FYS 101-01and -19: The Grimm Truth
Fall 2011 | T/TR| 9:35-10:50/11:00-12:15 | JH 338
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Instructor: Mindy Dunn Email: mdunn1@butler.edu Phone:
Office: 316 Office Hours: by appointment
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Fairy Tales show up everywhere. A lost Hansel and Gretel use GPS to find their way home from the big city in an AT&T commercial, in London artist Alice Anderson has had several art installations featuring hair that alludes to the Rapunzel story, and once upon a time Max Factor sold a “Little Red Riding Hood” lipstick that was guaranteed to “bring the wolves out.” What is it about fairy tales that keeps them popping up, reinvented from the tales we first heard as children?
But wait, back up. Did you know that even these tales, not to mention Disney but even the Grimms’ tales, may be revisions of older tales? That fairy tales were NOT written for children? This semester we will start a year long journey that will complicate the stories we think we know so well. We’ll revisit the classics, learning to look deeper than the morals Disney has sold as magic, asking you to become simultaneously dis- and re-enchanted with the stories you grew up with, and some you’ve never encountered before. We’ll learn how to recognize the features of a fairy tale, witness how authors recycle these features to make chilling new stories, and ask why these traditional tales have endured securely in, and even beyond, the nursery.
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The Great Fairy Tale Tradition, Ed. Jack Zipes
The Uses of Enchantment, by Bruno Bettelheim
Off With Their Heads!, by Maria Tatar
Briar Rose, by Jane Yolen
The True Story of Hansel and Gretel, by Louise Murphy
***Other readings may be posted on Blackboard, look for these on our class schedule.
Also: Be prepared with daily classroom materials, such as pen and paper, for in-class writing.
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Requests for Academic Accommodations
It is the policy and practice of Butler University to make reasonable accommodations for students with properly documented disabilities. Written notification from Student Disability Services is required. If you are eligible to receive an accommodation and would like to request it for this course, please discuss it with me and allow one week advance notice. Otherwise, it is not guaranteed that the accommodation can be received on a timely basis. Students who have questions about Student Disability Services or who have, or think they may have, a disability (psychiatric, attentional, learning, vision, hearing, physical, medical, etc.) are invited to contact Student Disability Services for a confidential discussion in Jordan Hall 136 or by phone at extension 9308.
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Attendance: Attendance is required, not simply recommended.
0-3 absences no grade reduction applied
4-7 absences will result in a 3% grade reduction, applied cumulatively for each absence
8+ absences will result in either a withdrawal or failure of the course
Absences will be counted regardless of reason; doctor’s appointments, illness, etc. are all included in the above scale. Students are responsible for all work missed or due during any absence.
Late work & Extensions: Late work will not be accepted for informal assignments, and no make-ups are permitted for missed quizzes. All other late work will result in a grade reduction of 3% per day late. If you foresee the need for an extension, you may ask for ONE this semester, however, notice must be made before an assignment is due. This means you should email me (no explanation needed) ahead of time (NOT midnight the night before) to ask for a one or two day extension.
Plagiarism: Recording source material as though it is your original idea constitutes plagiarism— whether intentional or not. An essay plagiarized in part or in full will receive a 0. Plagiarized work also places a student in jeopardy of failing the course. Repeated incidents in Academic Dishonesty results in a student’s suspension from the University. Please refer to the Butler University Student Handbook (available online at the www.butler.edu website) for more information on plagiarism and “Academic Integrity.”
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Grading and Assignments
Your FYS grade will be the result of your performance in the following areas:
Grading & Assignments :
– Class participation
((DISCUSSION!)) 12.5%
– Overnight Writes 15%
– Paper #1 15%
– Paper #2 15%
– Paper #3 15%
– Grimm Glossary 7.5%
– History of FTs Test 7.5%
– Debate 12.5%
-Reading quizzes & pop assignments (if needed only)
= 100%
All of these assignments and their weight will be described in detail over the course of the semester. This list is tentative and may change if necessary; you will be notified immediately if this happens. Your final grade will be scored on a standard scale: A= 100-90%; B=89-80%, C=79-70&, D=69-60%
Final Notes
ü Ask Questions! I can’t always predict what students are confused by, or what I might leave out.
ü Go with the flow: This is a newly designed course, so if things don’t work out perfectly, don’t sweat it- I won’t. I will always keep you informed of changes.
ü E-Mail: If you have any issues or problems please email me as soon as possible, but please remember I am not glued to my computer. I try to reply to emails in a timely manner, but emails over breaks or weekends may have a longer response time.
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First Year Seminar: Self, Community and World (6 hours)
Course Structure: A two-semester sequence taken in the first year.
Learning Objectives:
- To reflect on “big questions” about themselves, their community and their world.
- To develop the capacity to read and think critically.
- To develop the capacity to write clear and persuasive expository and argumentative essays, with an emphasis on thesis formation and development.
- To gain an understanding of basic principles of oral communication as they apply to discussion.
- To understand the liberal arts as a vital and evolving tradition and to see themselves as agents within that tradition.
- To develop capacities for careful and open reflection on questions of values and norms.
- To develop the ability to carry out research for the purpose of inquiry and to support claims.
SAMPLE 2:
FYS 101: First Year Seminar / Reality and the Imagination
Fall 2011
Section 41: Tues/Thurs 1:00-2:15 Jordan 338
Section 34: Tues/Thurs 2:25-3:40 Jordan 338
Chris Forhan
Office: Jordan 310B
Phone: 940-9865
E-mail: cforhan@butler.edu
Office Hours: Tuesday 11-12; Thursday 12-1
Date: TOPIC/Assignment:
Aug. 25 INTRODUCTION: SEEING AND IMAGINING
30 BISHOP/Read Geography III: “In the Waiting Room” (3-8), “Poem” (36-39),
“The End of March” (42-45), “Objects & Apparitions” (46-48)
Sept. 1 BISHOP/Read Geography III: “Crusoe in England” (9-18), “The Moose” (22-
31), “One Art” (40-41)
6 WRITING
8 WRITING
→Essay #1 due (by email) Sunday, 9/11, 11:00 PM
13 THOREAU/Read Walden: “Economy” (5-72)
15 THOREAU/Read Walden: “Where I Lived . . .” (74-90), “Solitude” (118-126)
Group #1 Presentation
20 THOREAU/Read Walden: “The Village” (151-156), “The Ponds” (157-180),
“The Pond in Winter” (252-266)
22 THOREAU/Read Walden: “Spring” and “Conclusion” (267-297)
Group #2 Presentation
27 WRITING
29 WRITING
Oct. 4 INDIVIDUAL CONFERENCES IN MY OFFICE: NO CLASS/Bring to your
scheduled conference a full draft of Essay #2: at least 1,000 words,
with a title, introduction, body, and conclusion
6 INDIVIDUAL CONFERENCES IN MY OFFICE: NO CLASS
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11 WORKSHOP/Bring two copies of the first 200-300 words of Essay #2,
carefully proofread and polished
→Essay #2 due (by email) Wednesday, 10/12, 11:00 PM
18 TRETHEWEY/Read Native Guard, Sections I & II (1-31)
20 TRETHEWEY/Read Native Guard, Section III (33-46) Group #3 Presentation
25 WRITING
→Natasha Trethewey reading, Wednesday, 10/26, 7:30, Reilly Room, Atherton
27 WORKSHOP/Bring complete draft of Essay #3: at least 1,000 words, with a
title, introduction, body, and conclusion
Nov. 1 HITCHCOCK/Part one of Vertigo, viewed in class
3 HITCHCOCK/Part two of Vertigo, viewed in class
→Essay #3 due (by email) Thursday, 11/3, 11:00 PM
8 HITCHCOCK/Read Vertigo script excerpts (handout) Group #4 Presentation
10 GILMAN/Read “The Yellow Wall-paper” (handout) Group #5 Presentation
15 GILMAN
17 JAMES/Read The Turn of the Screw, Prologue-Ch. IV (3-29)
29 JAMES/Read The Turn of the Screw, Ch. V-XVII (29-84) Group #6
Presentation
Dec. 1 JAMES/Read The Turn of the Screw, Ch. XVIII-XXIV (84-113)
→Tentative thesis statement for Essay #4 due (by email) Thursday, 12/1, 11:00 PM
6 WRITING
8 WORKSHOP/Bring first 200-300 words (including thesis statement) of Essay
#4
→Essay #4 due (by email) Monday, 12/12, 11:00 PM
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Course Description
The goal of the First Year Seminar is to immerse you in the culture of a liberal arts education and help you develop your skills in reading, writing, oral communication, and critical thinking. These activities are recursive: they interact with and reinforce each other. Therefore, we will continually be engaging in all of them, with an emphasis on reading texts analytically, discussing them together with purpose and intellectual engagement, and writing essays about—or at least inspired by—the assigned literature. For this particular section of the seminar, our topic is what the poet Wallace Stevens refers to as humans’ “blessed rage for order”—the imagination’s relentless habit of making its own meaning of experience. We will investigate how writers have depicted the mind’s methods of perceiving and making sense of the world. We will contemplate how forces such as memory, desire, art, and a culture’s shared conceptions of truth influence an individual’s subjective conceptions of reality. Along with this reading, the course will involve ongoing practice of composition strategies intended to prepare you for the writing you will be expected to do throughout college. One result of this intensive reading and writing will be that you will discover ways in which you might construct (or have already constructed) coherent forms of meaning that make a private sense of your own experience.
FYS 101 and the Liberal Arts
The liberal arts are about developing your capacity to think, which means not just improving your knowledge of humans’ intellectual and artistic creations but also nurturing your curiosity and your senses of wonder, of mystery, and of doubt. This particular section of the First Year Seminar focuses on the work of poets and fiction writers who will be visiting Butler’s campus over the next few months, people whose vocation it is to experience something essential to the liberal arts: a confrontation with—and interrogation of—one’s own independent and private sense of what it means to be a human being in the world. Through interacting with these writers and studying their works, we will be inspired to do the same. Polish poet Adam Zagajewski, who visited Butler not long ago, speaks of how poetry is one of the forces that nourish our “inner” or “spiritual” life. It is this inner life that the liberal arts are attentive to, so I will give Zagajewski the last word:
. . . [T]his invisible, discrete inner life is, in its passion, its naïveté, its bitterness
and its indefatigable, vivifying enthusiasm, the final and indispensable energy
propelling both poetry and people. . . . Contemporary mass culture, entertaining
and at times harmless as it may be, is marked by its complete ignorance of the
inner life. Not only can it not create this life; it drains it, corrodes it, undermines
it. . . . I see the spiritual life, the inner voice that speaks to us, or perhaps only
whispers, in Polish, English, Russian, or Greek, as the mainstay and foundation of
our freedom, the indispensable territory of reflection and independence shielding
us from the mighty blows and temptations of modern life.
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Texts
Bishop, Elizabeth. Geography III. Farrar, Straus & Giroux, 2008.
Hacker, Diane. A Pocket Style Manual. 5th ed. Bedford/St. Martin’s, 2010.
James, Henry. The Turn of the Screw and In the Cage. Modern Library, 2001.
Thoreau, Henry David. Walden. Oxford, 2008.
Trethewey, Natasha. Native Guard. Houghton-Mifflin, 2006.
A college level dictionary.
Requirements
Essays
You will write four formal papers for this course, of varying lengths. The specific assignments will be announced in class, and to one degree or another we will focus class discussion on ways you can prepare to write each essay.
Quizzes
On each day for which reading has been assigned, class will begin with a brief reading quiz. As long as you have read the assignment with meaningful attention, you should perform well on the quizzes. It is crucial that you treat the quizzes (and reading) seriously. The quizzes are worth 15% of your final grade. Therefore, it is important that you keep up with the reading and arrive to class on time. Quizzes cannot be made up; if you are not in the classroom when I announce a quiz question, your opportunity to receive credit for that question has been lost. Do not arrive late and ask me to repeat a quiz question. At the end of the term, I will drop your lowest quiz score before determining your final grade.
Small Groups
At the beginning of the semester, you will be assigned to a permanent group of three students. This group will often meet at the beginning of a class period to discuss a particular assigned question related to the reading for that day. Also, the group will be responsible for making a formal presentation once during the course of the semester. (These presentations are listed on the syllabus.) During these presentations, which will last about 30 minutes, your group will help the whole class understand the reading by offering background information about it, close analysis of the text, and a writing activity connecting the reading to the current essay the class is working on.
Class Attendance
You are expected to be in class each day and to arrive on time. Consistent attendance and promptness are important if you want to keep up with the course material, maintain a meaningful intellectual engagement with the class, and avoid losing credit for quizzes, which will be given at the beginning of class most days. After your second unexcused absence, your final grade will be reduced one letter grade for each additional absence.
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If you are in class for less than half of the period, you will be counted absent. In addition, I typically count three tardies as one absence. If you slip into class late, after a quiz, let me know
(after class) that you were there. It is usually by taking up written quizzes that I keep track of attendance.
Grading
Essay #1 10%
Essay #2 15%
Essay #3 15%
Essay #4 20%
Group Presentation 5%
Quizzes 15%
Participation (including assigned thesis statements and rough drafts,
attendance at the required conference, and oral participation in class) 20%
Numerical Equivalents for Essay Letter Grades
A + 100 C + 80 F 60
A 97 C 77
A – 93 C – 73
B + 90 D + 70
B 87 D 67
B- 83 D- 63
Late Work and Grace Days
Tentative Thesis Statements and Rough Drafts
Several times during the semester I will ask you to submit either a tentative thesis statement or a rough draft of an essay. I will accept these assignments late, without penalty, only if you are absent on the day they are due and can provide documentation for why I should excuse that absence. If you do plan to be absent on one of these days, it is best to submit the assignment before the due date. Also, since the purpose of these assignments is for me and/or your peers to respond to them in advance of your writing the final version of the essay, you will receive credit for a late thesis statement or draft only if you submit it in enough time to receive feedback before you submit the final paper.
Essays
For the first three formal essays you will write, you have a total of five “grace days”—that is, five free 24-hour periods after which you may turn the paper in late without penalty. For instance, the first paper will be due (by email) Sunday, September 11, at 11:00 PM. If you decide to use a grace day for that assignment, you will submit it by the next day, September 12, at 11:00 PM; if you decide to use two grace days, you will submit it by September 13 at 11:00 PM.
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Use the grace days however you wish—for instance, by submitting one of the essays five days late or by submitting one essay two days late and another three days late. After you have used your five grace days, the grade of a paper will be reduced by one letter grade for each day the paper is late.
Grace days do not apply to any assignments other than the first three essays.
Plagiarism/Academic Honesty
Plagiarism and other forms of academic dishonesty are serious violations of university policies. Do not present another person’s ideas or language as your own; if you do, you will receive a zero on the assignment. Other possible penalties for such dishonesty include a failing grade for the course, probation, and suspension from the university.
A useful thing to keep in mind: considering the highly specific requirements of each written assignment in this course, it is essentially impossible for a plagiarized paper—even if I don’t know for sure that it’s plagiarized—to receive a passing grade. Such a paper simply won’t fulfill the basic requirements of the assignment.
Classroom Comportment
It is important that we maintain a classroom atmosphere appropriate for learning—an atmosphere in which students are not prevented from listening, thinking, and concentrating. Therefore, make sure to avoid tardies and early exits: be in the classroom before the class starts, and stay until the end. You are allowed to bring a drink to class (being careful not to slurp loudly or spill), but do not bring food. Turn off all cell phones before you enter the classroom. If you are in the habit of using a laptop to take notes, make sure that you are not using the laptop instead to be distracted by other things unrelated to the course. NO TEXTING PLEASE!
Accommodations for Students with Disabilities
It is the policy and practice of Butler University to make reasonable accommodations for students with properly documented disabilities. Written notification from Student Disability Services is required. If you have questions, contact Student Disability Services for a confidential discussion in Jordan Hall 136 or by phone at extension 9308.
SAMPLE:
FYS101: Imaginative Sojourns of the Self Fall 2010
Instructor: Alessandra Lynch Office: JH316
ajlynch@butler. edu Office Hrs.: By Appointment
Course Description:
The primary IMAGINATION I hold to be the living Power and prime Agent of all human Perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM. ~Samuel Taylor Coleridge
How can one effectively tell the story of one’s self? How can one honor the glorious complexity, the ineffable chords, and the baffling experience of human existence? Without the imagination, surely the sojourn of the self would come to a standstill for both writer and reader.
In this course, you will be cultivating your close reading skills while practicing the art and craft of writing via the subject of the Self. You will discover, as the course proceeds, how words and the imagination can lead to new perceptions about the self and the world, how literature can finely attune your understanding of self and world—all this, of course, if you take the course seriously, apply yourself, and keep your mind open. We will be writing daily in class, and you are required to take assiduous notes on all the readings.
We will be reading texts from various genres (personal essay, memoir, graphic “novel,” poetry), each focusing on some aspect of the Self— image, self and community, self and culture. We will discuss how each genre reveals or clarifies particular insights about the self. The class will be discussion-based, but you will also respond to a variety of writing prompts and assignments triggered by the readings.
Required Course Materials:
Boys of My Youth, Jo Ann Beard
Autobiography of a Face, Lucy Grealy
Planet of the Blind, Stephen Kuusisto
Persepolis, Marjane Satrapi
SF Writer, Ruskiewic, Seward, Hairston
A single subject notebook to be used as a Reader/Writer Journal
Folders for drafts of essays and handouts.
A thick pack of Post-It notes
Recommended Course Materials:
a good dictionary (The American Heritage Dictionary)
easy access to a computer and printer
Assignments:
Writing is not only a joyful activity but also a discipline and a process. It involves revision, re-envisioning, revisiting. I hope that you will come to understand and appreciate that the writing process is as valuable as your final product. In this class, you will write frequently (daily) in your reader response journals. You will also craft 1-2 good-sized papers for each text.
Your final drafts must meet minimal academic standards in terms of clarity, organization, and copy-editing. Above-average papers will focus on, develop, and support viable, original, and engaging topics. Make sure you review the SF Writer to use the correct MLA format for your papers (i.e.; double-spaced with a correct heading, centered title, numbered pages). Save all drafts of papers and all peer critiques related to the assignments. These materials must be organized and attached to each consecutive draft. I will deduct points on assignments turned in after their due dates (5 points per week).
Reader Response Journal:
You must keep a reader response journal. The journal is a place where you will engage in self-reflection, do in-class writing, take notes from class, respond to the readings, record significant quotes, brainstorm ideas, and jot down insights.
Be sure to keep your class notes, notes on the readings, and notes in preparation for writing assignments in your reader response journals. For each reading assignment, notes should include some summary, personal reactions to the text, and pertinent quotes to be used for class discussion. Your journal will not only serve as an entry point into class discussions, but it will help you with your writing assignments, and it will serve as the foundation for your final project. Make sure to put a good amount of effort and energy into your journal writing. Be sure to date each entry in your journal and create short titles or headings for each entry.
Don’t be concerned with turning out “perfect” prose in the journal. Consider the journal your personal workshop. Let the sawdust fly! The purpose of the journal is to help you feel more comfortable about writing, encourage original thought, and stimulate self-expression.
Participation:
We will spend much of class time either working in small groups or engaged in whole class discussion. If you are absent, your fellow students and your grade will suffer. Because you will be writing every week and because one week’s work leads to the next, you cannot afford to fall behind.
Five or more missed classes constitute a failure. In the event that you miss a class, you are responsible for procuring the appropriate information, class notes, and handouts from your classmates.
Quizzlers:
There is a slight chance of quizzlers in the forecast. To avoid stormy moods and inedible blizzards, come to class prepared!
Policies:
One writing conference is required for this course. For this conference, you are invited and expected to meet with me prepared to discuss and explore intelligently one piece of writing you’ve done this semester. Please don’t hesitate to stop by during my office hours for additional time.
Plagiarism, or passing off someone else’s work as your own, is NOT ACCEPTED. Punishment will range from a failing grade in this course to possible expulsion from the University. If you are not sure whether what you’re doing is plagiarism, consult me and we will work on a solution together.
Student Disability Services Statement:
It is the policy and practice of Butler University to make reasonable accommodations for students with properly documented disabilities. Written notification from Student Disability Services if required. If you have questions, contact Student Disability Services for a confidential discussion in Jordan Hall 136 or by phone at extension 9308.
FALL 2010 FYS101 Weekly Assignments
8/26 Welcome to FYS101~ Intros All Around!
Hanging Fire, Black Hair, Eleven, Snow
8/31
Hand in survey and one-page (minimum) piece of writing about your self (a defining moment in childhood) that one of the first pieces triggered
Bring in Jo Ann Beard’s Boys of My Youth to class
Beard chapters Preface and In the Current and Bonanza
(Take “reader response notes”—take notes on effective images, narrative voice, structure—what surprises you about the chapters. Jot down any memories or personal associations you have with the chapters.)
9/02
Jo Ann Beard’s Cousins
(Take “reader response notes”—take notes on effective images, where the narrative voice shifts, where the perspective presented is “invisible “to the narrator. Find patterns of image, themes. Jot down any memories or personal associations you have with the chapter.)
9/07
Read Beard’s Behind the Screen in class
3 copies of a rough draft of 1st Beard-ish essay (2-page experimentation with detailed description and point of view based on a personal experience)
9/09 Beard’s Coyotes
(Take reader response notes—comment on the implications of the segmented narratives (animal world and human world). Indicate where they “meet” and to what effect or purpose.)
In-class writing
9/14 Beard’s Against the Grain
Bring 2nd rough draft (3 copies) to class for last opportunity for group editing
9/16 Final draft of 1st Beard-ish essay
In-class writing: Begin writing about a time in your life you had a brush with danger.
Extra! Extra! KIM ADDONIZIO READING, 7:30 p.m., Eidson-Duckwall Recital Hall
9/21 Beard’s The Fourth State of Matter
(Take reader response notes on all the reverberations, themes, images that revolve around the central crisis. Select the most vivid, moving images in the story)
9/23 Beard’s Bulldozing the Baby and The Family Hour
(Take reader response notes on significant toys or games from childhood and the particular dynamics in your family. Take notes on the most arresting images in these chapters.)
Extra! Extra! YUSEF KOMUNYAKAA READING, 7:30 p.m., Clowes Hall, Krannert Room
9/28 Beard’s Waiting and Out There
Be prepared for a Quiz-a-Doodle
In-class Writing: Begin draft for Beard-ish essay
9/30 Rough draft of 2nd Beard-ish essay (4-page Beard-ish “chapter”)
10/05 Beard’s The Boys of My Youth
Last discussion of Beard’s book.
Next Rough draft of 2nd Beard-ish essay
10/07 Lucy Grealy Pony Party and Luck
(Take reader response notes on “luck”—in your life, in Lucy Grealy’s. Describe Grealy’s writing style. What can you glean about Grealy’s personality from these first chapters?)
10/12 Grealy Petting Zoo and The Tao of Laugh-In
(Take reader response notes on the most arresting images in Petting Zoo. Comment on significance of Laugh-In to Grealy’s life.)
Final draft of 2nd Beard-ish essay
10/14 FALL READING BREAK (no classes)
10/18 Extra! Extra! JEAN VALENTINE READING, 7:30 p.m., Eidson-Duckwall Recital Hall
10/19 Grealy’s Fear Itself and Life on Earth
(Take reader response notes on “fear” In Grealy’s life, and in yours. List significant games/toys from your childhood)
In-class writing
10/21 Grealy’s Door Number Two and Masks
(Take reader response notes on metaphoric implications of both doors and masks generally and in Grealy’s life)
In-class writing
10/26 Grealy’s Truth & Beauty and World of Unknowing
(Take reader response notes—find compelling, insightful quotes)
In-class writing
10/28 Grealy’s Habits of Self-Consciousness and Cool
In-class writing
Hand in a revised, developed in-class writing piece
11/01 Extra! Extra! LORRIE MOORE, 7:30 p.m., CLowes Memorial Hall, Krannert Room
11/02 Grealy’s Mirrors
(Take reader response notes on Lucy’s various characteristics and experiences and relationships and reflect on any overlap with your life. Final note: positive, negative, neither?)
Finish discussing Grealy’s book
Begin writing Grealy paper in class
11/04 POTB (chapters 1-4)
(Take reader response notes on Kuusisto’s writing style, and record beautiful, insightful, puzzling quotes from these chapters)
11/09 POTB (chapters 5-6)
(Take reader response notes, record discussion-worthy quotes)
Rough draft of Grealy paper due for peer editing
11/11 POTB (chapters 7-9)
(Take reader response notes, record discussion-worthy quotes)
More peer editing on rough draft of Lucy Paper
11/15 Extra! Extra! JONATHAN LETHEM, 7:30 p.m., Atherton Union, Reilly Room
11/16 POTB (chapters 10-14)
(Take reader response notes, record discussion-worthy quotes)
Final draft of Grealy paper due
11/18 POTB (Finish reading the book)
Write your own “Planet of the…” piece
11/23 NO CLASS Week o’ Feasts
11/25 NO CLASS Week o’ Feasts
11/30
Class evaluations
Bring all writings to class—begin thinking about final mini memoir
12/02 In-class writing toward final mini memoir
Read first third of Persepolis
12/06 Extra! Extra! ELMORE LEONARD, 7:30 p.m., Atherton Union, Reilly Room
12/07 In-class writing
Read second third of Persepolis
12/09
Read last third of Persepolis
LAST DAY OF CLASS—watch Persepolis
12/16 MINI-MEMOIRS DUE—a reflection on the reading and writing you’ve done this semester and what your responses to the readings and your writings reveal about you (in brief).