ENGLISH 101-19:
Mythology & Identity
Instructor: David Bowen Office: 137E McIver
Office Phone: 334-5311 Hours: TR,
Email: ddbowen2000@yahoo.com and by appointment
I. Student Learning Goals
At the completion of this course, the student will be able to:
· Identify and understand varied characteristics of literature
· Apply techniques of literary analysis to texts
· Use literary study to develop skills in careful reading and clear writing
· Demonstrate understanding of the diverse social and historical contexts in which literary texts have been written and interpreted
II. General Expectations
· Courses will be broad and foundational in nature; they will not assume extensive previous knowledge
Courses will satisfy most (if not all) of these guidelines
This course is designed to sharpen the kinds of writing, reading, and thinking skills you will need to be successful in college and beyond. By the end of the course you should be able to choose effective strategies for overcoming problems in your own writing process; write and evaluate arguments; locate and evaluate textual evidence and incorporate it into your own writing; and analyze your writing and the writing of others, critically evaluating the effectiveness of content and presentation. We’ll also be reading a lot, focusing primarily on how identity is located in a cultural context. Through writing, reading, and collaborating with your peers, you will learn to examine yourself and the world around you more closely.
Required Texts:
Writing
Matters and Writing Matters Supplement 2001-2002
The Writer’s Reference, 5th Edition (Diana Hacker)
The Woman Warrior (Maxine Hong Kingston)
Ceremony (Leslie Marmon Silko)
Several readings on e-reserve (Various)
Course Requirements and Grading: Your semester grade will be determined by two things: the final portfolio and class participation. Each item counts for half of your total grade. Individual papers will not be graded, but I will provide extensive feedback for you to use during revision. At our first conference, we’ll discuss your work so far and I’ll supply a midterm grade. For evaluation criteria, read Writing Matters, 99-101. Feel free to talk with me at any time about your progress in the course.
Class Participation means: Coming to class prepared with at least one question or comment from the reading assignment; completing homework assignments; providing written and verbal feedback to classmates during peer review sessions; and taking an active role in small group activities. In other words, credit for class participation is not granted simply for coming to class—you have to participate.
Group work: During group activities you will share ideas and writing with your peers, working together through the revision process. It is important that throughout these sessions you work together supportively and cooperatively.
Portfolios: In short, your portfolio will be a representation of the work you have accomplished during the semester. It will include at least 20 pages of work that has been revised extensively and polished, providing you the opportunity to have your best work evaluated. Thus, your portfolio will not necessarily be excluded to the four essays you are required to write. You are invited to revise journal entries and in-class writings as well.
Journals: Each week, you will complete a journal entry where you respond to and make personal connections with some of the things you’ve read. To get you thinking about the material, I will email you questions each week, so make sure that your student account is up and running. These questions are intended to spark your own interests in the readings and help you identify how you relate to them, so you can disregard the questions if you want to approach the readings from a different perspective—in fact, I encourage it.
Late work: Since this class emphasizes the process of writing, deadlines will be very important. Late work is unacceptable. If you are afraid of missing a deadline, talk to me.
Attendance: For every formal paper that you write, you will move through drafts and revisions, working with your peers to rethink, revise, and edit your work, in addition to helping them with theirs. Consequently, prompt attendance at each class is mandatory. If you know in advance that you will miss class, make arrangements with me prior to your absence. You are responsible for finding out what goes on in any class you miss, including any changes in the schedule or homework assignments.
You have two free absences. Your semester grade will be lowered by one letter for each additional absence. Some quick math reveals that even despite sure evidence of genius, six absences equals a failing grade.
Conferences: You will sign up for two individual and informal meetings with me: one around midterm and one near the end. The meetings will give me a better idea of your interests and concerns related to your writing, and you’ll have the chance to receive more specific feedback on your work. Missing a conference will count as a class absence.
Academic Misconduct (i.e. Cheating): UNCG has a strict policy against using someone else’s words or ideas without attributing such to them. If you are concerned about inadvertently violating the Academic Integrity Policy, please ask me about it before you hand in your assignment. The minimum punishment for intentional plagiarism is a failing grade in the course; the maximum penalty is expulsion from the university.
The
Learning Disabilities/Differences: If you have a disability that might affect your performance in this course, please let me know immediately or call the office of Disability Services at 334-5440.
Jan 14 T — Introductions and course overview
16 R — Writing Matters pp. 5-36, 99-102; and handout on creation myths
21 T — “The Call to Adventure,” by Joseph Campbell (E); “On Rainy River” and
“The Things They Carried,” by Tim O’Brien (E); discuss Essay #1
23 R — Writer’s Reference pp. 3-11, 23-31; and “Narration, Memory, and Self-Awareness,” by Marjorie and Jon Ford (E)
28 T — “Myth as Metaphor,” interview with
Joseph Campbell by Michael Toms (E); and “Hsao-suen:
A Chinese Virtue,” by Caitlin Liu (E)
30 R — “Rites, Ritual and Responsibility: Dilemma in
American Culture,” by John A. Rush (E); and “News,” by Garrison Keillor (E); Peer Review Essay #1
Feb 04 T — “I Want a Wife,” by Judy Syfers (E); “Conversational Styles,” by Deborah Tannen (E); “Thank Heaven for Little Boys,” by Ana Veciana-Suarez
(handout);
and “Rites of Passage,” by Sharon Olds (handout); Essay #1 due; discuss
Essay #2
06 R — “Drive Becarefully,” by Joyce Chang (E); “An Essay on Language,” by Anthony Bukoski (E); and “Language,” by bell hooks (E)
11 T — The Woman Warrior: “No Name Woman” and “White Tigers”
13 R — The Woman Warrior: “Shaman”; Peer Review Essay #2
18 T — The Woman
Warrior: “At the
20 R — Writer’s Reference, pp. 295-322 (Meet at Jackson Library in the Citilab)
25 T — “Psychological Criticism,” by Ann B. Dobie (E); and “Young Goodman Brown,” by Nathaniel Hawthorne (E)
27 R — Peer Review Essay #3
March 04 – 06:
Midterm conferences; Essay #3 due
March 11 – 13: Spring Break