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CARLETON UNIVERSITY DEPARTMENT OF ENGLISH FALL/WINTER 2009–2010 ENGL 1000 I—LITERATURE, GENRE, CONTEXT Tuesdays and Thursdays, 6:05–7:25pm Location: 3269 ME (Fall) & 402 SA (Winter) Please confirm locations on Carleton Central Dr. Morgan Rooney Office: 1915 DT Office Hours: Thursdays, 4:00–5:00pm (or by appointment)

Phone: (613) 520-2600, ext. 2317 Email: WebCT

COURSE DESCRIPTION: This course is designed to introduce you to the major literary genres (poetry, drama, and prose fiction) as well as a variety of related modes and forms; to help you develop a sensitivity to a literary work’s historical moment; to familiarize you with genre-specific and literary-critical discourses; to hone your close reading, critical thinking, and essay writing skills; and to explore together some of the most memorable literature written in English over the last four centuries or so. Classes will consist of lectures, discussions (towards which you are expected to contribute), and in-class assignments. By engaging with the readings in a variety of written exercises, you will be required to apply the concepts taught in the lectures. This course will be, to an extent, WebCT supported. More details to follow. Please note: ENGL 1000 is a writing-attentive course. “Writing attentive” means the following: • •

• •

Students will write at least one examination Students will write a minimum of two graded writing assignments per term, in which they are expected to do the following: o develop an argumentative thesis across an essay o develop complex ideas using correct and effective expression according to academic English practice o use and cite evidence from primary texts appropriately o develop literary skills through close critical analysis of texts from a variety of genres o develop fluency in genre-specific literary terms of analysis Students will also be introduced to issues in secondary research (such as critical analysis of secondary materials) A portion of class time will be devoted to developing and improving essay writing skills.

2 REQUIRED TEXTS: Fall Semester Behn, Aphra. The Rover. Ed. Anne Russell. 2nd ed. Peterborough: Broadview Press, 1999. Marlowe, Christopher. Doctor Faustus. Ed. Michael Keefer. 2nd ed. Peterborough: Broadview Press, 2007. Rosengarten, Herbert, and Amanda Goldrick-Jones, eds. The Broadview Anthology of Poetry. 2nd ed. Peterborough: Broadview Press, 2008. Winter Semester Lynch, Gerald, and David Rampton, eds. Short Fiction: An Introductory Anthology. 2nd ed. Toronto: Nelson, 2005. Shakespeare, William. Measure for Measure. Ed. Brian Gibbons. 2nd ed. Cambridge: Cambridge University Press, 2006. Shakespeare, William. The Tempest. Ed. David Lindley. Cambridge: Cambridge University Press, 2002. Shelley, Mary. Frankenstein; or, The Modern Prometheus. Ed. D. L. Macdonald and Kathleen Scherf. 2nd ed. Peterborough: Broadview Press, 1999. Stoker, Bram. Dracula. Ed. Glennis Byron. Peterborough: Broadview Press, 1998. These books will be available at Octopus Books, which is located at 116 Third Avenue, just off of Bank Street. For more information, call the store at (613) 233-2589 or visit online at Students will also require access to a style manual (the MLA Handbook [2nd floor research help desk, LB 2369 .G52 2009]), a dictionary (the Oxford English Dictionary is accessible at, a grammar aid (any of the following will do: Lynn Quitman Troyka and Douglas Hesse’s Simon and Schuster: Quick Access Reference for Writers [2nd floor reference, PE 1408. T6965 2007], Don LePan’s Broadview Book of Common Errors in English [2nd floor reserves, PE 1460. L46 2003], or John C. Hodges et al.’s Harbrace College Handbook for Canadian Writers [2nd floor reference, PE 1112. H37 1994]), and a dictionary of literary terms (J. A. Cuddon’s Dictionary of Literary Terms and Literary Theory [2nd floor reference, PN 41. C83 1998]). Because these volumes are all designated “Library Use Only,” they will always be available to you, free of charge. EVALUATION: Pop Quizzes (best four [4] of six [6]) Grammar Quizzes (two [2]; Oct. 8 & Oct. 15) Short Essay #1 (800–1000 words / 2½–3 pages long; Oct. 20) Short Essay #2 (800–1000 words / 2½–3 pages long; Dec. 3) Midterm Exam (TBA; Fall exams take place on Dec. 9–22) Research Essay Proposal (Feb. 25) Research Essay (2000 words / 6–7 pages long; Apr. 1) Final Exam (TBA; Winter exams take place on Apr. 8–24)

15% 5% 5% 10% 20% 5% 20% 20%

3 COURSE POLICIES: Attendance: Attendance is vital to securing a passing grade in this course. At a random time every class, I will circulate a sign-in sheet; this sheet is the final authority on your attendance record, so make sure you sign it. While I won’t be awarding marks for attendance, the course is structured to encourage and reward regular attendance. If you need further motivation, take careful note of the following: I won’t allow you to write the Midterm or Final Exam if you miss five (5) or more classes during either semester and will award you with an “F” / “ABS” for the course, as per Section 2.1 (p. 42) of the Academic Regulations described in Carleton University’s 2009–2010 Undergraduate Calendar ( Please note that anyone who misses a class is solely responsible for catching up with missed material. I don’t make my lecture notes available under any circumstances, so you’ll have to make arrangements with a friend to get the notes. Because your Pop Quiz mark is determined by the best four (4) out of six (6), which means that there is some flexibility here, there will be no re-scheduling of that particular in-class assignment: if you are absent the day of a Pop Quiz, you forfeit the marks. With that said, we all get sick from time to time, and there are other legitimate reasons why you might have to miss a class. I’m always willing to help you out in such situations, but you have to help yourself out first. If you miss a class for medical reasons, bring me a doctor’s note and you won’t forfeit any marks. If you must leave class early or come in late one day, let me know in advance and you will get credit for that part of the class you attended—otherwise, failure to sign the sign-in sheet counts as a full absence. If you know you’re going to be absent on a day we write a scheduled in-class assignment, email me well in advance and we’ll arrange a time for you to write it outside of class. If you fail to take these precautions, however, you will not get a chance to make up any assignments you miss. In short, in every possible scenario involving your absence, you’re responsible for taking the first steps to make sure your grade doesn’t suffer unnecessarily. Basic Preparation: As a matter of course, you are expected to 1) attend all lectures; 2) complete the scheduled readings beforehand; 3) arrive prepared to discuss what you have read; 4) bring the relevant text(s) to class; and 5) have a piece of paper on hand in case of a Pop Quiz. I strongly recommend taking notes on the lectures and keeping a record of the passages and terms we discuss in class. Writing in the margins of your books and marking off key passages as you read is also a good idea. Passages and terms discussed in class are likely to appear on the quizzes and exams. Completion of Course: Take careful note of Section 2.1 (p. 42) of the Academic Regulations described in Carleton University’s 2009–2010 Undergraduate Calendar ( “To obtain credit in a course, students must meet all the course requirements for attendance, term work, and examinations as published in the course outline.” If you have not completed even the smallest component of the course by the time I am grading the Final Exam, then you will fail the entire course. (For the Pop Quizzes, students must write at least one [1] to satisfy

4 this clause.) This policy applies equally to students seeking, for instance, a Deferral for an exam: if you are not in good standing on this front, I won’t approve of a Deferral. Assignment Submission: All typed assignments are to be submitted in person, in hardcopy form, at the beginning of regularly scheduled classes, and all in-class assignments are to be submitted in class on the days/times they take place. In all cases, I don’t accept assignments via email, fax, disk, or any format other than hard copy (i.e., printed on paper). If you email an assignment to me on time (—use this email address for this purpose only; I don’t check it regularly, and I won’t reply to anything else you might send me there as I expect you to use WebCT), I’ll consider it as submitted on time, but I won’t mark it unless you bring a duplicate hard copy to our next meeting. If for some reason you cannot submit your assignment to me in person, leave it at the Secretariat at the Department of English at 1812 DT, where it will be date-stamped before being placed in my mailbox. If the Secretariat is closed, leave your assignment in the drop-box next to the office counter. Note that papers left in the drop-box will be datestamped the next morning (or, if you submit on the weekend, the following Monday). I will date the submission of any essay not received in class from the date-stamp. Don’t slide your paper under my office door under any circumstances; if you do, you’re leaving a lot to chance. I’m not in the office regularly and, moreover, I share it with others, which increases the likelihood of it being misplaced. In addition, with no date-stamp, I consider the day I find the paper as the day you submitted it. Please note: In the rare event that one of your assignments is lost, misplaced, or not received by the instructor, you are responsible for having a backup copy that can be submitted immediately upon request. Late Assignments: I have an innovative and surprisingly effective late policy, which is that all deadlines are final. All typed assignments are due at the beginning of class on the day stipulated; all in-class assignments are due in class on the days and times they take place. Assignments submitted after the specified times will receive an automatic zero (0). An extension without penalty for the essay will be granted only to students who provide valid medical documentation, or whose circumstances are particularly extenuating (i.e., a family crisis) and who have made arrangements with me prior to the due date. Be aware that the fact that you have an assignment for another course due on the same week or day is not a sufficient cause for an extension. Plan ahead. Email: I am always available to answer questions via the WebCT email. I tend to reply quickly, but please allow me at least 48 hours to respond before contacting me again to check on the status of your query. I’ll be largely away from my email on Mondays, Tuesdays, and Wednesdays, which means I’ll be slower in responding to emails sent on those days in particular. Please be respectful in your emails. That means consulting the syllabus before you send your email to see if it answers your question(s) for you, for instance. If you email me asking a question answered in that document, my only reply will be a curt “please see the syllabus.”

5 Grade Inquiries: I’m always willing to review returned assignments, but please don’t come to me with questions about why you got the grade you did immediately after an assignment is handed back. In the instance of your essays, you’ll be receiving detailed feedback; before you approach me about your mark, take a minimum of 2 days to process that feedback. If, after that time, you still wish to discuss your grade, we can do so. Please note, however, that I’ll expect you to engage with my feedback to show me how some aspect of my criticisms doesn’t apply. Note also that requests for re-marking raise the possibility of a lower as well as a higher grade. All in-class assignments and the Midterm, conversely, will be taken up during a later class, at which time you’ll learn why you got the mark you did. If something is still unclear after you’ve taken a minimum of 2 days to process the information, we can meet to discuss it. Again, come prepared to show me how the mark I gave you doesn’t square with what I said when I took up the assignment in class. For the Final Exam, students may arrange for a time to peruse it, but they can’t remove, correct, or otherwise change it. It must remain, as is, with the department. Final Grades: Standing in a course is determined by the course instructor subject to the approval of the Faculty Dean. This means that grades submitted by the instructor may be subject to revision. No grades are final until they have been approved by the Dean. Academic Dishonesty: The University Senate defines plagiarism as presenting, whether intentionally or not, the ideas, expression of ideas, or the work of others as one’s own. Acts of academic fraud include the following: • • • • •

reproducing or paraphrasing portions of someone else’s published or unpublished material, regardless of the source, and presenting these as one’s own without proper citation or reference to the original source submitting a take-home examination, essay, laboratory report or other assignment written, in whole or in part, by someone else using ideas, quotations, or paraphrased material, concepts, or ideas without appropriate acknowledgement in an essay or assignment failing to acknowledge sources through the use of proper citations when using another’s work, and/or failing to use quotation marks handing in substantially the same piece of work for academic credit more than once without prior written permission of the course instructor in which the submission occurs

Plagiarism is a form of intellectual theft. It is a serious offence that can’t be resolved directly with the course’s instructor. The Associate Deans of the Faculty conduct a rigorous investigation, including an interview with the student, when an instructor suspects a piece of work has been plagiarized. Penalties are not trivial. They can include failure of the assignment, failure of the entire course, suspension from a program, suspension from the university, or even expulsion from the university.

6 It is your responsibility to know what constitutes academic fraud: for more information, see Section 14 (pp. 59–61) of the Academic Regulations described in the Undergraduate Calendar ( and Carleton’s Academic Integrity Policy ( In-class Conduct: In order to foster the most productive learning environment for you and your peers, I ask that each of you • • •

Refrain from private conversations within the class during teaching time. Avoid being late; I understand that sometimes this isn’t always possible, especially during the winter months, but chronic lateness is both rude and annoying. Turn off all cell phones and electronic equipment that might disrupt the class. Students may use laptops, but for note-taking purposes only. If I receive any complaints from students sitting behind you who are distracted by the fact that you’re fooling around on your laptop, I’ll be forced to ban all laptops from the classroom for the remainder of the year. This will be my only warning.

ASSIGNMENT DETAILS: Assignment Specifications: All typed assignments must conform to the following specifications: •

• • •

Times New Roman, 12-point font; double-spaced, on one side of white, unlined 8½ x 11 inch paper; one-inch margins (sides, top, and bottom); page numbers in the upper right corner; pages stapled or clipped together in the upper left corner; free of penciled-in corrections; with no extra spaces between paragraphs. A cover page, including the title of the assignment (one that reflects the paper’s contents, not just “Essay” or “Title of the Work I’m Writing On”), student name, course name and section, instructor’s name, and date of submission. Proper documentation of all sources referenced, using MLA, APA, or the Chicago style of citation. Unencumbered by a folder or envelope of any kind.

Failure to comply with these specifications will result in deductions of up to 10%. Pop Quizzes: The Pop Quizzes are designed to motivate you to attend classes regularly and do the required reading(s), and to prepare you for the Midterm and Final Exams. There will be six (6) Pop Quizzes in total; your best four (4) will account for 15% of your overall mark in the course. Because of this flexibility, they must be written in class on the days during which they are administered. If you are absent from class during a day in which a Pop Quiz was given, you forfeit the marks. Official documentation to explain your absence will keep you from losing marks on this front, but under no circumstances will you be allowed to write a “make-up” Pop Quiz, as that would defeat the purpose of the exercise.

7 The Pop Quizzes will be administered on random days and times, with no advance warning. You will be given a passage from a work we have recently read. You will have 15 minutes to identify, by full name, the author and title of the work, and to explain the significance of the quotation as it relates to the work in question. Make sure you always have a sheet of paper on hand for these assignments. There’s no magic formula here for a perfect mark, but a good answer should be about 6–8 sentences (not lines) long and should do the following things: • • •

Correctly identify the passage by indicating the full names of the author and the title of the piece. If possible, briefly situate the passage in terms of plot (prose fiction, drama, narrative poem) or central idea (lyric poem), and clarify the event/process/idea being described. Identify how the passage relates to the rest of the work in question. For instance, with works of prose fiction and drama, you might want to ask the following kinds of questions: is the excerpt an instance of foreshadowing? Does it double or echo some other aspect of the text, and to what effect? With works of poetry, similarly, you might want to ask the following kinds of questions: how does the excerpt relate to the poem’s overall idea? How does it contribute to the poem’s overall argument or point? Relate the passage to the prominent formal and/or thematic issues that the text raises. These will be the kinds of issues we will be discussing in class. Nailing this last point is key to securing an “A”-range mark.

Grammar Quizzes: The Grammar Quizzes (Oct. 8 & Oct. 15) are designed to test you on the issues raised in the grammar lectures (Oct. 6 & Oct. 13), and to help you to write clean essays. In order to help you better prepare, I have made practice quizzes available. To access these, visit WebCT; you’ll find them and the corresponding answer sheets on the home page, in a folder called “Course Materials.” Short Essay #1 & #2: The Short Essays must be 800–1000 words (i.e., 2 ½–3 pages) long; the 1st is due on Oct. 20 and the 2nd on Dec. 3. A list of topics for each can be found below. Please note the following piece of information very carefully: essays submitted on a topic not covered in the assigned essay topics will receive an automatic zero (0). There will be no exceptions to this rule. Secondary sources are neither expected nor required for the 1st essay. For the 2nd essay, however, you are expected to make meaningful engagement with at least two (2) scholarly sources on your author(s) / text(s) of choice; see my comments on “scholarly sources” below, under the description of the Research Essay. Your papers must have a thesis (a central insight, a main point around which you organize the essay) that answers the question(s) being asked of you. You are expected to engage with the text on a regular basis to advance your reading: cite specific details and passages from a work, and use them to help develop a coherent, argumentative reading.

8 Omit plot summary and your personal, affective response to the text (“I liked or hated this story because…”). Instead, be analytical in your approach: carefully think through what it is that the text sets out to do or to communicate, and make sure you answer the question(s) being asked of you. For more practical tips on the essays, see my comments below, under “Research Essay” and “Understanding Your Essay Grade.” Short Essay #1 Topics 1. In what ways do Shakespeare’s and Elizabeth Barrett Browning’s Sonnets describe the concept of love (romantic or otherwise)? How do their conceptions compare, and how do they differ? In particular, think about Shakespeare’s recurring focus on the future status of that love and Browning’s overwhelming concern with the earthly and the immediate. 2. Consider the role of women in society as it is depicted in Collier’s “The Woman’s Labour,” which is a direct response to Duck’s “The Thresher’s Labour.” What is the plight of mid-eighteenth-century woman as Collier understands it? How does she use Duck’s own ideas and imagery against him to further that understanding? 3. Compare and contrast Wordsworth’s vision of the order of nature / the cosmos in “Tintern Abbey” with that of Tennyson’s in In Memoriam. How do they differ? Is it simply a matter of degree (one is more/less hopeful than the other), or is there something deeper or more significant lying at the heart of their different visions? 4. Compare and contrast the challenges to socio-political order articulated in two (2) of Shelley’s “Sonnet: England in 1819,” Duck’s “The Thresher’s Labour,” and Gray’s “Elegy Written in a Country Churchyard.” What is the nature of their critiques, and how are they similar or different? 5. Drawing on “Lycidas” and In Memoriam, compare and contrast the nature of Milton’s and Tennyson’s consolations in the face of the death of a friend. What distinguishes them? Is religious consolation as readily accessible for Tennyson as it is for Milton? Short Essay #2 Topics 1. Although they often dwell intensely on the particular shortcomings of their targets, satirical and mock forms usually also set up and promote an implicit value-system over and against them. Examine Pope’s Rape of the Lock and Swift’s “The Lady’s DressingRoom.” What implicit values unite or divide the two authors in their assaults on the various human foibles and social vanities that they depict? 2. The dramatic monologues of Browning and Eliot can be said to explore the manias or idiosyncrasies of their various speakers. Focus on the speaker and what he reveals about himself in one (1) of “Porphyria’s Lover,” “My Last Duchess,” “The Bishop Orders His Tomb at Saint Praxed’s Church,” and “The Love Song of J. Alfred Prufrock.” How does Browning’s or Eliot’s use of the dramatic monologue differ from Tennyson’s in “Ulysses”?

9 3. Both Keats’s “La Belle Dame sans Merci” and Coleridge’s “The Rime of the Ancient Mariner” are ballads structured around a speaker’s encounter with a supernatural power or powers. Compare and contrast the results of that encounter. What do the speakers gain, and at what cost? 4. Hellena and Angelica in Behn’s The Rover are far removed from the traditional heroine of romantic comedy (e.g., Florinda). Desiring and active, they pose a challenge to the patriarchal order that tries to limit and confine them. What does the play say about women and their place in Behn’s society through its depiction of these unconventional characters? 5. Is the eponymous hero of Doctor Faustus fated or free? And if he is one or the other, what does Marlowe seem to be suggesting about the possibilities for human agency in the world of the play and, by extension, beyond? Research Essay Proposal: The Proposal is due on February 25. It is designed to get you working on your Research Essay well in advance of the deadline, and to help you get focused so you can write the best essay possible. Your outline must contain the following information: • •

An announcement of which assigned essay topic you are undertaking, as well as which text(s) you will be employing. A well-crafted thesis statement of no more than 2 sentences. The thesis must announce your argument (what you plan to say about the topic in question) as well as your supporting evidence (the aspects of the text[s] you plan to look at in order to support your argument). Make sure your thesis is phrased as a direct response to the assigned essay topic. If you wish, you may submit your entire introductory paragraph, but make sure you have a clear thesis all the same. A rough, concise outline of the body paragraphs that will make up the essay. The outline will be your essay’s blueprint, and so it should closely reflect your thesis. Avoid constructing paragraphs that propose to “summarize” or “talk about” some aspect of plot, theory, biography, or history—your high-school teachers may have tolerated such space-fillers, but they have no business in an argumentative essay. Instead, each paragraph should be calculated to advance the thesis in a clear, direct manner. An annotated bibliography of relevant scholarly sources, including a minimum of five (5) sources on your author(s) / text(s) of choice. See the description of the Research Essay below for more information on what kind of research I’m expecting.

Research Essay: The Research Essay must be 2000 words (i.e., about 6-7 pages) long, and is due on April 1. A list of topics will be handed out no later than mid-January. Please note the following piece of information very carefully: Research Essays submitted on a topic not covered in the essay topic handout will receive an automatic zero (0). There will be no exceptions to this rule. A strong essay will exhibit the qualities I will

10 have gone over in class (Oct. 8 & Oct. 15) and in the feedback I will have provided on your Short Essays and Proposal: • • • • • •

A clear thesis that presents an argument and its supporting evidence, and that directly answers the question(s) being asked of you. Paragraphing that closely reflects the announced argument and structure. Close engagement with the chosen text(s) and with a selection of its/their critics. A sound understanding of the critical school employed (if applicable). The ability to work with and properly cite scholarly sources. Clean, grammatical prose.

Students must make meaningful engagement with a minimum of five (5) scholarly sources on the author(s) / text(s) chosen. If you wish to supplement your research with works on subjects related to your essay topic (e.g., Marxism, feminism, etc.), you are free to do so, but be aware that such research is not a substitute for literary criticism on the author(s) / text(s) that you have made the subject(s) of your essay, and that it will not count towards the minimum research requirements for the assignment. For the purposes of this course, “scholarly sources” on authors / texts consist of those which you will find in our library, in the form of books and articles, or through our library databases, in the form of electronic books and articles. Non-scholarly sources on authors / texts—Wikipedia, Sparknotes, or any other internet source you locate outside of a university library catalogue or electronic database—are not acceptable and are to be avoided entirely. Do not make the mistake of thinking that I take this point lightly: essays that do not engage at least five (5) scholarly sources on their author(s) / text(s) of choice will be heavily penalized and run the risk of failure. Midterm & Final Examinations: The Exams are designed to test you on the lecture and reading materials. As a result, students can expect a Midterm and Final Exam with three (3) parts. Part 1 will require students to define literary terms and to provide an illustrative example; Part 2 will require students to identify passages from the assigned readings and to comment on their significance as relates to the work in question; and Part 3 will require students to write an argumentative essay. All exams will be based on material covered in the lectures and the assigned readings. Please note: The dates for Fall (Dec. 9–22) and Winter (Apr. 8–24) Exams for this course are set by the University. Absence from exams will only be excused in the event of serious extenuating circumstances for which you can provide documentation (such as accident, illness, bereavement, or religious accommodation). To secure a Deferral, you must submit supporting documentation in a timely fashion. Be aware that travel for business or pleasure is not considered a valid reason for failure to attend an exam. To that end, do not make travel plans for the exam periods until the dates of all your exams are known.

11 SUPPORT SERVICES & ACCOMMODATIONS: Writing Tutorial Service (WTS): The WTS offers students one-on-one, personalized assistance with academic writing, free of charge. To learn more about this service, visit To make an appointment for a 50minute session, call 613-520-2600, ext. 1125, or visit in person at the Learning Support Services Desk on the 4th floor of the MacOdrum Library. Learning Support Services (LSS): The LSS offers students a variety of free services, including study skills appointments, academic skills workshops and information sessions, and individualized assistance in the form of a tutor referral service and a supportive staff of Peer Helpers. To learn more about these services, visit the LSS on the 4th floor of the MacOdrum library, contact them by phone at (613) 520-2600, x.1896, or visit online at Foot Patrol: The Foot Patrol is a student-run, volunteer-based service available to Carleton students, free of charge. Its patrollers will escort you safely to your destination, whether on or off campus (provided that it is within 30-minutes’ walking distance of campus). For more information, visit To register for a Safe-Walk, call 613-520-4066 or visit in person at 426 UC. Accommodations: You may need special arrangements to meet your academic obligations during the term. For an accommodation request, the processes are as follows: •

Pregnancy Obligation: write to me with any requests for academic accommodation during the first two weeks of class, or as soon as possible after the need for accommodation is known to exist. For more details, visit the Equity Services website: Religious Obligation: write to me with any requests for academic accommodation during the first two weeks of class, or as soon as possible after the need for accommodation is known to exist. For more details, visit the Equity Services website: Students with Disabilities: register with the Paul Menton Centre for Students with Disabilities (PMC) for a formal evaluation of disability-related needs. Documented disabilities could include but are not limited to mobility/physical impairments, specific Learning Disabilities (LD), psychiatric/psychological disabilities, sensory disabilities, Attention Deficit Hyperactivity Disorder (ADHD), and chronic medical conditions. Registered PMC students are required to contact the PMC, (613) 520-6608, every term to ensure that I receive your Letter of Accommodation, no later than two (2) weeks before the first assignment is due or the first in-class test/midterm requiring accommodations. If you only require accommodations for your formally scheduled exam(s) in this course, please submit your request for accommodations to PMC by the last official day to withdraw from classes in each term. For more details, visit the PMC website:

12 UNDERSTANDING YOUR ESSAY GRADE: Below are the guidelines I generally follow when marking essays. Read through them carefully so you understand how your essay will be evaluated. Please note that there is some flexibility within this system, and that it is the sum total of positive and negative aspects of your essay (as detailed below) that I am trying to evaluate. A-/A/A+ (80–100%) –Excellent –Thesis: clear, specific, challenging –Organization of paper reflects thesis –Strong paragraphing: one idea per paragraph, topic & concluding sentences, all paragraphs relevant to thesis –Anticipates alternative points of view, engages with opposing readings and/or counter-evidence –Good sentence variety, structure –Confident, graceful style (not pompous, breezy, convoluted) –No major grammatical errors, almost no minor errors or typos –Detailed reference to text, always uses quotations to support readings, explains relation between quotation and point developed –Develops its own reading, not that of a critic –Quotations integrated grammatically, properly documented –Demonstrates an ability to expound a sophisticated argument with a degree of subtlety, no problems in logic B-/B/B+ (70–79%)

–Good –Thesis: clear, but lacking in complexity, subtlety, originality –Organization of paper largely reflects thesis –Good paragraphing: one idea per paragraph, topic & concluding sentences, almost all paragraphs relevant to thesis –Acknowledges opposing readings and/or counter-evidence –Good sentence structure, with reasonable variety –Style is competent, neither wordy nor pedestrian –No major grammatical errors, few minor errors, has minor proofreading issues at the most –Adequate reference to the text, usually supports readings with quotations, explains relation between quotation and point developed –Develops its own reading, usually distinguishes from critics’ –Quotations usually integrated grammatically, documented –Demonstrates an ability to expound an argument logically

C-/C/C+ (60–69%) –Adequate –Thesis: clear (if unstated), but not specific, lacking complexity, and/or insensitive to the text –Organized, but doesn’t reflect thesis

13 –Decent paragraphing, but has problems (transitions, topic & concluding sentences, etc.) –Struggles with opposing readings and/or counter-evidence –Simple but generally correct sentence structure –Simple but generally competent style –Few major grammatical errors, needs proofreading –Some reference to the text, but lacking overall –Some effort to integrate quotations and to document sources properly, but lacking overall –Struggles to maintain voice against critics, allows critics to take over paper, or doesn’t engage critics in a meaningful way –Demonstrates an ability to follow an argument through, but lacks complexity and suffers from problems in logic D-/D/D+ (50–59)

–Poor –Thesis: absent, unsuitable –Some attempt at organization, but doesn’t reflect an argument –No acknowledgement of opposing readings or counter-evidence –Has one of the following problems: 1) difficulty with consecutive thought; 2) difficulty with paragraphing; 3) frequent major and minor grammatical errors, major proofreading issues –Limited engagement with the text, quotations not properly integrated, explained, or documented –Largely fails to engage critics in a meaningful fashion, or to meet minimum research requirements –Confused ideas and development, not in control of the essay –Weak expression, poor style overall, meaning often unclear –Over-generalization, inadequate support, not analytical or critical, largely plot summary

F (0–49%)

–Unacceptable / Failure –Thesis: absent –Organization: absent –Poor paragraphing, little or no sense of structure –Has several of the following problems: 1) difficulty with consecutive thought; 2) difficulty with paragraphing; 3) frequent major and minor grammatical errors, major proofreading issues –Limited or no engagement with the text, quotations not properly integrated, explained, or documented –Poor engagement with sources; failure to engage with the critics in a meaningful fashion, or to research at all –Ideas developed are too simple for the level of the course –False, odd, or confusing logic; nonsense –Weak expression, style; unintelligible, vague, unclear writing –Off-topic or plagiarized (0%)



Other Topics, Important Dates

Sept. 10

–Introduction <PART I: POETRY>

Sept. 15

–“Reading Poetry” (BAP, pp. 1037–59) –William Shakespeare, Sonnets 18, 29, 30, 55, 73, 116, 129, 130, & 146 (BAP, pp. 18–21)

–Reading & interpreting poetry –Rhyme & metre –The Sonnet

Sept. 17

–William Shakespeare, Sonnets 18, 29, 30, 55, 73, 116, 129, 130, & 146 (BAP, pp. 18–21) –Percy Bysshe Shelley, “Sonnet: England in 1819” (BAP, pp. 191) –John Keats, “On First Looking into Chapman’s Homer” (BAP, pp. 192) –Elizabeth Barrett Browning, from Sonnets from the Portuguese, Sonnets 22 & 43 (BAP, pp. 205)

–The Sonnet, con’t

Sept. 22

–Christopher Marlowe, “The Passionate Sheepheard to his Love” (BAP, pp. 17) –Walter Raleigh, “The Nimphs Reply to the Sheepheard” (BAP, p. 12) –William Wordsworth, “Lines Composed a few miles above Tintern Abbey” (BAP, pp. 149 –52)

–Pastoral –(Sept. 23, last day for registration & course changes for Fall / Winter courses)

Sept. 24

–Stephen Duck, “The Thresher’s Labour” (on WebCT) –Mary Collier, “The Woman’s Labour: To Mr. Stephen Duck” (on WebCT)


Sept. 29

–John Milton, “Lycidas” (BAP,

–The Elegy


Oct. 1

pp. 44–48) –Alexander Pope, “Elegy to the Memory of an Unfortunate Lady” (BAP, pp.106–07)

–(Sept. 30, last day to withdraw from course with full tuition fee adjustment)

–Thomas Gray, “Elegy Written in a Country Churchyard” (BAP, pp. 114–17) –Alfred, Lord Tennyson, from In Memoriam A. H. H. (BAP, pp. 241–46)

–The Elegy, con’t


–Grammar I: parts of speech, phrases & clauses, punctuation –1st Practice Quiz & Answer Sheet (on WebCT)

Oct. 13

–*1st Grammar Quiz* –Essay Writing I: thesis & structure, paragraphing & organization –Grammar II: common sentence errors

Oct. 15

–2nd Practice Quiz & Answer Sheet (on WebCT)

–*2nd Grammar Quiz* –Essay Writing II: research & documentation

Oct. 20

–Critical essays (TBA)

–Introduction to literary criticism –*1st Short Essay due*

Oct. 22

–*Library Session, 102 ML* <PART I, CON’T: POETRY>

Oct. 27

–John Dryden, “Mac Flecknoe” (BAP, pp. 78–83) –Alexander Pope, from The Rape of the Lock (BAP, pp. 102–05)

–Satire, Mock forms

Oct. 29

–Alexander Pope, from The Rape of the Lock (BAP, pp. 102–05) –Jonathan Swift, “A Description of a City Shower” & “The Lady’s Dressing-Room” (BAP,

–Satire, Mock forms con’t

16 pp. 96–101) Nov. 3

–Samuel Taylor Coleridge, “The Rime of the Ancient Mariner” (on WebCT) –John Keats, “La Belle Dame sans Merci” (BAP, pp. 192–94)

–The Ballad

Nov. 5

–William Wordsworth, “Ode: Intimations of Immortality” (BAP, pp. 157–62) –Percy Bysshe Shelley, “Ode to the West Wind” (BAP, pp. 189–91)

–The Ode

Nov. 10

–John Keats, “Ode to a Nightingale,” “Ode to a Grecian Urn,” & “Ode on Melancholy” (BAP, pp. 194–99)

–The Ode, con’t

Nov. 12

–Alfred, Lord Tennyson, “Ulysses” (BAP, pp. 238–40) –Robert Browning, “Porphyria’s Lover” & “My Last Duchess” (BAP, pp. 248–49, 251–52)

–Dramatic Monologue –(Nov. 16, last day to submit Formal Exam Accommodation Forms to Paul Menton Centre for December exams)

Nov. 17

–Robert Browning, “The Bishop Orders His Tomb at Saint Praxed’s Church” (BAP, pp. 253 –56) –T. S. Eliot, “The Love Song of J. Alfred Prufrock” (BAP, pp. 442 –45)

–Dramatic Monologue, con’t

<PART II: DRAMA> Nov. 19

–Aphra Behn, The Rover

–Reading & interpreting drama –Comedy

Nov. 24

–Aphra Behn, The Rover

–Comedy, con’t

Nov. 26

–Aphra Behn, The Rover –Christopher Marlowe, Doctor Faustus

–Comedy, con’t –Tragedy

17 Dec. 1

–Christopher Marlowe, Doctor Faustus

–Tragedy, con’t

Dec. 3

–Christopher Marlowe, Doctor Faustus

–Tragedy, con’t –*2nd Short Essay due*

Dec. 8

–Review; office hours end

Dec. 9–22

–*Midterm Exam* (date & location TBA)



Other Topics, Important Dates <PART II, CON’T: DRAMA>

Jan. 5

–William Shakespeare, Measure for Measure

–Problem Play

Jan. 7

–William Shakespeare, Measure for Measure

–Problem Play, con’t

Jan. 12

–William Shakespeare, Measure for Measure –William Shakespeare, The Tempest

–Problem Play, con’t –Romance

Jan. 14

–William Shakespeare, The Tempest

–Romance, con’t

Jan. 19

–William Shakespeare, The Tempest

–Romance, con’t


–“Introduction” (SF, pp. ix– xxi) –Nathaniel Hawthorne, “The Birthmark” (SF, pp. 2-14)

–Reading & interpreting prose fiction –Science Fiction

Jan. 26

–Nathaniel Hawthorne, “The Birthmark” (SF, pp. 2-14) –Mary Shelley, Frankenstein; or, The Modern Prometheus

–Science Fiction

Jan. 28

–Mary Shelley, Frankenstein; or, The Modern Prometheus

–Science Fiction, con’t –(Jan. 31, last day to withdraw from course with full tuition fee adjustment for the winter term)

Feb. 2

–Mary Shelley, Frankenstein; or, The Modern Prometheus

–Science Fiction, con’t

Feb. 4

–Edgar Allan Poe, “The Fall of the House of Usher” (SF, pp.


19 16–30) Feb. 9

–Edgar Allan Poe, “The Fall of the House of Usher” (SF, pp. 16–30) & “The Black Cat” (on WebCT) –Bram Stoker, Dracula

–Gothic, con’t

Feb. 11

–Bram Stoker, Dracula

–Gothic, con’t –(Feb. 12, Final Exam schedule available online)

Feb. 15-19

–*Winter Break* (no class, office hours)

Feb. 23

–Bram Stoker, Dracula

–Gothic, con’t

Feb. 25

–Leo Tolstoy, “The Death of Iván Ilých” (SF, pp. 83-127)

–Realism –*Research Essay Proposal due*

Mar. 2

–F. Scott Fitzgerald, “Babylon Revisited” (SF, pp. 402–18)

–Realism, con’t

Mar. 4

–Alice Munro, “Who Do You Think You Are?” (SF, pp. 553 –68)

–Realism, con’t

Mar. 9

–Margaret Atwood, “The Age of Lead” (SF, pp. 634–45)

–Realism, con’t

Mar. 11

–Joseph Conrad, “Heart of Darkness” (SF, pp. 156–224)

–Modernist –(Mar. 12, last day to withdraw from course) –(Mar. 12, last day to submit Formal Exam Accommodation Forms to Paul Menton Centre for April exams)

Mar. 16

–Joseph Conrad, “Heart of Darkness” (SF, pp. 156–224)

–Modernist, con’t

Mar. 18

–Joseph Conrad, “Heart of Darkness” (SF, pp. 156–224) –Franz Kafka, “The Metamorphosis” (SF, pp. 334 –72)

–Modernist, con’t


Mar. 23

–Franz Kafka, “The Metamorphosis” (SF, pp. 334 –72)

–Modernist, con’t

Mar. 25

–Jorge Luis Borges, “The Gospel According to Mark” (SF, pp. 435–39) –Tim O’Brien, “How to Tell a True War Story” (on WebCT)


Mar. 30

–Tim O’Brien, “How to Tell a True War Story” (on WebCT) –John Barth, “Lost in the Funhouse” (SF, pp. 534–52)

–Postmodernist, con’t

Apr. 1

–John Barth, “Lost in the Funhouse” (SF, pp. 534–52)

–Postmodernist, con’t –*Research Essay due*

Apr. 6

–Review; office hours end

Apr. 8–24

–*Final Exam* (date & location TBA)