English 102CD
Western American Literature
Dr. Susanne George Bloomfield
Fall 2000
COMPOSITION 102
"COWBOYS AND INDIANS"
CLASS REQUIREMENTS AND EXPECTATIONS
1. The textbooks required for English 102 will be
American Indian Stories by Zitkala-Sa, Shane by Jack
Schaefer, The Lone Ranger and Tonto Fistfight in
Heaven by Sherman Alexie, and A Writer's Reference 4th ed. by Diane Hacker.
2. Grades will be determined by a point system and will include several factors:
A. FORMAL PAPERS (600 possible points)
Students will write a critical paper in response to each of the texts using one of
the critical perspectives discussed in class (Formalistic, Historical, Sociological,
Archetypal, Psychological, or Reader-Response): the first of 3-4 pages (750-1,000
words); the second of 5-6 pages (1,250-1,500 words) with a minimum of 2 outside
sources; and the third of 7-8 pages (1,750-2,000 words) pages with a minimum of 4
outside sources. The quality and appropriateness of the research will help determine
the points earned. The papers will be worth 100, 200, and 300 points respectively. They
must be typed according to the MLA format with the number of words on the last page.
B. DAILY GRADES (approximately 80 possible points)
In addition, each of the eight "Research and Write" assignments (250-500 words
each) will be worth a maximum of 10 points. (10=excellent research source and quotes,
critical thinking, correctly written; 8= good source and quotes, critical thinking, correctly
written; 5=completed assignment, some style errors; 3=partially completed [at least
1/2]; 1=feeble attempt). They must be typed with a word count at the end. Each
response must be collected in a folder with all previous assignments handed in each
time.
An asterisk (*) marks when these assignments are due. If a student is absent, he
or she may hand in the assignment early, hand it in at the session following the absence,
or work out a special arrangement with the professor if unusual complications arise.
C. Participation/ATTENDANCE (32 possible points)
Participation is an important part of the discovery, writing, and revising process.
As we will be doing group collaboration and individual conferencing during the class
periods, attendance is crucial. Points will be given for every class attended, with 3 extra
points for no absences. After two absences, additional points will be deducted for each
absence. Only under exceptional circumstances will absences be excused or
modifications made.
The class will meet for 29 sessions. For example, if a student has perfect
attendance, he or she will receive 29 points plus 3 bonus points, bringing the maximum
attendance points possible for the semester to 32. If a student misses one class period,
28 points will be given and 27 points if two sessions are missed. After that, not only will
students not receive a point for attending that period, but an additional point will be
subtracted. (3 absences = 25 points; 4 absences = 23 points; 5 absences = 21 points,
etc.) This graphically demonstrates how poor attendance could substantially harm a
student's semester grade. If a student is on the borderline of a grade break,
participation in class discussion and group work could tip the balance.
3. Writing assignment points, attendance points, and points for the three papers will be totaled
and scaled for the final grade. After every major assignment, a point list will be posted so that
students will be able to determine their approximate standings at that time.
4. I will hold two 20-minute private conferences with each student during the semester before
each of the first two papers is due. Regular classes will not be held during that time, so if a
student misses a scheduled conference, it will be considered as an absence.
6. My office is in 204 Thomas Hall, and this semester my office hours will be from 11:00-12:30
T-TH. If a student cannot meet with me during this time, I will be happy to make special
arrangements. My office number is 234-8867, and I have voice mail. Students may also leave a
message with the English Department secretary at 234-8299 or contact me by e-mail:
bloomfields@unk.edu.
English 102CD
Western American Literature
Dr. Susanne George Bloomfield
Fall 2000
COMPOSITION 102
"COWBOYS AND INDIANS"
SYLLABUS
8/22 Discussion: Requirements, Assignments, and
Expectations
8/24 Discussion: Theoretical Backgrounds to
Composition and Literature (Handouts)
____
8/29 *Research and Write (250-500 words): Look up the definitions of "Myth," "Legend," and
"Stereotype" in at least two different general reference sources, for example, a
comprehensive dictionary or an encyclopedia, and explain the differences. Give
bibliographic data in correct MLA form for each source (See Handbook).
Composition Strategy: Keeping Track of Your Research.
Editing Review: Correct Bibliographical entries
8/31 *Research and Write (250-500 words): Find an article, chapter, or essay in a book,
magazine, or journal regarding the history or culture of Sioux Indians, Native American
Stereotypes, or Indian Boarding Schools, make a copy of it, and write a "Summary."
Condense the information in the text, use quotations from the text as support, and
conclude with your analysis of the article. What is the thesis? How is it organized? Is the
author's argument well supported? What is used for support? Is the text convincing or
informative? Biblio.
Composition Strategy: Analyzing Thesis, organization, and content
Workshop: Analyze the organization, content, and effectiveness of one article in your
group.
___
9/5 *Research and Write (250-500 words): Read several issues of a 19th century newspaper
between 1880 and 1900 to find news stories about Native Americans: the Kearney Hub
(1873-1893), Kearney Western Ear (1883-1889), Omaha World-Herald (1893-current),
Omaha Bee (1871-1900), Omaha Weekly Republican (1861-1883), North Platte
Telegraph (1881-1946), Rocky Mountain News (1894) or the New York Times (1860s-
current). Write a "Summary" of one at least one article and analyze the attitudes
towards Native Americans displayed in the text. [Summarize. Quote. Analyze. Biblio.]
Composition Strategy: Voice
Editing Review: Punctuating Quotations
Video: Indian Boarding Schools
9/7 Read and Be Ready To Discuss: American Indian Stories (pp. 7-99)
Critical Perspective: Historical
Composition Strategy: Serializing
Video: Indian Boarding Schools (continued)
____
9/12 Read and Be Ready To Discuss: American Indian Stories (pp. 101-153)
Critical Perspective: Biographical, Archetypal
Composition Strategy: Classifying; Formulating a Thesis
9/14 Read and Be Ready To Discuss: American Indian Stories (pp. 155-195)
Critical Perspective: Formalistic, Sociological
Composition Strategy: Comparing
Workshop: Thesis due
____
9/19 Workshop: First Rough Draft due
Editing Review: Commas
9/20-21 Complete Rough Draft due at Individual Conferences
____
9/26 Paper due
Library Presentation by Mary Barton
9/28 *Research and Write (250-500 words): Go to the Museum of Nebraska Art and view the
Cowboys and Indians Exhibit in the basement. Choose one work of art and describe
what frontier myths or realities it depicts. Be sure to give the name of the work and the
artist.
Discussion: Introduction to Cowboy myths and Shane
Editing Review: "Waltzing" with quotes
____
10/3 Read and Be Ready To Discuss: Shane Backgrounds (pp. 1-56)
Composition Strategy: Historical, Biographical
10/5 Read and Be Ready To Discuss: Shane pp. (61-171)
Critical Perspective: Formalistic
Composition Strategy: Description
_____
10/10 Read and Be Ready To Discuss: Shane (pp.172-274)
Critical Perspective: Psychological, Archetypal
Composition Strategy: Narration
10/12 Read and Be Ready To Discuss: Shane Criticism pp. 278-353 (students will be assigned
one article in section)
Composition Strategy: Comparing and Contrasting
_____
10/17 No Class: Fall Break
10/19 Read and Be Ready To Discuss: Shane Film criticism pp. 357-417
View scenes from Movie
Critical Perspective: Reader-Response
_____
10/24 Workshop: Thesis due
10/26 No Class: WLA Conference: Write Rough Draft
________
10/30-31 Complete Rough Draft due at Individual Conferences
11/2 Paper Due
Discussion: Contemporary Views of Native Americans; Internet Sites; Introduction to
Sherman Alexie (Audio Tape of Interview)
____
11/7 *Research and Write (250-500 words): Read an issue of Indian Country Today that will be
handed out in class. Analyze the content of the paper and write a "Reader-Response" to
the newspaper itself or one particular article. Give quotes for support. Biblio.
Editing Review: Active/Passive Verbs
11/9 Read and Be Ready To Discuss: Lone Ranger and Tonto pp. 1-75
Critical Perspective: Fiction/Autobiography
Composition Strategy: Images and Symbolism
_____
11/14 Read and Be Ready To Discuss: Lone Ranger and Tonto pp. 76-148
Critical Perspective: Short Story Cycle
Composition Strategy: Diction
11/16 Read and Be Ready To Discuss: Lone Ranger and Tonto pp. 149-223
Critical Perspective: "The Personal is the Political"
Composition Strategy: Defining, Summarizing, Serializing, Classifying, Comparing, and
Analyzing
____
11/21 *Research and Write (250-500 words): Find a movie review of Smoke Signals and write a
"Summary." [Summarize. Quote. Analyze. Biblio.]
View Scenes from Movie Smoke Signals
Editing Review: Colons and Semi-colons
11/23 No Class: Thanksgiving Recess
_____
11/28 *Research and Write (250-500 words): Find an article, chapter, or essay in a book,
magazine, journal, or Website that supports the topic for your final paper and write a
"Summary." [Summarize. Quote. Analyze. Biblio.]
Editing Review: Effective Sentences
Workshop: Thesis due
11/30 *Research and Write (250-500 words): Find another article, chapter, or essay in a book,
magazine, journal, or Website that supports the topic for your final paper and write a
"Summary." [Summarize. Quote. Analyze. Biblio.]
Editing Review: Diction
Workshop: Rough Drafts due--Revising content
____
12/5 Workshop: Rough Drafts due--Revising Organization
12/7 Workshop: Rough Drafts due--Editing Style and Grammar
Review: Theoretical Backgrounds of Composition and Literature
Finals Week: Thursday, December 14 at
Final Paper Due
12/14 at 9:30
Dr. Susanne Bloomfield
English 102/254
WRITING ABOUT LITERATURE
Literary analysis attempts to find the truth. The process of analysis divides a problem
into various parts so that their natures, functions, and interrelationships may be more easily
examined. Although the work of literature must be ultimately viewed as a whole, separate
inquiries into its parts can be made to appreciate it more fully. It is an honest attempt to
discover the truth about a work and base its appreciation on personal thought and discovery,
not a vaguely emotional reaction. ("I like it" or "I don't like it.") As a writer considers a topic, he
or she must remember that literary analysis presents a way of delving into the heart of a work
of literature. By pointing out the author's insights into problems of life, and by describing
various aspects of his skill, literary analysis aims at an appreciation of literary excellence and a
deeper understanding of the human condition.
I. DESCRIPTIVE CRITICAL ESSAY: FORMALISM
The main question that this type of essay is trying to answer is "HOW does this literary
work get its meaning across?"
A. Characterization
Character in literature is the author's representation of a human being, specifically
those inner qualities determining how the individual reacts to various conditions or actions.
Choices and Actions indicate character. In forming a unified image of a character in a literary
work, the writer should attempt to discover the character's outstanding trait, a dominant
impression. In addition, any physical descriptions should be taken into account, relating the
physical to the mental and moving from what the character looks like to what the character is.
Always try to go from the outside to the inside, for it is on the inside that the character resides.
An author discloses his character: a) by what the character himself says or thinks; b) by
what the character doe;s c) by what other characters say about him; d) by what the author
directly says about him.
B. Setting
The object of an analysis of the setting, the where and when of the story, should be to
relate the setting to some aspect of the work being studied. Occasionally, the setting may be a
major element of the work, and the author will investigate the effects of the character on the
setting or the effects of the setting on the character. Do not merely describe the setting; move
from a description of setting toward a discussion of effects.
The elements of setting include: a) the visible background; b) the other characters; c)
the time; d) the atmosphere, or the religious, mental, moral and social tone and emotions of
the characters. Sometimes the setting may be neutral or universal, and of minor importance in
the story.
C. Structure
The author's arrangement of the series of events in a story, often called the plot,
includes the Rising Action (conflicts), Climax, and Denouement. The structure must be unified,
have a beginning, middle, and end, and follow the laws of plausibility, surprise, and suspense,
although it may not follow a linear pattern.
D. Conflict
(Person vs. person, or vs. himself, vs. nature, vs. society, vs. Fate)
Seldom do we find one single conflict in a literary work, but often a complex struggle
comprised of many or all of these elements. In addition, the study of conflict may include the
analysis of "motivation," the reason behind the protagonist's struggle.
E. Symbolism
A symbol is usually a physical object that represents an abstract idea or ideas. It may
occur repeatedly throughout the text, or individual symbols may combine to achieve an overall
effect.
F. Images
Descriptions that appeal to the senses. Concrete details explain the abstract ideas,
emotions. (Metaphors, similes, personification)
G. Theme
The theme is the central or dominating idea, an abstract concept made concrete
through its representation in character, setting, action, and tone. It can portray or analyze
some common human event or emotion (love, grief, fear, maturation, betrayal, death), or it can
convey moral judgments. The theme may also deal with moral problems but make no
judgment, simply saying, "Here is what life is like."
II. INTERPRETATIVE CRITICAL ESSAY
"WHAT does this literary work mean?" is the basis for the Interpretative essay. Several
current strategies exist to help interpret texts. The following are only a few:
Psychoanalytical
Historical (social, cultural)
Archetypal
Biographical
Reader-Response
Structuralism (Language)
Feminist
Marxist (class struggle)
One of the approaches, archetypal criticism, is the study of universal patterns that occur
repeatedly in myths and stories. Two motifs, or patterns, often seen in literature include:
1) The HERO who undertakes a long journey, or QUEST, with difficult tasks to perform or
dangerous obstacles to overcome in order to achieve a reward at the end. He may or may not
succeed.
2) The HERO who undergoes a series of ordeals, an INITIATION, in passing from ignorance or
innocence to social, physical, spiritual, or intellectual adulthood. This often involves three
distinct phases: Separation, Transformation, and Return. This new identity, characterized by
growth in individual or human awareness, is often considered a second birth. Occasionally a
protagonist will undergo an ordeal and will NOT learn or transform, will NOT come to a new
awareness.
English 102
Fall 2000
Dr. Susanne Bloomfield
REVIEW & REMEMBER
 Your final draft is due on Thursday, December 14, in our classroom at 9:30. It must be
approximately 7-8 pages long (approximately 1,750-2000 words). Pages must be numbered
and the word count of the text of your essay only must be included on the last page (under
"Tools" on your computer is a word counter). You must include all rough drafts as well as
your final draft in a two-pocket folder. The final paper must be fastened with a paper clip.
You may turn your paper in early, but if you do not personally give me your paper, I can not
be responsible for receiving it (Be sure you have a backup copy in case it becomes lost).
 I will be in my office from 12:00-2:00 on Tuesday, December 12, if you want to meet with
me or ask me questions on the telephone: 865-8867. You may turn in your paper at this
time. You may also e-mail me: bloomfields@unk.edu. However, during finals week, I will not
accept papers or drafts over the internet.
 Follow the example on page 351 of Handbook on how to correctly type the paper.
Headings, however, should not be used.
 The paper must have a minimum of four outside scholarly sources in addition to the book or
books you are analyzing. However, they, too, must be included on the list. The Works Cited
list on page 359 shows how to correctly type this page. Note especially the first entry that
shows how to correctly do a website. Other internet documentation is on pages 339-343 as
well as on Internet Links on my faculty Home Page. There is no excuse for an improper
Works Cited List, and I will deduct heavily for gross errors.
 Your final grade will include daily points accrued since the last posting, positive and negative
attendance points, and a maximum of 300 points for your final paper. Grades will be
determined by major breaks in the point scale, as they have in the past. I will carefully
analyze all borderline grades, utilizing past grades, attendance, and class participation in
making my determination of which grade to assign if there is any question of which way a
grade should go.
 You may pick up your papers when you return to classes for the spring semester. My office
hours will be from 11:00-12:30 on Tuesdays and Thursdays. I will keep your papers for
about a month. Since most students do not pick up their papers and since the grades must
be turned in on Monday, I will probably not edit individual grammar and style errors, as that
is very time-consuming. If you are going to come for your paper and want me to edit it
carefully, let me know by e-mail or telephone before you come, and I will be glad to
thoroughly edit your paper.
EDITING HINTS:
1. Check EACH part of your paper independently. Everything should have a beginning, a
middle, and an end. Use strong topic sentences to introduce each point and strong
concluding sentences at the end of each point to explain how it proves the thesis. Good
transitions should signal movement from one point to the next. Each quote or example
should have three parts: set up, quote or example, explanation.
2. Check verb tense shifts. Be consistent. This is the number one problem in analytical writing.
3. Utilize active verbs. Avoid "get" and "there is," "this is," and "it is."
4. Do not use the word "you" in scholarly writing unless it is in a quote.
5. Underline book, magazine, journal, and newspaper titles and use italics for articles and
short stories.
6. Avoid wordiness and repetition. A wordy and repetitious essay will receive a worse grade
than one that is a short of the required word count.
7. For more content, go to the story and use specific examples, (1) setting them up, (2)
quoting correctly, and (3) explaining what the quotes prove in a thoughtful and intelligent
manner. Check pages 86-91 for a review of the correct way to incorporate and punctuate
quotes.
8. Outside research should also improve the content. Try to balance it throughout the paper.
Ideally, you should have some research support for each point. Don't put it all in a clump at
the beginning or the end, or pile it up on one point. Remember, though, that your analysis
of the text is the turkey and mashed potatoes, and the research is merely the gravy.
9. Read your paper out loud before you print the final draft. If you stumble reading a
sentence, that means something is wrong. Fix it. If you find yourself pausing, you have
probably not explained something thoroughly or you need a transition.
DON"T BE LAZY-WHEN IN DOUBT, LOOK IT UP!