Community College of Rhode Island
Spring 2016
ENGL1200-154, Introduction to Literature
Course Meets: MWR, 1 p.m. to 1:50 p.m.
Room 1156, Flanagan Campus
Instructor: Beth O’Leary Anish
e-mail: boanish@ccri.edu
Office: 1364, Flanagan Campus
Office Hours: MWR, 8am-9am and noon-1pm
Phone number (during office hours): (401) 333-7139
Course Description:
This course examines a variety of literary genres (fiction, nonfiction, poetry and drama) as expressions
of the human desire to communicate philosophy, experience, and attitudes. Examples found in diverse
literary cultures from ancient times to the present are the basis for reading, analyzing, and evaluating
these forms of verbal expression. (Meets Literature elective and English concentration requirements)
Lecture: 3 hours (http://www.ccri.edu/catalog/cd-index.pdf).
Methodology:
In this introductory literature course the instructor will spend some class time delivering lectures on
literary terms and criticism, but the bulk of class time will be spent in discussing fine examples of three
literary genres: fiction, poetry and drama. While the instructor will facilitate these discussions, student
participation is crucial to their success. Students must come to class prepared to discuss readings found
on the syllabus for each course meeting. If it is clear from class discussions that students are not doing
readings, pop quizzes will be instituted as extra incentive. Students will also be asked to interpret
literature in writing, through in-class examinations and take-home essays.
Instructional Objectives:
At the conclusion of this course students should be able to:
- recognize the main literary genres, terms and some modes of criticism
- perform close readings of texts with varying levels of difficulty
- write thoughtfully and critically about literary works
Required Texts:
Mays, Kelly J., Ed. The Norton Introduction to Literature, Shorter 12th ed. New York: Norton,
2016. ISBN#: 978-0-393-93892-0. (CCRI bookstore:
http://bookstore.ccri.edu/store1/Home.aspx)
Expectations for Written Work:
All written assignments completed for homework must be formatted according to MLA style. This
means that papers should be typed and double-spaced, in size 12 font, with 1 inch margins. The
student’s name, instructor’s name, course title and date should appear in top left corner of the first page.
No cover page is necessary. On written assignments where outside sources are used, those sources must
be documented according to MLA style. Take-home essays must be submitted in class, as a hard copy.
Assessment Procedures:
Student papers will be judged according to the four bases for revising essays: unity, support, coherence
and sentence skills. To be judged excellent and earn an “A” grade, student papers must have a clear
focus, supported by plenty of specific details presented in an interesting, organized manner and through
error-free sentences. As papers move away from this standard of excellence, grades will be lowered
accordingly. See grading rubric on page 4 of this syllabus for more details.
Course Requirements:
1) Interpretive Essays: Two take-home essays, 2-3 pages in length each, exploring more deeply a work
or works by one or more authors. One of these essays will be on short fiction and one on poetry.
Students will be asked to choose from topics handed out to them two weeks before each paper is due.
Due 3/3, 4/21.
2) Quizzes: As necessary, brief quizzes on readings will be administered at the start of class to ensure
students are reading/comprehending the literature. These quizzes will be unannounced.
3) Examinations: Mid-term Exam covering short fiction (3/7) and Final Exam covering poetry and plays
(date to be announced). Both exams will be essay-based and completed in class. Students will have a
choice of topics on each of the exams.
4) Class Participation: To earn class participation credit, students must show evidence that they have
completed readings prior to class by making positive contributions to class discussions. The instructor
will grade class participation on a “check”, “check plus” and “check minus” system. A student who
makes positive contributions to writing workshops and full class discussions will receive a “check plus”
for that day of class. A student who shows up for class but does not get involved will receive a “check”
for attending. A student who misses a significant portion of a class, due to tardiness or leaving early
will receive a “check minus” for the day. Sleeping in class will also count as a “check minus.” Two
“check minus” grades will count as an absence from the class. At the end of the course, the instructor
will tally up the “check plus” grades to determine the students’ class participation grades. Absences and
check minuses will be subtracted from that grade. If necessary, reading quizzes will also be factored
into the Class Participation grade (if students are showing signs of not having completed the readings in
class discussions).
Grade Breakdown:
Short essays: 40% (2 essays at 20 % each)
Quizzes: 10%
Midterm Exam: 15%
Class Participation: 15%
Final Exam: 20%
Late paper policy:
All written assignments should be handed in on the day they are due according to the syllabus. If some
emergency comes up and a paper must be handed in late, it will only be accepted the next class meeting
after the due date. It will not be accepted by e-mail. Papers handed in one class meeting late will lose
one full letter grade off the earned grade (an “A” paper would be a “B,” for example). If the earned
grade is in the “D” range, the late paper will be graded “F” and will not receive credit.
Attendance policy:
Students should make every attempt to attend and participate in every class. In the case of a brief illness
or other unforeseen circumstances, however, the instructor understands if a student has to miss a class.
Too many absences will detract from the student’s ability to participate in class and should be avoided.
Absences should be used only for serious illnesses or other emergencies.
The first three absences will not affect the student’s grade. For the 4th, 5th and 6th absence, the
student’s final grade will be dropped ½ letter grade each. After six absences the student should
officially withdraw or a final grade of “F” will be given. Two late arrivals or early departures will
be considered equivalent to one absence. This policy is in accordance with the CCRI English
Department’s attendance policy, and will be strictly enforced.
You are expected to complete homework assignments even if you are absent; all reading assignments
are listed here on this syllabus, and writing assignments not obtained in class can be found on our course
Blackboard site or by e-mailing the instructor.
Academic Dishonesty and Plagiarism:
Plagiarism is passing someone else’s words and ideas off as one’s own. Whether that involves taking a
whole paper off the internet, borrowing from a source without acknowledging it, or having a friend or
family member give a little too much input into an assignment, plagiarism is not an accepted academic
practice. Students only learn if they do their own work. It is within the rights of the instructor to fail
a student for an assignment or the course, if he or she has been caught plagiarizing.
Clearly having someone else write a paper or borrowing a paper from the internet is wrong. More subtle
cases of plagiarism happen when students are not clear how to cite sources properly in a research paper.
Know that any time you borrow words or ideas from an outside source you must give credit to the
author of that source. You are not asked to conduct outside research for any of the written work in this
course. Still, if you do choose to consult outside sources for your papers, you must cite them properly
following MLA citation style. For more information on CCRI’s academic dishonesty policy, see the
Student Handbook:
http://www.ccri.edu/Advising/Student_Services/handbook.shtml#POLICY_ON_ACADEMIC_DISHONESTY
Classroom Etiquette:
All students have a right to learn in this classroom without being distracted by their peers. Please be
considerate of both your instructor and fellow students to maintain a positive learning environment. To
this end, students are not permitted to engage in the following activities during class time:
- text messaging, answering phones or otherwise using phones for games, internet, etc.
- listening to head phones
- holding side conversations or chatting about non-course related topics
- using computer for any purpose other than note-taking or in-class writing assignments
- sleeping!
Students engaged in any of the above activities may be asked to leave the classroom.
Class discussions and peer review of essay drafts should be conducted with civility and respect for all
voices and opinions. It is by being open to diverse opinions that we best learn. In this classroom you are
considered an adult. If you need to excuse yourself to use the bathroom or take an urgent phone call you
can do so without my permission, and with as little disruption to the class as possible.
Grading Rubric for Literary papers:
Unity
Support
Coherence
Sentence Skills
A (Excellent)
Essay has clear
main point
(thesis), often
stated at end of
introduction.
Thesis points
paper in one
direction, and is
easily defensible
in a short essay
(not too broad or
too narrow). All
supporting details
in the essay fit
with thesis.
Essay includes
plenty of specific
details and
examples from
text(s), including
quotations, to
back up thesis
statement.
B (Good)
Essay has clear
main point (thesis)
in introduction,
though perhaps not
as interesting,
unique or insightful
as that of an “A”
paper. Supporting
details back up
thesis.
C (Fair)
Essay’s point
(thesis) may be
vague and
difficult to defend
in a short paper,
but writer does
attempt to have a
point or direction.
The paper may
wander off of this
point
occasionally.
D (Poor)
Essay is lacking a
clear direction or
point (thesis),
therefore
supporting details
are scattered to
support various
points.
F (Failing)
There is no point
to the essay.
Essay includes
some specific
details and
examples from
text(s) to support
thesis, but perhaps
not as many as an
“A” paper.
There is not one
clear direction so
support is
increasingly
vague. Essay
may include more
clichés than
specific details.
Support is vague,
if there at all. No
specific details or
examples to
illustrate what
writer is trying to
say.
Essay flows
smoothly from
start to finish.
There are
transitions
between ideas and
paragraphs. Ideas
are arranged in
logical order, and
new paragraphs
started when topic
shifts. Essay
includes
introduction,
body paragraphs
and conclusion.
Essay includes
clear, error-free
sentences. Few,
if any, fragments,
run-ons, point of
view shifts, etc.
Essay is organized
well overall, but
may include some
places where a new
paragraph should
have been started
and wasn’t, or
where writer jumps
to next topic
without a
transition. Essay
has introduction,
body paragraphs
and conclusion.
Support for thesis
is vague, not
specific. Few
details and
examples are
given as evidence.
Writer may bring
up a point but not
support it.
Essay may jump
around, not flow
smoothly from
start to finish. It
may lack some
transitions.
Paragraphs could
perhaps be
ordered
differently. It
does attempt a
separate
introduction, body
paragraphs and
conclusion.
Essay tries to
cover too many
topics so it
cannot be neatly
organized. It
may lack a
conclusion and
not have enough
body paragraphs.
It may introduce
a point at the end
of the essay that
should have been
developed earlier
in the essay.
Essay has no plan
of organization, no
logical order.
Essay may include
a few grammatical
errors, but not
enough to get in
the way of
communicating
writer’s ideas.
At this level paper
Sentence-level
Sentence-level
grammatical
errors are found
errors throughout
mistakes become
throughout the
essay. Writer has
a problem; there
essay. It
not communicated
are more run-ons, becomes difficult
ideas clearly.
fragments, point
to understand
of view shifts and
writer’s ideas
misused words
because they are
than in “A” and
not expressed
“B” papers.
clearly.
Source for the “Four Bases for Revising Essays”: Langan, John. College Writing Skills with Readings, 7th ed. New York:
McGraw Hill, 2008.
Course Topics/Assignment Schedule:
Week 1
1/25, 27, 28
Introduction to course on 1/25; For 1/27, read Sherman Alexie’s “Flight Patterns, p. 54, and
his poem “Facebook Sonnet,” p. 942. Come to class ready to discuss how Alexie works
current events/concerns into his literature.
Week 2
2/1, 3, 4
Read Fiction: Reading, Responding, Writing, p. 12-19 and 29-31; Chapter 1: Plot, p. 85-92;
and Maupassant, “The Jewelry,” p. 655 for 2/1; Munro, “Boys and Girls,” p. 152 and Updike,
“A&P,” p. 163 for 2/3.
Topics: Elements of a Short Story. Plot.
Week 3
2/8, 10, 11
Read Chapter 2: Narration and Point of View, p. 174-178 and Poe, “The Cask of
Amontillado,” p. 178 for 2/8; Kincaid, “Girl,” p. 184; Hemingway, “Hills Like White
Elephants,” p. 634 for 2/10.
Topics: Narration and Point of View; Introducing Literary Criticism; Reader Response
Theory (handout).
Week 4
2/15, 17, 18
Read Chapter 5, Symbol and Figurative Language, p. 334-340 and Writing About Literature,
p. 1885-1922 and Danticat, “A Wall of Fire Rising,” p. 366 for 2/15; Chopin, “The Story of
an Hour,” p. 523 for 2/17; and Gilman, “The Yellow Wallpaper,” p. 526 for 2/18.
Topics: Symbolism and Figurative Language; Writing About Literature; Feminist Criticism
(handout); Assign Essay #1: Short Fiction (handout).
Week 5
2/22, 24 (Professor Anish away at conference on 2/25; no class that day)
Read Chapter 4, Setting, p. 284-290, Chapter 6, Theme, p. 383-387 and Garcia Marquez, “A
Very Old Man with Enormous Wings,” p. 405 for 2/22; Mukherjee, “The Management of
Grief,” p. 434 and Lahiri, “Interpreter of Maladies,” p. 448 for 2/24.
Topics: Setting; Theme; Psychoanalytic Criticism (handout).
Week 6
2/29, 3/2, 3/3
Read Chapter 3, Character, p. 218-225; Faulkner, “Barn Burning,” p. 188 and “A Rose for
Emily,” p. 730 for 2/29; O’Connor, “A Good Man is Hard to Find,” p. 543 and “Everything
that Rises Must Converge,” p. 568 for 3/2.
Topics: Character; Southern American literature; Marxist Criticism (handout). Review for
Midterm.
Essay #1: Short Fiction, due 3/3.
Week 7
3/7, 9, 10
Midterm Exam (in class), 3/7. Review Midterm results, 3/9. Introduce Poetry, 3/10.
Week 8
3/14, 16, 17
Read Poetry: Reading, Responding, Writing, p. 698-702 and 712-719 for 3/14; Chapter 21,
Cultural and Historical Contexts: The Harlem Renaissance, 1031-1040 (includes Cullen,
“Yet Do I Marvel,” p. 1041; Hughes, “Harlem,” p. 1043 and “I, Too,” p. 1045; McKay, “The
White House,” p. 1048) for 3/16.
Topics: Reading and Responding to Poetry; The Harlem Renaissance.
SPRING BREAK, 3/21-3/27
Week 9
3/28, 30, 31
Read Chapter 10, Speaker: Whose Voice Do We Hear?,” p. 735-743 and Chapter 12, Theme
and Tone, p. 794-800; Marge Piercy, “Barbie Doll,” p. 1124 for 3/28; Rita Dove, “Daystar,”
p. 762; Linda Pastan, “Marks,” p. 838, and Sylvia Plath, “Daddy,” p. 1072, for 3/30.
Topics: Speaker, Theme, and Tone; Feminist Poetry.
Week 10 4/4, 6, 7
Read Chapter 13, Language: Word Choice and Order, p. 822-828 and Chapter 15, Symbol, p
848-854 for 4/4; Robert Frost, “The Road Not Taken,” p. 856 and “Stopping by Woods on a
Snowy Evening,” p. 1116 for 4/6; Seamus Heaney, “Digging,” p. 1116 and David Wagoner,
“My Father’s Garden,” p. 753 for 4/7.
Topics: Language and Symbol; Frost and Heaney; Assign Essay #2 (handout).
Week 11 4/11, 13, 14
Read Chapter 14, Visual Imagery and Figures of Speech, p. 834-841 and Chapter 18,
External Form, p. 918-921 and The Sonnet, p. 931-932; and Shakespeare, “That time of year
thou mayst in me behold,” p. 837 for 4/11; Shakespeare, “Shall I compare thee to a summer’s
day?,” p. 844, “My mistress’ eyes are nothing like the sun,” p. 933, “Not marble, nor the
gilded monuments,” p. 934, and “Let me not to the marriage of true minds,” p. 934, for 4/13.
Topics: Imagery and Figurative Language; Poetic forms; Shakespeare’s sonnets.
Week 12 4/18, 20, 21
Read Drama: Reading, Responding, Writing, p. 1152-1165 (includes Glaspell’s Trifles, p.
1155) and Chapter 23, Elements of Drama, p. 1178-1187 for 4/18; Glaspell, “A Jury of Her
Peers,” p. 537 for 4/20.
Topics: Reading Plays.
Essay #2: Poetry, due 4/21.
Week 13 4/25, 27, 28
Read Arthur Miller’s Death of a Salesman, p. 1709-1776 for 4/25.
Topics: Death of a Salesman.
Week 14 5/2, 4, 5
View film version of Death of a Salesman.
Week 15 Final Exam (date to be announced; no make ups/extensions for final exam will be allowed).