this course. (The last day to withdraw with a W is April 15, also posted in your class schedule.) Because the successful completion of this course is important to both you and me, I shall do my best to help you to resolve the difficulties, academic or otherwise, that may lead you to consider withdrawing. Please see me first.

COURSE CONTENT

 During class, I may make amendments to the syllabus by including supplemental readings, worksheets, and miscellaneous handouts in the following course content. (You may access stories marked reserve from my online reserve list; please also see this course's resource links.)  I shall also introduce information about the authors, notably, the philosophies and events that shaped them. You, in turn,  should plan on taking notes and asking questions, for you'll meet these authors again on Exam #2.  Plan also on reading the stories twice: a rapid first reading will help you to gain a sense of the action and characters; a second, studied reading will enable you to gain a fuller measure of interpretive value. (Because I do not offer a review of the course content for quizzes and exams, I urge you again to apply your best note-taking skills during class.Please complete the following works by the date specified and come to class prepared to explore as many possibilities of meanings as time will permit us.
 PLEASE NOTE: YOU SHOULD READ THE SHORT STORIES AT LEAST TWICE
(a rapid first read, a studied second read).
 
Week 1
Day 1Intro. to course.  Review of syllabus, literary terminology, characteristics of good writing.  Merry Christmas God and The Necklace (handouts).  Should you wish to read ahead, you may access a copy of  The Necklace .
        (Please note again that the majority of the “on reserve” readings are on my Course Resource Links .)
Day 2– Snow, p. 46; The Chrysanthemums, p. 800.  Read pp. xiii-xxxiii completely in preparation  for class discussion of the reading on our next class day.
Week 2
 Day 1– The Lottery, p. 406; A&P, p. 864.
 Day 2– On reserve: The Cask of Amontillado, The Tell-Tale Heart, and The Masque of the Red Death.  
Please keep a dictionary by your side when you're reading Poe's works,
for you will have to define certain words during class discussion.
Week 3
 Day 1– Continuation of Poe.   The Story of an Hour, p. 106.
 Day 2– Hills Like White Elephants, p. 400.  Also read the critical commentary following it (p. 404).  On reserve: A  Domestic Dilemma.
Week 4
Day 1– The Use of Force, p. 904.  On reserve:  The Destructors.  (For link to this short story, please click HERE.)
Day 2–  Araby, 427.  On reserve: The Boarding House.
Week 5
 Day 1– Girl, p. 505.  On reserve: Tears, Idle Tears.  Time permitting, writing instruction may follow.
 Day 2–  On reserve: Her First Ball; Miss Brill. 
Week 6
 Day 1        EXAM #1, PART I.
 Day 2        EXAM #1, PART II.  Bring blue book, dictionary, and the write stuff.
Week 7
 Day 1–  A Rose  for Emily, p. 262; The Lady with the Dog,  p. 110.
          Day 2– Everyday Use, p. 875; The Man Who Was Almost a Man, p. 923.

Week 8
 Day 1– How I Contemplated the World, p. 664.  On reserve: Where Are You Going,
Where Have You Been?

 Day 2– A Good Man is Hard to Find, p. 689.  Also read critical commentary following it (p.701).
Writing instruction may follow discussion, time permitting. 
Submission of thesis statements for your first critical essay is mandatory;
please submit your written statement as soon as you complete it (deadline next week).
Week 9
           Day 1Paul's Case, p. 67.  Also read the critical commentary that follows it (p. 82).
           Day 2– An Adventure in Paris, p. 511.  On reserve: The Guest.

<>  Today is the deadline for submitting your thesis statement. Review pp. 933-940 in preparation for writing your essay. 
        Week 10
HAVE A WONDERFUL SPRING BREAK!  
Week 11
 Day 1– The Horse Dealer's Daughter, p. 507.  On reserve: The Rocking-Horse Winner. 
 Day 2–
CRITICAL ESSAY DUE.   Attach your signed slip re: plagiarism.  The Ones Who Walk Away from Omelas, p. 520.
Week 12
                    Day 1– On reserve: A Very Old Man with Enormous Wings; The Handsomest Drowned Man
                                  in the World.
                    
Day 2– On reserve: Balthazar's Marvelous Afternoon; Cockroaches; The Birthmark.
                      

Week 13

Day 1  EXAM #2, PART I. Identification of authors/titles/passages/terms. Identification of authors' achievements/philosophies.
Day 2  
EXAM #2, PART II. Bring blue book.

Friday:  Please note: April __ is the last day you may withdraw with a W.
Week 14
  Day 1 Frankenstein, completed by today.
  Day 2  Frankenstein, continued.  Group assignments (TBA).

Week 15
  Day 1  Group reports/outlines.
  Day 2  Continuation of group reports/outlines.

Week 16
   Day 1  Completion of group reports/outlines.
   Day 2  CRITICAL ESSAY DUE at class starting time.  Course "wrap-up."

Week 17

FINAL EXAM: BRING BLUE BOOK, NOVEL, the write stuff, dictionary, and thesaurus. Please verify exam schedule in your class schedule.

           

Short Story & Novel Syllabus:
Maymester | Summer | Fall | Wintermester | Weekly

Short Story & Novel Resource Links

A Condensed Guide to Writing an Essay

Short Story & Novel Topics & Review

Grammar Matters Editorial Matters

the write stuff

Audio Links

Professor Joyce M. Miller Return to Home Page Return to Instructional Menu

Updated 8/13/08

 


REVISION SYMBOLS FOR LITERARY PAPERS
(NUMBER SYMBOL ON YOUR PAPER; CORRESPONDING ERROR)
  1. Weak progression of ideas/weak organization/weak topic
  2. Inadequate development of thesis with details, examples, quotations, textual evidence
  3. Weak and/or missing thesis statement
  4. Excessive clutter (repetition/wordiness/empty phrases/clichés, etc.)
  5. Sentence pattern lacks variety (needs coordination/subordination, etc.)
  6. Faulty logic: hasty generalizations, false analogies, etc.
  7. Lack of unity and/or coherence (weak/missing transitions, etc.)
  8. Weak/missing topic sentence
  9. Awkward/stringy/vague syntax
  10. Ambiguous/unclear meaning
  11. Faulty/nonstandard/imprecise level of usage/diction
  12. Faulty sentence structure: run-on, comma splice, fragment
  13. Faulty modification, misplaced and/or dangling
  14. Faulty parallel structure
  15. Faulty comparison
  16. Faulty predication (In the novel it says . . .; The reason is because. . .; This is when; etc.)
  17. Faulty agreement of subject/verb
  18. Faulty/vague pronoun/antecedent reference
  19. Faulty shift in person or tense
  20. Faulty pronoun case (he/him, we/us, etc.)
  21. Faulty tense or verb form and/or failure to stay in literary present tense
  22. Excessive be forms, expletives, weak intensifiers, and/or passive voice
  23. Errors in punctuation, spelling
  24. Faulty introduction of excerpted material
  25. Excessive summary in place of analysis
  26. Failure to support assertion(s) with textual evidence
  27. Faulty parenthetical/bibliographic form; MLA style required
  28. Failure to document source(s) of excerpted material
  29. Failure to follow format guidelines (see Mechanics Page)
  30. Please see me for clarification

Professor Joyce M. Miller Return to Home Page Return to Instructional Menu