COURSE DESCRIPTION
ENGL 3343 traces the development of the modern literary short story from its roots in the early 19th Century to its flowering in the late 20th Century. Although we will read stories by Russian and British masters of the genre, the primary focus will be on the American masters. Expect to encounter and attempt to come to terms with a diverse group of writers with a wide range of subjects and styles.
The course is organized chronologically to help us identify the genre’s key historical developments. Our primary attention will be on the shared and divergent characteristics of literary short stories over the past 200 years. A set of conventional formal concerns will dictate our approach: for example, the genre demands close and active attention to beginnings and endings, narrative perspectives, narrative gaps and omissions, uses of time and space, etc. In addition to the intrinsic formal tendencies, we will locate and track common motifs, patterns, subjects, and themes. Expect also to wade–and sometimes jump–into some basic genre theory.
Later in the course we will take what we have learned about the traits of individual stories and explore what happens when stories are grouped together to form a community in “short story cycles,” sometimes called “short story sequences” or “integrated story collections” or “composite novels.”
The course has two overarching goals: to acquaint you with the formal and thematic continuity in the short story tradition; and to help you ask probing, profitable questions of short stories and story cycles so that you may deepen your understanding and continue your appreciation of these vital arts.
NOTE: This course fulfills the 3-hr. genre requirement
in the English major or will serve as one of the departmental elective
requirements. It also serves as a
General Education Requirements option for Liberal Arts Elective Studies in
Depth (under Elective Choice C in the catalog).
REQUIRED TEXTS
The Hudson Book of Fiction
(McGraw-Hill)
The Gold Bug and Other Stories by Edgar Allan Poe (Dover)
The Overcoat and Other Stories by Nikolai Gogol (Dover)
Five Great Short Stories by Anton Chekhov (Dover)
In Our Time by Ernest Hemingway (Scribner)
What We Talk About When We Talk About Love by Raymond Carver (Vintage)
Home and Beyond, edited by M. A. Grubbs (University Press of Kentucky)
GRADING
COMPONENTS
Quizzes/In-class Writing/Discussion Board 20%
Two Micro-Teach Sessions 15%
Midterm Exam 15%
Mock Masterplots Entry 15%
Term Paper 20%
Final Exam 15%
HUMANITIES
PHILOSOPHY
This
course and other humanities courses, to borrow the words of Dr. Daniel Richie, Chancellor of the
--is freed from "the strangle-hold" of the present and the personal;
--knows how to imagine, create, hope, and care;
--seeks wisdom rather than knowledge of fact;
--knows the limits and inadequacy of human knowledge;
--is passionate and compassionate; and
--values arts and humanities because they make lives worth living.
ENGLISH
PROGRAM PHILOSOPHY
The
mission of Lindsey Wilson College shapes the teaching philosophy of the English
Department. The English faculty is
committed to a program that stresses excellence in the study of language,
rhetoric, writing, journalism, and literature within an atmosphere of active
caring and Christian concern. Through
reading, writing, lecture, and discussion, the department emphasizes
intellectual development, including information processing, critical analysis,
cultural literacy, and global awareness.
Moreover, the English faculty fosters in students self-confidence,
self-respect, collegiality, and compassion by helping them grow as writers,
readers, communicators, and caring citizens.
COURSE POLICIES AND PROCEDURES
Class Participation: To be successful, a course of this nature must develop as much through class discussion as through lecture. My goal as instructor, like the goal of a modern short-story writer, is to give you just enough information, but not too much, so that you may act as a co-creator of ideas and meaning; in other words, plan to be active--not passive--in both your reading and your in-class participation. I expect you to come to class with ideas that you would like to test, to share those ideas with the class occasionally, and to respond to your classmates' comments whenever you see fit. From time to time you will be asked to share (orally or through brief in-class writing or through an electronic discussion board) your personal responses and interpretations, notions about how particular elements in a story function, notions about how one story connects to others, etc.
Achieving the ideal class described above requires critical reading and thinking in advance of class discussion. The best, most efficient way to prepare for each class is to read an assigned story twice, once to "experience" it and a second time to begin to analyze and annotate it. Not only are you more likely to discover ideas by jotting down notes (in the margins or in a notebook); you are also more likely to remember plots, characters, details, etc.
Quizzes/In-class
Writing/Discussion Board: Be prepared for occasional brief quizzes–usually
but not always announced in advance–over assigned readings and material
previously covered. Also be prepared and
willing to respond in writing to discovery and reinforcement prompts both in
class and outside of class on the online discussion board.
Micro-Teach
Sessions: You will be required to “teach” two stories on our reading list,
one before midterm and one after. The
selection procedure, guidelines, expectations, and grading criteria will be
discussed in class.
Mock Masterplots Entry: Early in the course we will examine selected entries published in Masterplots: Short Story Series; after midterm you will be asked to create one yourself for a story not currently covered in the series. The structure, content expectations, length requirement, and grading criteria will be discussed in class.
Term Paper: Your major project in this course, the final version of which will be due at semester’s end, will involve determining and illustrating your own set of literary qualities associated with “good short stories” and/or “good short story cycles.” To help support your project, you are encouraged to consult and cite the published criticism and theory you encounter in class and on reserve in the library (or on EReserves). Overall, the term paper should be a culmination–and a showcase–of what you have learned and found interesting in the course. Further guidelines and expectations will be discussed in class.
Completing and Submitting Assignments: Whether present or absent, you are held accountable for all work (major and minor) on the date the work is due. No major work will be accepted late unless prior arrangements are made (except in extreme circumstances, as interpreted by the instructor). If you miss class due to an excused absence, you may submit the day's work at the beginning of the following class period without penalty; in unusual cases, as determined by the instructor, assignments missed because of an excused absence will be accepted up to ten days after the original due date.
Attendance: Your attendance at every scheduled class meeting is expected. Habitual absences will affect your grade adversely, both directly (in your in-class activity grade) and indirectly (in your performance on quizzes, exams, papers, etc.). Additionally, more than four unexcused absences will lower your course grade by one letter; more than six by two letters; and more than eight will constitute automatic failure in the course. A written statement giving the date and the specific reason for any absence is required within a week following the absence. The instructor reserves the right to interpret the validity of excused absences.
Minimum Work Requirement: All major assignments (midterm and final exams, Masterplot entry, and term paper) must be completed and a passing grade on these assignments must be earned in order to pass the course.
Extra Credit Options: Some optional assignments (such as attendance at and response to announced cultural events) will be offered for extra credit to be used in border-line course grade situations. Opportunities will be announced in class; stay tuned.
ENGLISH
PROGRAM CRITERIA FOR GRADING WRITTEN WORK
A (Outstanding) — An “A” paper as a whole presents a fresh subject or central idea or treats it in an interesting or original manner, displaying unusual insight. Organization is clear and developmental strategies are varied. The paragraphs are fully developed with substantiating details; sentences are linked together with effective transitions. Sentences are imaginative, effective and varied; syntax is smooth; diction is accurate and effective. The paper contains virtually no grammar and mechanical errors or errors only in sophisticated matters, and no spelling errors.
B (Above Average) — A “B” paper presents an interesting subject or central idea and approaches it in a consistent and careful manner, displaying insight, though without the freshness or originality of the “A” paper. Organization is generally appropriate and clear. Paragraphs are, with few exceptions, well-developed and supportive. Sentences are clearly related and, for the most part, effectively related. Sentences are generally clear and correct in structure and style. Word choice is generally good. Grammar, punctuation, and spelling follow accepted conventions except for a few minor errors.
C (Adequate) — A “C” paper as a whole presents a clearly defined central idea or subject, but the treatment may be trivial, uninteresting, or too general. The insight may be adequate but not marked by independent thought. The plan and purpose are clear, but they are inconsistently or incompletely carried out. Some paragraphs may lack supporting details or may not be related to the central idea. Sentences may be only loosely related or missing internal transitions. Sentences may be wordy, vague, or sometimes incorrect. The paper may have an isolated serious error or several minor errors in grammar, punctuation, or mechanics. Some misspellings may occur.
D (Weak) — A “D” paper as a whole presents a poorly defined central idea and displays very little insight. The plan and purpose are not clear or consistently developed. Paragraphs contain little or no supporting detail and are often unrelated to the central idea. Transitions between ideas are frequently lacking. Sentences are incorrect in structure or are vague or wordy. Style and word choice are incorrect or inappropriate. The paper may contain serious errors of grammar and mechanics or many little errors as well as frequent misspellings of common words.
F (No Credit) — An “F” paper does not have a clear subject or apparent plan, or it is completely unresponsive to the assignment. Paragraphs are not related to the central idea, sentences are not related to each other, and transitions are inappropriate or missing. Serious errors in grammar, mechanics, and spelling demonstrate a lack of understanding of the conventions of written standard English.
A BRIEF PROGRAM
STATEMENT ON PLAGIARISM
Plagiarism is the invalid claim that written material is the writer’s own invention or discovery; it is the theft of another person’s intellectual product. Whether it is accidental or intentional, plagiarism will result in a failing grade for the paper submitted in an English composition or literature course and perhaps for the course. (See official College policy below.)
COLLEGE
POLICIES
Academic Dishonesty
Academic dishonesty refers to any form of cheating or
plagiarism in academic courses.
Plagiarism is defined as any use of another writer=s words,
concepts, or sequence of ideas without acknowledging that writer by the use of
proper documentation. Plagiarism is not
only the direct quotation of another writer=s words but also any paraphrase or summary of another
writer=s concepts or ideas without documentation. Academic dishonesty is a profoundly serious
offense. It is not tolerated at Lindsey
Wilson College. Students who are
detected plagiarizing or cheating the first time may expect an AF@ for the
activity in question or an AF@ for the course, at the discretion of the
instructor. All incidents of cheating or
plagiarism are reported by the instructor to the Provost along with copies of
all relevant materials. A second offense
will cause the Provost to move the student before the campus Judicial Board for
possible suspension or expulsion from the College. Each instance of cheating or plagiarism is
counted separately. A student who cheats
or plagiarizes on any two assignments during the same semester will be deemed
guilty of two offenses. Note: The
College has purchased a web product for detecting plagiarized papers.
Statement on Learning/Physical Disabilities
Lindsey Wilson College accepts students with learning
disabilities and provides reasonable accommodation to help them be
successful. Depending on the nature of
the disability, some students may need to take a lighter course load and may need
more than four years to graduate.
Students needing accommodation should apply as early as possible,
usually before May 15. Immediately
after acceptance, students need to identify and document the nature of
their disabilities. It is the
responsibility of the student to provide to the College appropriate materials
documenting the learning disability, usually a recent high school
Individualized Education Program (IEP) and results from testing done by a
psychologist, psychiatrist, or qualified, licensed person. The College does not provide assessment
services for students who may be learning disabled. Although LWC provides limited personal
counseling for all students, the College does not have structured programs
available for students with emotional or behavioral disabilities. For more information, call Dr. David Ludden at 270-384-8080 or Dr. Lillian Roland at
270-384-8187.
Academic Support Center
The Academic Support Center offers peer tutoring to
aid students in completing class assignments, preparing for exams and improving
their understanding of content covered in a particular course. In addition, computers are available for
student use.
Students
are encouraged to utilize this Center as a resource for improving study
strategies and reading techniques. The
Center also offers assistance with other academic problems resulting from
documented learning disabilities. All
services are free of charge to all Lindsey Wilson College students (students
with learning disabilities are responsible for providing documentation from an
appropriate outside professional source such as a professional evaluation or
school IEP). Please contact Jan Green,
Tutor Coordinator at 384-8037 for further information and assistance.
Final Exams
Final Exams are scheduled for the Fall
2005 semester on December 12-15 and May 8-11 for the Spring 2006
semester. The academic calendar, which
contains the schedule for finals, is in the College Catalog and course schedule
listing. Please make any necessary flight
arrangements after the final exam week.
Students will not be permitted to take early finals unless
extenuating circumstances exist. AExtenuating circumstance@ means illness,
a verified family emergency or participation in officially sponsored travel in
support of an event arranged by the College.
Travel arrangements must be made in sufficient time that tickets
may be obtained after final exams and the semester is officially over. All requests for early finals must be made in
person to Dr. William Julian, Provost.
Cell Phone Policy
Student cell phones will be off during class time
unless prior arrangement is made with the instructor.
Course Withdrawal
When withdrawal from a course is properly authorized
and submitted to the Registrar’s Office, the course will appear on the
student’s record with the designation of W (withdrawn). No course withdrawals are permitted during
the last 30 class days of the semester.
Students
who wish to withdraw from a course must complete an Add/Drop Form, including
instructor and advisor signatures, and submit it to the Registrar’s
Office. Failure to do so will result in
a grade of F for the course. Add/Drop
Forms may be obtained from the Registrar’s Office or the academic advisor.
Important
Fall 2005 Dates:
August 22 -- Classes Begin
August 26 -- Last Day to Register or Add a Class
September 05 -- Labor Day Holiday (No Classes)
September 22-23 -- Family Weekend
October 10-14 -- Fall Break
October 17 -- Mid-Term Grades Due
November 04 -- Last Day to Drop a Class or Withdraw
November 04-05 -- Homecoming
November 14-18 -- Advance Registration for 2006 Spring Semester
November 24-25 -- Thanksgiving Holiday (No Classes)
December 09 -- Last Day of Classes
December 12-15 -- Final Exams
December 16 -- 2005 Fall Term Ends
December 17 -- Winter Commencement
December 19 -- Final Grades Due
ENGL 3343: The Short Story – Projected Class Schedule Through Midterm
Weeks 1-4: 19th Century American and Russian Origins
Week 1 (8/22-8/26): American Romanticism
M Introduction to course and to each other; discuss bibliography of books on reserve
W Washington Irving, “Rip Van Winkle” (distributed)
F Nathaniel Hawthorne, “Young Goodman Brown” (HBF)
Week 2 (8/29-9/2): American Romanticism, continued
M Edgar Allan Poe, Review of Twice-Told Tales (distributed); “The Fall of the House of Usher” (D)
W *Poe, “The Murders in the Rue Morgue” (D)
F *Poe, “The Tell-Tale Heart” and “The Cask of Amandillado” (D)
Week 3 (9/7-9/9): Russian Romanticism and the Bridge into Russian and American Realism
M Labor Day (no class)
W * Nikolai Gogol, “The Overcoat” (D); Herman Melville, “Bartleby, the Scriverner” (distributed)
F Leo Tolstoy, “The Death of Ivan Ilych” (distributed)
Week 4 (9/12-9/16): The Russian Grandmaster and Turn-of-the-Century American Realism
M *Anton Chekhov, “The Lady with the Toy Dog” (D)
W *Chekhov, “Misery” (distributed); Kate Chopin, “The Storm” (HBF)
F *Charlotte Perkins Gilman, “The Yellow Wallpaper” (HBF)
Weeks 5-7: Early 20th Century Masters
Week 5 (9/19-9/23): Cather, Joyce, Anderson, and Hemingway
M *Willa Cather, “Paul’s Case” (HBF)
W *James Joyce, “Araby” (HBF): Sherwood Anderson, “Hands” (distributed)
F *Ernest Hemingway, In Our Time (through page 27)
Week 6 (9/26-9/30): Hemingway and the Short Story Cycle
M *Hemingway, In Our Time (pages 28-49)
W *Hemingway, In Our Time (pages 50-77)
F *Hemingway, In Our Time (pages 78-103)
Week 7 (10/3-10/7) : The Cycle, continued
M *Hemingway, In Our Time (pages 104-129); Sena Jeter Naslund, “The Perfecting of the Chopin Valse No. 14 in E Minor” (HB)
[T Naslund will read from her fiction at 4:00 p.m. in Slider Recital Hall]
W *Hemingway, In Our Time (pages 129-157)
F Midterm Exam
Week 8 (10/10-10/14) : Fall Break
* Indicates days/stories eligible for micro-teach
sessions
D=Dover edition
HBF=The
HB=Home and Beyond: An Anthology of Kentucky Short
Stories
Authors to Anticipate after Midterm: William Faulkner, Katherine Anne Porter, Shirley Jackson, Robert Penn Warren, James Still, Jessie Stuart, Eudora Welty, Flannery O’Connor, Alice Walker, Elizabeth Hardwick, Gurney Norman, Bobbie Ann Mason, Raymond Carver, Wendell Berry, Lisa Koger, Normandi Ellis, Chris Holbrook, Crystal Wilkinson