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by: Stephanie Austin

tester Cultural Anthropology

Stephanie Austin

GPA 3.7

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Cultural Anthropology
Mckenzie Crouse
Class Notes
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This 5 page Class Notes was uploaded by Stephanie Austin on Friday September 9, 2016. The Class Notes belongs to Cultural Anthropology at University of New England taught by Mckenzie Crouse in Spring 2015. Since its upload, it has received 4 views. For similar materials see Cultural Anthropology in Anthropology at University of New England.


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Date Created: 09/09/16
Writing and the Literary Arts CLITR­1100­05 (80873) Fall 2016 / Thursday, 6:45 – 9:15 University Hall, Room 2­048 Office Hours: by appointment Steven Beeber – Course Description:   Writing and the Literary Arts hones students’ skills in expository writing and literary analysis.   Through its focus on genre, language, critical terms, and close reading, the course prepares  students for 2000­level courses in literature and the arts.  Students read, discuss, and write about  fiction, poetry, and drama from a wide variety of cultures and chronological periods. Course Objectives:  Familiarize students with the three major genres of literature: fiction, drama, and poetry.  Introduce students to a methodology of literary analysis, including an understanding of  the formal literary elements that characterize each genre.  Provide students with the ability to critically read and discuss literature in all three genres.  Ensure that students develop the ability to apply the methods of literary analysis in  writing about each genre.  Teach students to document references appropriately, using the MLA format.  Emphasize strategies learned in English Composition, especially analysis and argument.  Refine writing skills such as the development of a thesis statement, logical organization,  effective transitions, presentation and discussion of textual evidence and outside sources,  effective paraphrase and synthesis, and strategic use and integration of quotation.  Build on prewriting and revision strategies developed in English Composition.  Clarify the distinction between writing a plot summary and writing analysis.  Help students learn to refine editing skills with attention to diction, effective and varied  sentence construction, correct format, and proper punctuation. Attendance: More than two unexcused absences will affect your grade.  If you have to miss a  class, email or call. Class preparation and participation:  Come to class having completed the reading and writing assigned for that week.  Participation  includes active listening, contributing to discussion, and helping to establish an environment for  mutual respect and learning.  Though we may not discuss all of the reading assignments at the  same length, you are still expected to have read them and you should be prepared to answer  questions about them on the exams.  Writing Assignments:  Four papers will be assigned in the course.  The first two, analytical essays on a work of short  fiction (750­1000 words each), will count for 20% of the course grade (10% each).  The third, an analytical essay (1500­1750 words) on Life in Miniature or Death of a Salesman, supported by  research, will count for 25%.  The fourth, an explication of poetry (750­1000 words), will count  for 10%.  All papers must include references to the text(s) being analyzed and, for the research  paper, selected criticism using appropriate MLA documentation.  There will be a midterm (15%)  and a final exam (15%).  Class participation will count for 15% of the final grade.  The first and  second papers may be revised.  Texts:   The Seagull Reader. Third edition. Joseph Kelly. W.W. Norton  Life in Miniature, Linda Schlossberg  A Writer’s Reference, Diana Hacker  Occasional handouts – on the internet or our class website Late Grade Policy:  Unless you have a legitimate reason for a paper being late, the grade will be lowered one  increment (e.g., B to B­) every two days after the due date. Academic Responsibility:   Unless approved beforehand, everything submitted for this course is to be your own original  work completed specifically for this course and not previously or concurrently submitted to any  other instructor.  All infractions of this policy will be taken seriously and pursued accordingly.   Please refer to the Student Handbook for more specific policy guidelines. SCHEDULE WEEK 1 – September 8, 2016 – Intro – Voice / Tone Introduction.  Critical nature of participation.  Language as sound, emotion, and meaning. Assigned reading: The Story of an Hour, Kate Chopin Girl, Jamaica Kincaid  WEEK 2 – September 15, 2016 – Character / Setting Creating characters in fiction.  Reading them in the context of their worlds. Assigned reading: Hills Like White Elephants, Ernest Hemingway Dirty Wedding, Denis Johnson (on class website) The Yellow Wallpaper, Charlotte Perkins Gilman WEEK 3 – September 22, 2016 – Plot / Structure Structural elements such as exposition, climax, and resolution.  How point of view relates to plot. Assigned reading:  Where Are You Going, Where Have You Been, Joyce Carol Oates I’m a Mad Dog Biting Myself for Sympathy, Louise Erdrich What You Pawn I Will Redeem, Sherman Alexie First analytical paper due WEEK 4 – September 29, 2016 – Symbolism / Theme Symbols and metaphors as “interpretive” devices. Assigned reading:  A Very Old Man with Enormous Wings, Gabriel García Marquez Cathedral, Raymond Carver WEEK 5 – October 6, 2016 – Point of View  Whose story is it? Who tells it? How does that affect the story?  Assigned Reading: Who’s Irish, Gish Jen (on class website)  Everyday Use, Alice Walker (on class website) Winky, George Saunders WEEK 6 – October 13, 2016 – Epiphany / Subtext Identifying the moment of revelation.  Text and subtext.  Going beyond what to why and how. Assigned Reading: Bullet in the Brain, Tobias Wolff (on class website) Brownies, Z.Z. Packer (on class website) Jealous Husband Returns in form of Parrot, Robert Olen Butler (on class website) Midterm Review  Second analytical paper due WEEK 7 – October 20, 2016 – All Together Now MIDTERM EXAM  WEEK 8 – October 27, 2016 – The Novel  Assigned Reading: Life in Miniature, Linda Schlossberg WEEK 9 – November 3, 2016 – Drama Film:  Death of a Salesman (1985 version)  Assigned Reading: Death of a Salesman, Arthur Miller WEEK 10 – November 10, 2016 – Drama Assigned Reading: Death of a Salesman, Arthur Miller WEEK 11 – November 17, 2016 – Poetry The methods of poetry. Centrality of voice, symbolism, and tone. The Romantics Assigned Reading: “My Mistress’s Eyes Are Nothing Like the Sun (Sonnet 130),” William Shakespeare “The Chimney Sweeper” (1789), “The Chimney Sweeper” (1794), William Blake­resources/william­blake/songs­innocence­and­ experience/songs­experience­chimney­sweeper “Kubla Khan,” Samuel Taylor Coleridge “Song of Myself,” Walt Whitman “The Soul selects her own Society,” “I heard a Fly buzz­­when I died,” Emily Dickinson “Annabel Lee,” Edgar Allen Poe WEEK 12 – December 1, 2016 – Poetry  Modernism and Confessional Poetry Assigned Reading:  “The Road Not Taken,” Robert Frost “The Love Song of J. Alfred Prufrock,” T.S. Eliot “High Windows,” Philip Larkin “Skunk Hour,” Robert Lowell “Daddy,” Sylvia Plath “Her Kind,” Anne Sexton WEEK 13 – December 8, 2016 – Poetry  Contemporary “conventions” in poetry Assigned reading: “Thrown as if Fierce & Wild,” Dean Young­if­ fierce­wild “My Childhood,” Matthew Zapruder­childhood “It Happens Like This,” James Tate­happens   “Providence,” Natasha Trethewey Review for Final Exam Research Paper Due FINAL EXAM – Date TBA Explication of poem paper due 


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