Throughout the semester, each student will lead a class
discussion. There are 6 opportunities to lead discussions,
so you will work in pairs. You will sign up for your discussion
in Week 1.
When leading a discussion, you should engage the class with
the current assigned reading. You may do this through individual
or group activities. You may use visuals and/or handouts if you
wish: consider what will be most effective for learning. (I
can make copies of handouts if you submit them to me 24 hours
in advance.)
You should include the following:
application of specific terminology we have learned
prompts/activities that require analysis (rather than
just identification or explanation--though fine to include
these components as well).
It is recommended that you check in with me the class before
your discussion informally to receive feedback on your activity
idea.
In-Class #1: Review--Identifying Literary Features Week 1 (8/30)
Instructions
Work with your group to apply the review definitions as indicated below to your assigned text.
Group A: "The Wanderer" p. 66-68
Group B: "The Seafarer" p. 68-70
Group C: "Wife's Lament" p. 70-71
Group D: "Dream of the Rood" p. 72-74
Part 1. Plot
Map out the plot of your text. Be sure to identify the main Freytag elements, but represent the
visually as accurately as you can.
Part 2. Setting, Character, Point of View
Describe the setting for your text as clearly as you can. If you have multiple
settings, describe each. Use support from the text.
Identify characters in your text: be sure to indicate whether they are
round or flat, protagonist, antagonist (if applicable).
Identify as specifically as you can the point of view of your text. Provide
support from the text.
Definitions
literature:
intentional, artistic use of language for a specific purpose. Purposes may include
entertainment, education (dicactic purpose), or communication. Literature ofthen reflects
or critiques cultural discourses and practices.
prose:
The regular form of spoken and written language that is measured in sentences.
verse:
Writing arranged in lines, commonly associated with poetry. Line breaks may not align with grammatical units (e.g. sentences).
genre:
This term is used to describe a class of writing that shares a core set of common characteristics. Categories like poetry, drama,
and fiction are common examples. However, this term is used differently by different literary scholars. For example, one scholar
may consider poetry a genre and the sonnet a sub-genre of poetry, while another may consider the sonnet a genre unto itself.
Whenever you see this term, be aware of the specific context so that you understand how broadly it is being applied.
fiction:
Genre of literature written in prose and containing a narrative or plot structure, setting, characters, and a narrative point of view.
poetry:
Genre of literature written in verse. Poetry can have many formal features such as rhyme and meter.
drama or dramatic work:
Genre of literature characterized by the interchange of direct speech by one, and more commonly, two or more characters. A drama is meant to be acted rather than merely read.
nonfiction:
Genre of prose works that describe actual, as opposed to imaginary or fictional characters and events.
narrative:
A general term for the story in a piece of literature. All of the main literary genres--fiction, poetry, drama--can have a narrative element.
Plot
plot:
The events or actions in a story. Works of poetry, fiction, and drama
can all have a plot, and the plot structure can take many forms.
1. exposition:
Term used in Freytag's Pyramid to describe events at the beginning of a story. The exposition is the starting point of a narrative and can be thought of as the status quo, before the complications of the plot begin.
2. inciting incident
Term used in Fretag's Pyramid for the event--sometimes described as a destabilizing event--that alters the status quo presented in the exposition and initiates the rising action of the plot.
3. rising action
Term used in Freytag's Pyramid to describe the plot complications that drive the narrative toward the climax. Often, much of the narrative energy is involved in developing the rising action.
4. climax
Term for the turning point in a narrative. After the climax has occurred, the characters in the story can never return to the status quo, or the state of affairs before the narrative complications took place. Narratives can have more than one climax, depending upon the complexity of the structure.
5. falling action
Term used in Freytag's Pyramid to describe events after the climax has taken place that drive the narrative toward the resolution.
6. resolution or conclusion
Term that describes the final state of affairs in a narrative--a new stable state; the resolution is the end to the story. Some narratives resist a resolution and remain open ended.
subplot:
a plot that is intertwined with the main plot but receives less time and attention. Usually a subplot is related in some way to the main plot--for example,
it might provide a parallel, contrast, or commentary. A subplot may have some or all of the plot elements described above.
flashback:
a scene that interrupts the present action of a narrative to depict some earlier event that occurred before the story's opening.
foreshadowing:
use of hints or clues to suggest what will happen later in the narrative.
digression:
introduction of a different topic that interrupts the flow of a narrative; typically the narrative is rejoined after a digression.
frame narrative:
A literary technique where one narrative is nested within another. The frame narrative is often provides the occasion for telling the nested narrative
and is frequently connected thematically to the inner story.
turn:
moment in a narrative where the meaning changes significantly. The term "turn" can be used in texts that do not have a fully-formed plot but do have
a narrative element.
Setting
setting:
The time and place where the plot of the story takes place. Setting includes all important elements of context, including social environment.
physical location:
can refer to the overall location of a narrative (such as "Italy"), but also specific details of locations where plot actions take place
(such as "dark, ancient, catacombs"). There may be many physical locations in a single narrative.
temporal setting:
the time when a narrative is set. The temporal setting may be in the past,
present, or future. Past and present settings may be historical or fictional/imaginary. Consider
also time representations within the text when analyzing temporal settings--time of day,
duration of the story or events within the story, etc.
Character
character
Person represented in a narrative who is interpreted by the reader (or meant to be interpreted by the reader) as having moral, physical, emotional, and other human qualities. The character takes part in the plot action.
flat character:
This term was first introduced by writer E.M. Forster in his book Aspects of the Novel, and it refers to a character
who can be simply described and who does not undergo change throughout the narrative. Contrary to popular belief, the term "flat" is not a negative or derogatory description.
round character:
This term was first introduced by writer E.M. Forster in his book Aspects of the Novel, and it refers
to a character who is complex. As Forster described it: "The test of a round character is whether it is capable of surprising in a convincing way."
protagonist:
a main character in a narrative; the story may center around this character or be told from the point of view of
this character. There may be more than one protagonist in a work. Usually, the protagonist is a dynamic character, a character who
changes throughout the story, but this is not always true.
antagonist:
a character in a narrative who opposes the aims or goals of the protagonist or creates obstacles
to the accomplishment of the plot. An antagonist is sometimes a foil of the protagonist.
minor character:
a character in a text who has a support role. Often minor characters can be described through their relationships to protagonist characters.
epiphany:
a sudden moment of self-realization. Characters who experience an epiphany are round characters.
Point of View
narrator:
The voice in work of fiction who guides the reader's perspective. A narrator may be a character in a work or a distinct representation.
The term narrator is conventionally used with works of fiction.
speaker:
The voice of a poem. The speaker is the author's representation of a guiding presence to lead the reader
through a work or present a specific point of view towards the topic, and may be separate from characters in the poem or one of the characters in a poem.
voice:
the distinctive traits of the narrator of a text; the verbal quality of narration.
point of view:
the technique of narration that describes how the reader will be shown the story. There are several types of narrative points of view:
first person narrator:
the narrator is a character in the story and uses pronouns like "I" and "me." The reader experiences the story from this character's
point of view, and all information is filtered through this character's experience and interpretation.
third person narrator:
an unidentified narrator who is apart from the story and refers to the characters with pronouns like "he," "she," and "they."
third person omniscient narrator:
the narrator is not a part of the action of the story but knows everything about the story. An omniscient narrator
can provide the reader with actions from many locations and different times as well as the thoughts and feelings of any of the characters.
Sometimes a narrator of this sort is intrusive meaning that they use various techniques to influence the reader's interpretation
of events and characters, such as interrupting the narrative to provide an opinion on the action or withholding information from the reader.
third person limited narrator
this narrator is not part of the story, but tells the story from a limited perspective--often from the view point of
a specific character or limited number of focal characters. This type of narrator can also be intrusive.
focal character
a character who is followed by a third person limited narrator.
intrusive narrator
a narrator who actively comments on the events in the story with the purpose of shaping the interpretation of
the reader. Either type of third person narrator may be intrusive.
objective narrator
a narrator who does not explicitly report characters' thoughts and feelings but focuses mainly on actions.
Either type of third person narrator can be objective.
implied reader or implied auditor
a reader or listener explicitly referred to by a narrator of a story who has discernable characteristics.
dramatic dialogue:
genre of poetry where there is an interchange of speech by characters rather than a distinct speaker. This type of poem does not have first or third person point of view.
This quiz is open from Thursday, 8/31 12:01am through Tuesday, 9/5 11:59pm
Instructions:
Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet.
The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered
in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:
Beowulf p. 85-96 (to end of Section 12)
Definitions covered in Week 1
In-Class #2: Analyzing Cultural Contact Week 3 (9/13)
Instructions:
In this exercise, we will examine various forms of cultural
contact in evidence in Beowulf and "Lanval," to
introduce the concept of the "contact zone" and begin to understand
different forms that cultural contact can take.
Definition
Contact Zone
This concept, coined by Mary Louise Pratt, refers to 'the space
of colonial encounters, the space in which peoples geographically
and historically separated come into contact with each other and
establish ongoing relations.' Pratt notes that often,
this zone involves 'conditions of
coercion, radical inequality, and intractable conflict' (6).*
* Pratt, Mary Louise.
Imperial Eyes: Travel Writing
and Transculturation
. 2nd edition, Routledge, 2007.
Group A: Identify at least three examples in Beowulf where there
is evidence of cultural contact in the narrative commentary [hint: look for Christian references that post-date
the narrative of the text]. Explain whether these examples reflect conditions of "coercion, racial inequality, or
conflict." If so, explain how. If not, how would you characterize this contact? Why is it significant?
Group B: Identify at least three examples in Beowulf of cultural
contact between the Geats and the Danes within the narrative of the text. How would you characterize this
contact? Does it change over time? How and why is this contact significant?
Group C: Explain how the contact in Beowulf between the Geats and Danes (considered
together) and Grendel's family can be considered an example of cultural contact. How would you characterize
this contact? Why is it significant?
Group D: Identify examples of cultural contact in "Lanval." How would you characterize
this contact? Why is it significant?
Short Essay #1: Anglo-Saxon and Anglo-Norman Literature
Format:
MLA formatted essay of approximately 400-500 words in length. A Works Cited section should be included, but does
not need to be on a separate page.
Due: Tuesday, 9/19 by midnight
Instructions:
Write an essay with a clear analytical thesis and supporting argument that includes specific textual support
in response to one of the prompts below.
Option 1: Several of the narratives we have studied in this unit include a logic of heroism, in particular, "The Dream of the Rood," Beowulf, and
"Lanval." Analyze the logic of heroism in ONE of these texts. You might consider issues such as: What makes the figures in each of these texts heroic?
How is this logic of heroism different between these texts, and how are these differences culturally significant? Some of the specific elements of heroism
you might examine are the role of violence in the representation of heroism and the cultural significance of the relationship between violence and heroism;
the social implications of heroism for the individual and for the larger culture; or, some other aspect(s) of your choosing. Be sure that the scope of
your argument is clearly defined in your introduction including a strong analytical thesis.
Option 2: Several of the narratives we have studied in this unit include the theme of travel or geographical dislocation/relocation, in
particular "The Wanderer," "The Seafarer," "Wife's Lament," "Lanval," and Beowulf. Analyze a theme related to travel/geographical dislocation/relocation in
ONE of these texts. Be sure to clearly identify the theme you will focus on in your analytical thesis. You might consider specifics elements such as why the travel
occurs, who has agency to travel, the consequences of relocation, or the cultural significance of travel, or some other aspect(s) of your choosing. Be sure that the scope of
your argument is clearly defined in your introduction including a strong analytical thesis.
Evaluation Criteria
Essay #1 will be evaluated using the following criteria:
clear analytical thesis that is responsive to the prompt
well-organized argument in support of your thesis
specific analysis in support of your thesis
textual support for analysis of texts
correct MLA format for the essay layout, in-text citations, and Works Cited section
written in Edited American English and free of errors
Quiz #2: Sir Gawain and the Green Knight, Parts 1 and 2
Access Period:
This quiz is open from Thursday, 9/14 12:01am through Sunday, 9/17 11:59pm
Instructions:
Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet.
The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered
in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:
Sir Gawain and the Green Knight p. 226-255 (Part 1 and Part 2)
Group A and Group B: 1. What is the significance of the time of year for the original
contest and the length of the quest? How is time charted throughout
the text?
Group C and Group D: 2. What is the significance of the connection to Troy and
Trojan heroes, particularly at the beginning of the text?
Part 1: 1-36, pp. 226-27
All: 3. What are the five sets of five, and how do they express
both cultural and religious values?
See Part 2: 619-69, pp. 242-43 (Description of virtues in
Gawain's armor)
Part 2. Analysis
Group A: 1. How are chivalric virtues represented in this text? What are they? How do they relate
to Christian virtues? What happens when they are at odds with other value systems (Christian imperative of honesty,
duty not to violate hospitality by sleeping with your host's wife, for example). What does courtesy have to do with
reputation and identity (particularly Gawain's)?
Part 1: 232-365, pp. 232-36 (Green Knight, challenge, Gawain accepts)
Part 2: 901-27, pp. 249-250 (Gawain at host's table)
Part 3: 1178-1318, pp. 256-260 (first encounter with host's wife)
Part 3: 1476-1557, pp. 264-266 (second encounter with host's wife)
Part 3: 1731-1869, pp. 270-273 (third encounter with host's wife)
Part 4: 2095-2159, pp. 280-281 (chance to leave without meeting
Green Knight)
Group B: 2. What is the significance of "games" in the text, particularly of "swapping" games? What is the significance
of the hunting in relation to romantic plot?
Part 1: 250-466, pp. 233-238 (Green Knight and the beheading game)
Part 4: 2212-2428, pp. 282-288 (beheading game concluded)
Part 3: 1126-1177, pp. 255-256; 1319-1371, pp. 260-261 (deer hunt)
Part 3: 1372-1401, pp. 261-264 (swap #1)
Part 3: 1421-67, pp. 262-263; 1561-1622, pp. 266-267 (boar hunt)
Part 3: 1623-47, pp. 267-268 (swap #2)
Part 3: 1690-1729, pp. 269-270, 1894-1921, pp. 274-275 (fox hunt)
Part 3: 1922-1951, pp. 275-276 (swap #3)
Group C: 3. How are women represented in the text? What is the significance of the emphasis on external appearance? Is the wife
merely a devious woman, or is this case more complex?
See #5 for Queen Guenevere
Part 2: 933-34, pp. 250; 941-1019, pp. 250-252 (first description of wife
and crone)
See #2 for three encounters with wife in Gawain's bed
Part 4: 2407-2428, pp. 287-288 (Gawain's philosophy of women)
Part 4: 2446-2474, pp. 288-289 (description of Morgan le Faye)
Group D: 4. What role do Christian observances play in the text? How is Christianity integrated with the supernatural elements of the text
Part 1: 37-106, pp. 227-229 (Christmas at court)
Part 2: 491-538, pp. 239-240 (various days of note)
Part 2: 736-784, pp. 245-246 (prayer and answer to Gawain's prayers)
Part 2: 995-1019, p. 252 (Christmas at the host's)
**Part 3: 1876-84, p. 274 (Gawain's official confession);
compare to Part 4: 2370-2394, pp. 286-287
Part 1: 179-249, pp. 231-233, 417-466, pp. 237-238
(description of the Green Knight)
Part 4: 2189-2211, p. 282 (description of the Green Chapel)
Part 4: 2446-2474, pp. 288-289 (Morgan le Faye's magic)
All: 5. How is Arthur's Court represented? How is Arthur represented as a king? What is the real reason for the games?
What does Sir Gawain learn from his adventure? What does the court learn from his retelling of the tale?
Part 1: 37-150, pp. 227-230 (King, Queen, court)
Part 1: 250-389, pp. 233-236 (Arthur and Gawain; who will fight the knight?)
Part 2: 536-65, pp. 240-241; 670-690, pp. 243-244
(Gawain prepares to leave; court's reaction)
Part 4: 2331-2368, p. 286 (Green Knight explains the three blows)
Part 4: 2395-2455, pp. 287-288 (Bertilak revealed)
Part 4: 2456-2530, pp. 289-290 (Gawain's judgment of himself
and the court's reaction to his story)
This quiz is open from Thursday, 9/21 12:01am through Sunday, 9/24 11:59pm
Instructions:
Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet.
The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered
in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:
Chaucer, from Canterberry Tales: "Wife of Bath's Prologue" p. 331-344
In-Class #4: Identifying and Analyzing Dominant and Subversive Cultural Discourse Week 5 (9/27)
Definitions
Discourse Analysis
discourse:
General term for spoken or written communication. More specifically, discourse can be thought of as the cultural conversation about a topic within a discourse community.
discourse community:
A group of individuals that shares a common understanding based on systematic principles of communication and/or vocabulary within a specific discursive situation.
Discourse communities have traditionally been based on geography and a common language, such as English or French, but discourse communities can also be more specific
groups who share certain experiences and specialized vocabulary specific to their activities: e.g., video game players, members of a class in school, soldiers in the armed forces, etc.
dominant discourse:
The prevailing view about a certain topic within a discourse community.
competing discourse:
Discursive situation where there is no dominant view and two or more opinions/ideas about a topic compete for dominance.
subversive discourse:
Type of discourse that represents a non-dominant position on a topic in a discourse community. A subversive discourse actively works to destabilize the dominant discourse.
Instructions
The Wife of Bath engages with several types of discourse particularly related to marriage and gender norms in her Prologue. In
this exercise, we will practice identifying different types of cultural discourse and analyzing their significance. Work with
your group using your assigned part of the text to answer the questions below.
Part 1: Identification--Wife of Bath's Prologue
Group A: line 1 (p. 331) - line 210 (p. 334)
Group B: line 211 (p. 334) - line 430 (p. 338)
Group C: line 431 (p. 338) - line 646 (p. 341)
Group D: line 646 (p. 341) - line 856 [end] (p. 344)
who is the discourse community for the Prologue? Identify one passage from your
assigned part that shows awareness of this audience.
identify as many dominant discourses related to marriage and gender as you can. Be sure to point to
specific passages in your assigned part of the text.
identify a subversive discourse or statement in your assigned part
of the text.
Part 2: Analysis--The Book of Margery Kempe
identify dominant discourses related to marriage and gender. Explain
whether these are similar or different from the dominant discourses we discussed in the WoB Prologue.
identify subversive statements or discourses. Explain whether these are
similar or different in content compared to those discussed in the WoB Prologue.
analyze whether subversive expressions are similar or different in their
strategy: how are dominant discourses being confronted in both of these texts? Are the strategies
employed effective for their discourse community? Explain.
This quiz is open from Thursday, 9/28 12:01am through Sunday, 10/1 11:59pm
Instructions:
Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet.
The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered
in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:
Chaucer, from Canterbury Tales: "Wife of Bath's Tale" p. 345-50
In-Class #5: Development of the English Language
Week 6 (10/4)
Definitions
internal language change
a systematic shift in pronounciation or use within a language that happens
over time. The "great vowel shift" in English is an example. Around 1500, long
vowel sounds mde the pronunciation of Early Modern English significantly
different from other periods--more recognizable for modern speakers. For
example, long [o] moving towards long [u] moone → m‾na → moon.
It may not be known
why these changes take place, but the rules of the changes themselves can be
observed and documented.
external language change
systematic change in a language triggered by an external change such as
cultural contact that results in accomodation or ingratiation. The Norman
Conquest of 1066 is an example of external language change in the history of
the development of the English language.
syntactic changes
changes to the allowable structures of a language--for example, changing
from gendered nouns to ungendered nouns or changes in the use of negation.
cognate
words that are clearly related between two languages. For example, ME wif
or wyf and Modern English /wife/ are cognates.
semantic changes
changes to the meanings of words.
broadening
change to a word's meaning where it begins to mean
a broader concept than it originally did.
narrowing
change to a word's meaning where it begins to signify a
narrower concept than it originally did.
sound changes
types of typical alterations in language pronounciation
sound loss
dropping a sound from the pronounciation of a word. So called
"silent" letters in English orthography frequently indicate that sound
loss has taken place.
metathesis
reversal of postion of two sounds, for example,
OE /frist/ → ModE /first/
epenthesis
addition of a sound to the middle of a word; e.g
ME /spinel/ → ModE /spindle/
prothesis
addition of a sound to the beginning of a word; e.g.
Latin scribere → Spansih escribir ("to write")
Instructions
In this exercise, we will examine closely the Chaucer's Middle English. Remember that there were many
varieties of Middle English depending on the geographical location of the writer/speaker. Living and working
near London, Chaucer spoke and wrote the prestige version of Middle English that is most
recognizable as English to speakers today. So, we can understand Chaucer's writing with a little bit of
help. Today we will look more closely at this version of ME and analyze it using some introductory
principles of language study or linguistics. Work with your group to apply the definitions
provided as indicated below.
Find at least 2 syntactic changes.
Find at least 3 cognates
Find at least 3 semantic changes. Be sure to indicate if meaning has
broadened or narrowed as applicable.
Find at least 3 sound changes. Use examples that represent at least
2 different types from the list below.
Respond to the prompts below about the Middle English readings from Chaucer's
Canterburry Tales. Refer to the definitions introduced in In-Class #5 as needed.
Part 1. Identifying and Describing Language
1. Examine the passage from the WoB Prologue below and answer the questions.
Though I right now sholde make my testament,
I ne owe hem nat a word that it nys quit. (Chaucer 337, lines 424-25)
rewrite this passage in modern English maintaining syntax and meaning as closely as
possible to the original.
describe the syntactic change indicated by the bolded words. Be
sure to explain the effect on meaning.
2. the plural of eye in Middle English is eyen (see Chaucer 336, line 315 for example).
what is the modern plural of eye?
give at least 5 examples of other modern English words where the plural is formed like the plural you listed for a.
give an example of a modern word where the plural is formed like eye → eyen
what does this example suggest about the evolution of English when it comes to how nouns are made plural?
based on your response to d., why do you think the method for pluralizing eye changed but the method for
pluralizing the word you listed in c. did not?
3. find 5 examples from the WoB Prologue demonstrate different principles we learned about in In-Class #5.
Explain each one and explain how the changes you identify affect the meaning of the word(s) from then to now.
Evaluation Criteria
The Laguage Study Exercise will be evaluated on the following criteria:
complete answers are provided for each prompt.
explanations engage with language changes.
you provide your own ideas based on reading of the text and application
of the definitions (rather than reliance on online sources)
Note: we are practicing concepts and a type of technical close reading
that is fairly advanced in this exercise, so I am looking for your best effort at engaging with this material
rather than strictly judging "right" and "wrong" answers.
a main idea in a literary work. Works may have more than one theme, and the theme can range from general
(e.g. "love") to more specific (e.g. "unrequited love that causes pain").
tone
the emotional register of a work or that a work takes towards its theme.
diction
choice of words. Diction can be described as informal or colloquial or formal, as well has having a
large range of other features. Tone is determined largely through diction.
denotation
a word's direct, literal meaning--often thought of as the dictionary definition of a word.
connotation
what is suggested by a word when it is used in a specific context, such as within a literary text. The connotative meaning of a word is apart from its denotation.
imagery:
Imagery may be defined as the representation through language of sense experience (seeing, hearing, smelling, feeling, and tasting). The word image perhaps most often suggests a mental picture, something seen in the mind's eye - and visual imagery is the most frequently occurring kind of imagery in text. But an image may also represent a sound; a smell; a taste; a tactile experience; and an internal sensation (adapted from Paul P. Ruben, Elements of Poetry). Note that imagery can be present in all genres.
ambiguity:
a word or phrase that can be interpreted in more than one way (that makes sense) in the given context. Ambiguity may be intentional or unintentional.
irony:
a contradiction or difference between appearance or expectation and reality. This could apply to the difference between what a character/narrator says and what is meant, between an expectation of what will happen and what actually happens, or between what appears to be true and what actually is true.
allusion:
a brief reference within a literary text to another literary text. The reference might be a name of a character, short reference to an event from the plot of another text, etc. An allusive reference creates some kind of connection between the two literary works; the work referred to provides some kind of insight about the referring text.
hyperbole:
extreme exaggeration used to draw attention and sometimes to comment (negatively) on an idea.
litotes:
extreme understatement used to draw attention; often coupled with irony.
repetition:
The use of repeated words, phrases, or sounds to draw attention to certain elements of a text. There are many types of repetition, and it is one of the most powerful ways to direct emphasis.
alliteration:
repetition of consonant sounds at the beginning of words in a sequence of nearby words.
assonance:
repetition of vowel sounds in a seqeunce of words with different endings.
antithesis:
two opposing ideas or figures. Antithesis can be used as a descriptive technique or as a means of organizing and emphasizing ideas by using contrast.
foil:
type of antithesis that describes the use of a minor character to mirror specific traits of a major character for emphasis.
paradox:
A seemingly self-contradictory statement, which is nonetheless shown to be (sometimes in a surprising way) true.
Formal Features (poetry)
enjambment:
in poetry, the abrupt break of a grammatical structure by a line break.
rhyme:
matching speech sounds at the end of words (in English). For example, follow and hollow. Rhyme is a very noticeable type of repetition that is commonly used in poetry.
rhyme scheme:
the pattern of end rhymes over the course of an entire poem; often denoted by lower-case letters, where a letter is assigned to each distinct rhyme.
couplet:
two consecutive lines of verse linked by rhyme and meter.
rhythm:
The beat or stresses in written or spoken language. In poetry, the rhythm is often intentionally structured in a certain meter.
meter:
Organized pattern of rhythmic stresses in approximately equivalent units. A specific meter is one of the characteristics of poetry. A common meter in English poetry is iambic pentameter.
foot:
"the metrical unit by which a line of poetry is measured; it usually consists of one stressed or accented ( ' ) and one or two unstressed or unaccented syllables ( - )" (from Paul P. Ruben, Elements of Poetry).
iamb:
a foot of poetry that is composed of one unstressed and one stressed syllable ( - ' ). It is one of the most common poetic feet used in English.
pentameter:
a line of poetry with five feet. Iambic pentameter--a line of poetry with 5 iambs, is a common type of line in Renaissance sonnets.
blank verse
metered lines of verse that use a specific meter, in English, blank verse is often in
iambic pentameter. Sometimes also called "heroic verse" or "heroic meter" because it is often
used for translations of epics and Renaissance era dramas.
sonnet:
A sonnet is a poem of 14 lines. In English, the lines are usually in iambic pentameter, meaning that each line is 5 metrical feet long (or about 10 syllables), and each foot is an iamb, or a pattern of one unstressed and one stressed syllable. The Sonnet also has several conventional rhyme schemes, including two described as the "Italian" (or "Petrarchan") and "English" sonnet.
The Italian sonnet usually has an abab, abab octave (that is, set of 8 lines) followed by a sestet (set of 6 lines) with a rhyme scheme cde, cde (or cdc, cdc). In this type of sonnet introduces a proposition or problem in the first 8 lines and then describes a resolution in the last 6.
The English sonnet was an innovation by English poets on this Italian poetic form. Thomas Wyatt introduced the sonnet to England in the early 16th century, and his sonnets were often translations or adaptations of the work of Petrarch. Soon, though, other English poets like Philip Sidney and William Shakespeare developed a distinctly English version of this form. In the English sonnet, the usual rhyme scheme is typically three quatrains (4 line units) abab, cdcd, efef followed by a couplet gg. The final couplet (2 lines) represents a turn (often unexpected) in theme or imagery.
couplet:
two consecutive lines of verse linked by rhyme and meter.
Figurative Language
figurative language:
representational language that creates a comparison or relationship between two things (for example, between an abstract concept and a concrete image that represents it) in order to make a concept more familiar or accessible to the reader. Specific types of figurative language are not limited to but include symbol, metaphor, and simile.
symbol:
an object, image, or character that stands for something more than itself.
metaphor:
a figure of speech that draws a comparison between two things. The vehicle of comparison is substituted for the tenor (the original object)--that is, two things are put in to relation to one another through an assertion that one is the other.
simile:
A comparison that uses "like" or "as" to establish the relationship between two things.
metonymy:
using the name of one thing to refer to another associated thing. For example, red tape is used to stand for frustrating procedures of government bureaucracy.
synecdoche:
type of metonymy in which the part represents the whole. For example, "a great set of wheels" is a colloquial phrase where "wheels" stands in for a car.
personification:
Representing an animal, inanimate object, or abstraction (e.g. death) with human characteristics.
Part 1. Close Reading Practice
Work individually on your assigned poem. Answer the questions below.
Identify and explain at least 2 significant themes in your poem. Remember, a more specific theme
is best for analysis.
Identify 2 different formal features in your poem. Explain each.
Identify 2 different examples of figurative language in your poem. Be sure to explain
the literal and figurative meaning and why it is important.
Part 2. Group Work
Work with your group to discuss your individual findings and prepare a presentation for the class. In your presentation,
you should discuss the elements listed below. Every member of the group should present part of your work, and all of the
poems among your group should be mentioned at least once.
Presentation Elements
Explain one of the themes from among your group's set of poems. Be sure to discuss why this theme is significant
and whether it could also apply to any of the other poems.
Identify and explain a formal feature that appears in 2 of your group's set of poems.
Explain similarities/differences in how this formal feature is expressed in the different poems.
Identify and explain 2 different types of figurative language from your set of poems.
Be sure to explain the literal and figurative meaning and how these figures are significant to the meaning of
the poem.
This quiz is open from Thursday, 10/12 12:01am through Sunday, 10/15 11:59pm
Instructions:
Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet.
The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered
in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:
Sir Thomas More, from Utopia Book 2 selections (eReserve)
In-Class #7: Philosophy and Fiction Week 8 (10/18)
Instructions
Thomas More's Utopia uses narrative to illustrate philosophical principles. This is the main trait of the
philosophical novel, a form that was popular in the seventeenth century. In this exercise, we will analyze
the significance of the integration of philosophy and fiction.
Part 1: Content Analysis
Group A: How does the geographical makeup of Utopia, and the Utopian's manipulation of that geography, contribute to the
social structure and Utopian relations with the outside world? What was the role of King Utopus in the creation of
Utopian society, and what does this suggest about the necessary conditions for creating this society?
Group B: In Utopia, it is clear that the needs of the individual are subordinate to the needs of the society.
Discuss some examples of this philosophy in operation. What are the benefits and the drawbacks of this heavy
emphasis on social good? What are some of the consequences to the individual? Be sure to use specific examples from the text.
Group C: How do the Utopians' interact with other cultures? How do Utopians wage war and for what reasons? What non-violent
strategies do the Utopians use to avoid war? What strategies do they use when the do engage in violent coflict? How does
the example of the war where the Utopians sided with the Nephelogetes add additional information to this philosohpy.
All: Discuss the use of slaves in Utopia. Why are slaves necessary, and what does this imply about the society of Utopia?
Is their presence mitigated by the kind treatment they receive or the crimes they have committed (why/why not)?
Can slavery co-exist with the tenets of Humanism (why/why not)?
Part 2: Discourse Analysis
Identify a dominant discourse within the discourse community of Utopian citizens.
Compare the dominant discourse you identified in 1. to the discourse on this topic in the discourse community of Reniassance European/English
culture: explain similarities and differences.
Based on your analysis in 1. and 2., how do you think More's text itself functions relative to the discourse of his culture?
MLA formatted essay of approximately 400-500 words in length. A Works Cited section should be included, but does
not need to be on a separate page.
Due: Saturday, 10/21 by midnight
Instructions:
Write an essay with a clear analytical thesis and supporting argument that includes specific textual support
in response the prompt below.
Choose 2 of the poems from this unit that have a common theme to analyze--remember, a more specific theme will be more helpful
for analysis (e.g. "love" is too general). You may choose one of the themes that you defined during In-Class #6 or use something new.
Write an essay using this thematic connection as a basis. In your introduction, explain your
theme in detail. In the body of your essay, explain how the theme is expressed significantly in each text in the
category. You should support your claims using specific formal features and figurative language (including specific
quotations from the text). In the conclusion of your essay, identify significant similarities and differences
in how your theme functions in the texts you examined.
Evaluation Criteria
Essay #2 will be evaluated using the following criteria:
clear analytical thesis that is responsive to the prompt
well-organized argument in support of your thesis
sound and relevant close reading of specific features of your text
textual support for analysis of texts
correct MLA format for the essay layout, in-text citations, and Works Cited section
written in Edited American English and free of errors
5-6 minute presentation on a 17th century poem as assigned; visuals optional
Due:
in class in week 9
Instructions
Your presentation should include the following:
A brief explication of your poem
Explaination of at least 1 significant formal feature and
1 significant example of figurative language: both identification and significance
Your observations about how your poem reflects its culture. You
might identify a dominant discourse or explain how characteristics or content
of your poem are similar or different from representations from earlier periods.
This part is a critical thinking exercise: I am interested in your ideas based
on your understanding of your poem compared to what we have covered to this point in the term,
so please DO NOT engage in outside research.
Quiz #6: 17th Century Poetry
Access Period:
This quiz is open from Thursday, 10/26 12:01am through Sunday, 10/29 11:59pm
Instructions:
Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet.
The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered
in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:
In this exercise, we will consider how literary form shapes reader expectation and is related signficantly to meaning.
Work with group to answer the questions below.
Definitions:
parody
form that involves mimicking or imitating the style, format, or characteristics of a specific genre for comedic effect.
satire
form that aims to criticize or comment on a subject, often social or political, by using humor, irony, or sarcasm. A
satire may use parody, or imitation of genre, in its presentation. Satire is a type of subversive discourse that uses
form as one tool to question a dominant discourse.
All:
Identify the genre of the text(s) your group is working on. In the case of parody
texts, be sure to indicate the genre being parodied. Indicate as well whether a parody text is
also a satire or not.
Identify the main cultural discourses operating in your text(s).
Group A: Lady's Dressing Room and The Introduction
How does Swift's poem function as a parody of Petrarchan conventions? What aspects of these conventions are critiqued?
Provide specific examples from the text.
Swift's representation of "The Lady's Dressing Room" can easily be seen as anti-feminist or even misogynistic, yet in some regards,
it could be argued that he critiques some of the same aspects of gender representation as Anne Finch in "The Introduction". Identify
some of these areas where dominant discourses of gender are represented in both poems and analyze across both of these texts.
Group B: Modest Proposal
Identify the main argument in "Modest Proposal." What type of logic is used? What types of evidence are given? How does the
tone of the work contribute to its effectiveness? How does Swift use satire and parody to convey critiques of
England's governance of Ireland (give specific examples)?
How does Swift's techniques for social critique in "A Modest Proposal" compare to More's in Utopia?
Group C: Rape of the Lock
Discuss how epic conventions and classical references are parodied in Pope's mock epic; how are the differences in Pope's versions significant? Some examples below:
1.1-6: invocation of Muse
1.27-114: prophetic dream
1.121-48: Altar scene 1; 2.29-46: Altar scene 2; 3.105-20: Altar scene 3
Canto 3 battles: card game, rape of lock; Canto 5 battle between men and women
Canto 4 visit to the Cave of Spleen
5.123-end: metamorphosis [apotheosis] of hair
How are Belinda and the Baron represented? How is their conflict (discuss the various stages of their conflict) representative of the
larger conflict between the sexes? What types of weapons does each wield? Obviously lives are not at stake in this conflict, but what is--and
who seems to be victorious? How is heroism represented early in the poem and later? How does this compare to Astell's new definition of the heroic?
Format: Essay in MLA format; minimum length: 500 words
Due: midnight, Saturday 11/4
Select one of the works listed below and analyze a specific element of form that significantly affects meaning--for
example, it might be the effect of a specific element of parody, the use of patterned meter or
rhyme, the adaptation of the epic form etc. Craft a thesis that explains the relationship between form and meaning that you will analyze. Then,
in the body of your paper, use close reading of specific passages and features to support your thesis. In your
conclusion, explain how this form/the features you examined fit within the cultural context of your work.
Anne Finch: "The Introduction" p. 1384-85
Jonathan Swift
"Lady's Dressing Room" p. 1395-97
Jonathan Swift
"A Modest Proposal" p. 1503-1508
Alexander Pope: Rape of the Lock p. 1521-34
Evaluation Criteria
Essay #3 will be evaluated using the following criteria:
clear analytical thesis that is responsive to the prompt
well-organized argument in support of your thesis
sound and relevant close reading of specific features of your text
textual support for analysis of texts
correct MLA format for the essay layout, in-text citations, and Works Cited section
written in Edited American English and free of errors
Be sure to use specific examples from your texts to support your claims.
This quiz is open from Thursday, 11/2 12:01am through Tuesday 11/7 11:59pm
Instructions:
Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet.
The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered
in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:
Aphra Behn, "Oroonoko"
p. 1235-1249 ending with "such an entertainment."
START: p. 1249 "Some have commended..." to END: p.1258 "...so gallant a man."
Group A: The Mandeville text is an excellent example of the representation of the eastern "other."
What is the representation like? How is it used to speak back to the European interlocutor?
What might be the significance of the assertion of moral authority by the Sultan?
Group B: Johnson's Masque of Blacknesse is an example of a representation of Africans from a European perspective.
How is beauty defined? What origin is asserted for the darker skin of the Africans in this short drama? How might
these ideas be significant in terms of the relations between Africans and Europeans in the early modern period?
Group C: Johnson's text is one of layered meaning when considered in terms of its performance history. As the introduction
in the book indicates, the English Queen Anne and several other noble women appeared in the masque as the Ethiopian
ladies with their faces covered in burnt cork (175). A contemporary commentator watching the performance wrote that
"I am sorry that strangers should see owr court so strangely disguised" (175). Consider this text in light of its
performance context: what additional issues related to the representation of Africans and their interaction with
Europeans become significant?
Group A: The "Legal Decisions Concerning Slavery" are examples of historical documents that can be used to elucidate
the facts surrounding slavery. For a historian, they would have evidentiary status. How do these decisions function
as records of cultural practice? How were slaves defined legally (or, what was the debate about that definition), and
how do these contradictory decisions demonstrate the special case of the slavery issue? How is the practice of slavery
integrated into the historical practice of serfdom through the concept of the villein, and how is this connection legally significant?
Group B: Dalby Thomas' text purports to be a "historical" account of the West-India colonies. However, Thomas is clearly writing
from a perspective of an Englishman who views the colonies as a source of wealth for England. Do you detect other motivations
that might influence his account? Given that there is a specific bias to this "history" how does that affect this document
as material for the historian? What types of analytical tools could the literary theorist employ to examine this text?
Group C: The letters of Igantius Sancho and the memior of Olaudah Equiano are examples of texts that could be used to restore
a voice for the silenced African in this period. How would these texts be anlayzed using the tools of literary theory, such
as rhetorical analysis, analysis of
the representations of various characters and the significance of those representations, close reading of elements of the text.
ALL: How could you use your historical text to intersect with Oroonoko? Provide a specific example.
In-Class #10: Using Secondary Sources Week 13 (11/20)
In this exercise, we will examine the structure of secondary sources and practice analyzing them for relevant meaning.
Definitions
literary criticism
application of one or more literary theories or tools of literary theory to specific texts.
literary theory
philosophy of understanding texts. Often, literary theories are connected to other disciplines, such as psychology, economics, or linguistics;
also, theories may be connected to broader social movements, such as feminism. Theories, therefore, can often stand on their own.
inductive
a method of argumentation or reasoning where specific details and facts are presented first in order to lead to a general argument or thesis.
deductive
a method of argumentation or reasoning where a general argument or thesis is provided at the outset and then specific facts and details are used to support this thesis.
review of criticism
section of a critical article that reviews other criticism that is relevant to the current discussion. In some disciplines, this is also called a "review of literature."
primary source
In literary criticism, the original literary text being studied is a primary source. This differs from other disciplines where a primary source may include
original research studies, ethnographic observations, etc.
secondary source
In literary criticism, any other materials, such as critical articles, historical resources, relevant theoretical texts, that are used in conjunction with a
primary source (or sources) to construct an argument.
Texts:
Baum, Rob. “Aphra Behn’s Black Body: Sex, Lies and Narrativity in Oroonoko.” Brno Studies in English, vol. 37, no. 2, Oct. 2011, pp. 7–29. DOI.org (Crossref), https://doi.org/10.5817/BSE2011-2-2.
Deb, Basuli. “Transnational Complications: Reimagining Oroonoko and Women’s Collective Politics in the Empire.” Frontiers: A Journal of Women Studies, vol. 36, no. 1, 2015, p. 33. DOI.org (Crossref), https://doi.org/10.5250/fronjwomestud.36.1.0033.
Mitsein, Rebekah. “Trans-Saharan Worlds and World Views in Aphra Behn’s Oroonoko.” Eighteenth-Century Fiction, vol. 30, no. 3, Mar. 2018, pp. 339–68. DOI.org (Crossref), https://doi.org/10.3138/ecf.30.3.339.
Morrissey, Lee. “Transplanting English Plantations in Aphra Behn’s Oroonoko.” The Global South, vol. 10, no. 2, 2016, p. 11. DOI.org (Crossref), https://doi.org/10.2979/globalsouth.10.2.02.
Pacheco, Anita. “‘Little Religion’ but ‘Admirable Morals’: Christianity and Honor in Aphra Behn’s Oroonoko.” Modern Philology, vol. 111, no. 2, Nov. 2013, pp. 253–80. DOI.org (Crossref), https://doi.org/10.1086/673098.
Richards, Cynthia. “Interrogating Oroonoko : Torture in a New World and a New Fiction of Power.” Eighteenth-Century Fiction, vol. 25, no. 4, July 2013, pp. 647–76. DOI.org (Crossref), https://doi.org/10.3138/ecf.25.4.647.
Rogers, Katharine M. “Fact and Fiction in Aphra Behn’s ‘Oroonoko.’” Studies in the Novel, vol. 20, no. 1, 1988, pp. 1–15. JSTOR.
Part 1. Example
Use Katharine Rogers's “Fact and Fiction in Aphra Behn’s ‘Oroonoko’” to answer the questions below:
What is the thesis (main argument) of the article? Where did you find it?
What are the key subpoints or lines of argument that the author uses to support the thesis?
Provide examples of evidence used to support the key subpoints.
Describe the strucutre of this argument.
Is this argument effective? Explain your evaluation, with support.
Part 2. Practice
Use your assigned article and practice analyzing the structure and effectiveness of the critic's argument.
What is the thesis (main argument) of the article? Where did you find it?
What are the key subpoints or lines of argument that the author uses to support the thesis?
Provide examples of evidence used to support the key subpoints.
Describe the strucutre of this argument.
Is this argument effective? Explain your evaluation, with support.
This quiz is open from Tuesday, 11/21 12:01am through Sunday 11/26 11:59pm
Instructions:
Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet.
The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered
in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:
Eliza Haywood, Fantomina, or Love in a Maze p. 1565-1580
GoogleBooks: this can be a great source for primary texts
(or reprints of primary texts) from earlier periods.
HathiTrust: this resource includes
many full-text, digitally searchable periodicals from earlier periods.
Michigan eLibrary catalog: use this to find primary and
secondary sources that are book length. You can order books from libraries all over Michigan and have them sent to the SHU library in a few days.
MLA International Bibliography: this resource
is the standard for literary criticism. From the link provided, click on MLA International Bibliography. If you are off-campus, click on
"Access through your Institution." On the next screen, enter "Siena Heights University" and click enter. Then choose Siena Heights University
from the list. On the next screen click on "all databases." [on campus access instructions resume here] On the alphabetized list, click "M."
Click on "MLA International Bibliography with Full Text."
Humanities Full Text: includes many of the most important academic journals in the humanities with the full text of articles
from over 300 periodicals dating back to 1995, and high-quality indexing for almost 700 journals—of which 470 are peer-reviewed—dating as far
back as 1984. The database provides coverage of feature articles, interviews, bibliographies, obituaries, and original works of fiction, drama,
poetry and book reviews, as well as reviews of ballets, dance programs, motion pictures, musicals, radio and television programs, plays, operas, and more.
Humanities Source: designed to meet the needs of students, researchers and educators interested in all aspects of the humanities.
The collection includes full text for more than 1,400 journals, with citations to over 3.5 million articles, including book reviews.
Coverage in Humanities Source includes worldwide content pertaining to literary, scholarly and creative thought.
Zotero: this free bibliography software allows you to easily collect and
organize research sources from the web--from regular websites, to sites like GoogleBooks and library database sites. Works with Firefox, Chrome, and
Safari browsers. Using the Zotero web service allows you to access your research sources from anywhere you have web access.
Secondary Sources
1. Evaluate the credibility source
How: when evaluating a source, you want to think about a few key factors. First, is the source credible?
If you have found it in a library database while searching for peer reviewed articles, you can be pretty certain that the source is reliable.
If you are using a web source, you will need to spend more time on this step. In the case of a website, see if you can answer questions like these:
Who is the author or sponsoring institution? Is the content peer reviewed and/or written by scholars in the field? If the source is a good one,
this type of information should be available, often in an "About" section. If you cannot answer these questions, then the site probably is not a good one to use.
2. Understand the source: identify the thesis and main subpoints.
How: in academic articles, particularly more recent ones, the structure is usually deductive, that is, the thesis is given in
the introduction. So, read carefully the abstract (if there is one) and
the introduction to identify the thesis. Sometimes there will be helpful
metatext signals like "I argue that..." Subpoints are sometimes marked
with section headings, but this is not as common in humanities scholarship
as it is in the sciences. However, you can still identify subpoints by
looking for places in the article where the topic shifts. One way to
find these areas is to create an outline of the article. The outline
does not need to be overly formal or detailed, but it should diagram
the main topics to help you identify where the topic changes: those
boundaries between one topic and the next will help you to see the
different pieces of the argument and how they fit together.
Identify the thesis, and then write it in your own words.
Create a brief outline of the argument and explain what the main topics (subpoints) are.
3. Evaluate how the source is relevant to your purpose
The next step is to evaluate the usefulness of the sources in relation to your purpose. In this case, we are looking for
several different types of sources: secondary sources that you could reference as you write a contextualizing introduction
for first time readers of the novel.
Primary Literary or Historical Sources
1. Brainstorm types of sources to find and other key terms to search
Consider relevant topics from your reading of the primary literary text
as well as breadcrumbs from your secondary source searches.
2. Look through your finds for relevant excerpts
Start to identify passages no more than several pages long that
will provide relevant social, cultural, and discursive context for the novel
Be prepared to present your findings to the class.
You will use information from these sources to write your Introduction for the edition assignment, and you should
also identify sources that you will include in full or part as part of your edition to provide context.
Workshop #2: Close Reading and Glossing Language
In this workshop we will practice identifying elements of language that need further explanation.
Note: There are some contextual glosses in the text already. You can use
these as models, but also look for additional areas where you can provide more information. We are working
on an annotated edition, so it should have more robust footnoting that is specific to your selected audience.
You may expand on an existing note, but you will also be expected to write your own notes.
Demographics
Identify your intended audience:
Describe specific considerations for this audience that you need to keep in mind as you prepare your edition:
Identify the contextual appendicies you have determined so far (or are planning to research further). This may
be a list of specific texts or types of cultural discourse you are researching (include key terms).
This edition the original spelling and the 18th century capitalization of nouns.
This edition maintains original punctuation.
This edition includes marked page numbers from the original edition of this text as it appeared
in a collection of Haywood's works
Part 1. Identification
Use your textbook and the etext of Fantomina above to identify a passage of the primary text
that you will gloss. How should you select your passage?
Length: approximately a column of text in our textbook; be sure that you are
selecting start and end pionts that make sense conceptually: so, for example, continue to the end of a paragraph rather than
breaking in the middle of a paragraph.
Content: choose content that will showcase your editorial decisions for your specific
audience. So, for example, if your audience is high school or college teachers, you will want to choose a passage that
requires a higher level of explanation for cultural practices or draws together themes. If your audience is high school students,
you will want to choose a passage that is particularly challenging for that audience (e.g. sex scene) to show how you would
deal with that challenge; for college students, choose a passage that would present a particular challenge--such as language
that means something different today than it did in the past to show how you will deal with that for this audience. In
short, your passage should showcase some of the most interesting glossing.
Examine your passage. Mark words that you think your intended audience may not know the meaning of. List them
here, and be sure to include the page number where you found them (you can also paste in the passgae from the etext and
mark directly in the passage with bold or highlight):
Review your passage a second time. This time, look for words, phrases, or descriptions that
reflect cultural discourses that may not be familiar to your indended audience.
Part 2. Editorial Decisions
Work with your group to review the words and phrases identified in Part 1. Discuss whether these
need further explanation for a typical audience. Revise your list as needed.
Part 3. Research
With any time left, begin researching your words and phrases.
Resource:
To find the past meanings of words, use the Oxford English Dictionary. Our
University does not currently subscribe to the OED, so use my login to access this resource. Click on the account icon:
On the next screen, click on the Sign in button: and then enter the information listed in our Canvas site
homepage.
Workshop #3: Writing Effective Footnotes and Headnotes
Part 1. Writing Footnotes
Guidelines for writing footnotes
Be accurate: make sure your information is correct.
Be relevant: focus on meaning(s) that are most relevant to the context in the
text. You may even make explicit reference to the action in the text for clarity.
Be concise: be direct in stating your explanation.
Use your list from Workshop #2 and start writing footnotes for each. Be sure to indicate where
the footnote would appear in the text.
Part 2. Reference List
As you are working, be sure to keep an accurate reference list. Your references should be
in MLA format. Write example references for this exercise that you can use as samples to
help you later.
Write a reference for an individual word from a dictionary.
Write a reference for a scholarly article (you may use a citation generator to help you).
Write a reference for a historical document (original or reprint, but if it is a reprint,
be sure you are including the original date of publication as well as the reprint date).
Part 2. Writing Headnotes
Guidelines for writing headnotes
Headnotes are the 1-2 paragraph (75-200 word) explanation of your contextual sources that help your reader
understand why they were selected and how they relate to the primary text. Your headnotes should:
Provide an overview of the complete source, particularly if you are providing a excerpt.
Draw relevant connections to the primary text.
Explain editorial selection choices if relevant
Final Project: Close Reading Modeling and Facilitation
Format: See below
Due: midnight, Wednesday, 12/13/23 in Canvas
Instructions
For this assignment, you will act as editor of a proposed new edition of Eliza Haywood's "Fantomina, or Love in a Maze."
First Steps
Determine some goals for your edition. You’ll need to decide who it’s intended for (its audience) and how you intend
them to use it (its purpose). To narrow the field a little, choose from among these: college-level English students, high school English Language
Arts students, or a teaching edition for college-level or high school-level educators. Consider questions like: What does my audience
want and need from this edition? How can I engage them and meet
them where they are, so that they get what they need from this edition?
With these initial goals in mind, start researching and planning your edition according to the guidelines below.
Edition Guidelines
Your edition must have:
An introduction, tailored to your purpose and audience for your edition
The introduction should be between 750 and 1000 words in length.
The introduction should engage your audience, frame the text (identify important themes/questions
that you want them to focus on), justify your framing, and generally present a rationale for your choice of supplementary
material (how does it all fit together to achieve your goal for the edition?).
At the end of the intro, include a works cited list for any sources you've drawn from.
Selected supplemental material with explanatory headnotes, references and full or excerpted material that you would include in your edition.
Your selections, and how you choose to organize them in your edition, should demonstrate a clear, consistent logic based on
your goals for the edition and your chosen audience.
Include at least five selections in your annotated bibliography.
Supplemental material could be a mix of primary sources (other plays, poems, fiction, visual art,
historical documents) and secondary sources (reviews, scholarly articles and book chapters) that will contextualize
the work for your reader. Sources could be historical or contemporary.
List material in the order you would present it in your edition, with a complete
MLA style citation for each selection
Be sure to indicate in your citation whether you would include the whole selection or an excerpt in your edition.
If you would include an excerpt, provide the specifics of where it would start and end.
If you would group selections together into sections under headings, list them that way in your bibliography.
Craft each annotation as a brief introduction to the selection (a.k.a. a headnote of one or two paragraphs) that you would provide for your
readers at the start of each selection. Write these annotations for your chosen audience, not for me.
Section of the text, edited for your chosen audience and purpose. Prepare an edited, annotated text of the passage.
As you prepare, consider the following questions with your audience and purpose in mind:
Should you modernize the spelling, and if so, to what extent?
Are there any words or phrases that will need to be glossed? And if so, how do you format this information?
Are there references to people, places, historical events, other texts, etc. that need to be explained?
Include any glosses, notes, emendations, spelling changes, etc. that you would use in your edition.
The passage should demonstrate a coherent and consistent logic informing your choices, one rooted in your choice of audience and your purpose.
An editor's note, explaining the choices you made in preparing your sample page.
The editor's note should be between 100-250 words in length.
Talk through the reasoning behind the decisions that shaped your edited text. Address how your decisions were
informed by your audience and purpose for the edition. If any decisions had you really hung up, discuss the options and what ultimately
pushed you in the direction you chose.
Edition Assignment Rubric
Passage of this assessment is based on the successful scoring of mostly threes and fours with an average score of 80% (35/44). See the rubric below for
more specific guidelines. Failure to pass this assessment may result in failure of the course or redoing the assessment.
Unsatisfactory
1-A level of performance that demonstrates a lack of understanding of the topic and little competence when attempting to implement
related activities to the topic.
Basic
2-A level of performance that demonstrates a limited level of understanding of the topic and low level of competence when
implementing related activities to the topic.
Proficient
3-A level of performance that demonstrates a fairly high level of understanding of the topic and some degree of competence when
implementing related activities to the topic.
Distinguished
4- A level of excellence that demonstrates a very high level of understanding of the topic and strong competence to implementing
related activities to the topic
In their introduction, the candidate will present and frame the selected text to engage their audience and
facilitate access to the text. The introduction is 750-1000 words in length.
5-9, 7-12: ELA.1.a., ELA.1.c., ELA.2.e. ELA.3.d., ELA.10.d., ELA.12.b., ELA.12.i., ELA.13.k
ENG: 1, 2
Liberal Arts: Critical Thinking, Communication
The candidate fails to present and frame the selected text
sufficiently or in ways that would engage their audience and
facilitate access to the texts. The introduction is significantly
shorter than the required page range.
The candidate attempts to present and frame the selected
text but may struggle to consistently engage their
audience and facilitate access to the texts. The introduction
is a bit shorter than the required page range.
The candidate does a fine job presenting and framing the
selected text in ways that would engage their audience
and facilitate access to the texts. The introduction falls
within the required page range.
The candidate does an excellent job presenting and framing
the selected text in ways that would engage their audience
and facilitate access to the texts. The introduction falls within
the required page range.
The candidate will include at least 5 texts in their annotated bibliography of supplementary material.
ENG: 7
The candidate’s edition falls more than two short of the required number of supplementary materials.
The candidate’s edition falls one or two short of the required number of supplementary materials.
The candidate’s edition includes the required number of supplementary materials.
The candidate’s edition includes the required number of supplementary materials.
The candidate will select a range of supplementary material appropriate for their target audience and
consistent with their goals for their edition.
5-9, 7-12: ELA.1.c., ELA.2.e. ELA.3.d., ELA.9.b., ELA.10.d., ELA.12.b., ELA.13.k
ENG: 7
Liberal Arts: Critical Thinking
The supplementary material is limited in range; more selections are less appropriate to their target audience or
inconsistent with the goals of their edition. The logic behind text selection is unclear.
The supplementary material may be limited in range; some selections may be less appropriate to their target audience or
inconsistent with the goals of their edition. The logic behind text selection may be unclear.
The candidate presents a range of supplementary material mostly appropriate to their target audience and consistent with
the goals of their edition. The logic behind text selection is most clear.
The candidate presents a diverse range of supplementary material appropriate to their target audience and consistent with
the goals of their edition. The logic behind text selection is clear.
In their introduction and/or annotations, the candidate
will introduce and frame supplementary materials to engage
their audience and facilitate access to the texts.
5-9, 7-12: ELA.1.a., ELA.1.c., ELA.2.e. ELA.3.d., ELA.9.b., ELA.10.d., ELA.12.b., ELA.12.i., ELA.13.k
Liberal Arts: Critical Thinking, Communication
The candidate fails to introduce and frame the selected
supplementary materials sufficiently or in ways that would engage
their audience and facilitate access to the texts.
The candidate attempts to introduce and frame the selected
supplementary materials but may struggle to consistently
engage their audience and facilitate access to the texts.
The candidate does a fine job introducing and framing
the selected supplementary materials in ways that would
engage their audience and facilitate access to the texts.
The candidate does an excellent job introducing and
framing the selected supplementary materials in ways
that would engage their audience and facilitate access to the texts.
The candidate will edit the play text to facilitate access and
understanding, and to otherwise meet the needs of their target audience.
5-9, 7-12: ELA.1.a., ELA.1.c.,
Liberal Arts: Critical Thinking
The candidate’s edited text is not designed to facilitate
access and understanding and does not reflect consideration of
the target audience.
The candidate’s edited text is somewhat designed to
facilitate access and understanding but may not fully meet
the needs of their target audience.
The candidate’s edited text is mostly designed to facilitate
access and understanding, and to otherwise meet the needs of
their target audience.
The candidate’s edited text is thoughtfully designed
to facilitate access and understanding, and to otherwise
meet the needs of their target audience.
The candidate will explain their editorial decisions
in a way that reflects awareness of audience and consistency
of purpose, and with an understanding of the power of the
editor to shape the reader’s experience of the text.
5-9, 7-12: ELA.1.a., ELA.1.c., ELA.6.l
ENG: 7
Liberal Arts: Critical Thinking
The candidate’s editor’s note reflects a lack of awareness
of audience and consistency of purpose, and limited or no
understanding of the power of the editor to shape the reader’s
experience of the text. The editor’s note falls significantly
short of the required page range.
The candidate’s editor’s note reflects limited awareness
of audience and consistency of purpose, and limited understanding
of the power of the editor to shape the reader’s experience of
the text. The editor’s note falls a little short of the required
page range.
The candidate’s editor’s note reflects awareness of audience
and consistency of purpose, and an understanding of the power of
the editor to shape the reader’s experience of the text. The
editor’s note falls within the required page range.
The candidate’s editor’s note reflects exceptional
awareness of audience and consistency of purpose, and an
understanding of the power of the editor to shape the reader’s
experience of the text. The editor’s note falls within the required
page range.
Through their introduction, selection of supplementary
materials, and framing of supplementary materials, the candidate
will foster critical literacy, provide multiple interpretive lenses,
and enable readers to read with and against the selected play text
and supplementary materials.
ELA.9.b., ELA.12.h.
The candidate fails to use these components of the assignment
to foster critical literacy, provide multiple interpretive lenses,
or enable readers to read with and against the selected play and
supplementary materials
The candidate makes some attempt to use these components
of the assignment to foster critical literacy, provide multiple
interpretive lenses, or enable readers to read with and against
the selected play and supplementary materials, but may fall short
in one or more of these areas.
Through these components of the assignment, the candidate
fosters critical literacy, provides multiple interpretive lenses,
and enables readers to read with and against the selected play and
supplementary materials.
Through these components of the assignment, the candidate
consistently and effectively fosters critical literacy, provides
multiple interpretive lenses, and enables readers to read with
and against the selected play and supplementary materials.
Across the project, the candidate will demonstrate
awareness of current issues relevant to the ELA classroom
and of the need for course content to reflect learners’
languages, cultures, and experiences.
Across the project, the candidate demonstrates limited or
no awareness of current issues relevant to the ELA classroom
and of the need for course content to reflect learners’ languages,
cultures, and experiences, with major gaps or inconsistencies.
Across the project, the candidate demonstrates limited
awareness of current issues relevant to the ELA classroom and
of the need for course content to reflect learners’ languages,
cultures, and experiences, with some gaps or inconsistencies.
Across the project, the candidate demonstrates awareness of
current issues relevant to the ELA classroom and of the need
for course content to reflect learners’ languages, cultures,
and experiences.
Across the project, the candidate demonstrates exceptional
awareness of current issues relevant to the ELA classroom and
of the need for course content to reflect learners’ languages,
cultures, and experiences.
The candidate will write engaging and compelling
academic prose, appropriate for their edition’s target
audience.
ENG: 5
Liberal Arts: Communication
The candidate’s writing is ineffective and/or inappropriate
for the edition’s target audience.
The candidate’s writing is somewhat effective but may not
be fully appropriate for their edition’s target audience.
The candidate’s writing is mostly engaging and compelling
and largely geared towards the edition’s target audience.
The candidate’s writing is consistently engaging and
compelling and clearly geared towards the edition’s target
audience.
The candidate will meet MLA conventions for
style and citations.
ENG: 5
Liberal Arts: Communication
The candidate’s writing fails to meet basic MLA
conventions for style and citations.
The candidate’s writing meets basic expectations
for MLA style and has multiple errors in citation.
The candidate’s writing makes effective use of MLA
style and few errors in citation.
The candidate’s writing makes effective use of MLA style
and has no errors in citation.
The candidate will write conforming to the
standards of Edited American English
ENG: 5
Liberal Arts: Communication
The candidate’s writing is unclear and exhibits
multiple errors in grammar and mechanics.
The candidate’s writing is mostly clear but exhibits
patterns of errors in grammar and mechanics.
The candidate’s writing is clear and largely
free of errors in grammar and mechanics.
The candidate’s writing is clear and nearly
free of errors in grammar and mechanics.
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