English 270: Introduction to Poetry
Section 7502, 9:15–11:30 AM, Mon., Tues., Thurs.
Room C-253
www.Brian-T-Murphy.com/Eng270.htm
Brian T. Murphy
Office: MB-14-G, 12:00-1:00 Tues. (by appt.)
Email: bmurphy@lagcc.cuny.edu
or bmurphy@Brian-T-Murphy.com
DESCRIPTION:
This course introduces students to the formal conventions of poetry as well as the basic elements that work to create
a poem. Poems from different countries and different historical periods will be explored, at times from different
critical perspectives. Works by such poets as William Shakespeare, John Donne, Walt Whitman, Emily Dickinson,
W.B. Yeats, Langston Hughes, e.e. cummings, Federico Garcia Lorca, Adrienne Rich, Audre Lorde, Leslie Marmon
Silko, and Gary Soto will be discussed.
This is an introductory course in poetry and poetic expressions; however, it is assumed that students have
successfully completed the prerequisite for this course, one or more English courses including English 101 (or the
equivalent). Therefore, students are expected to have the necessary background and experience in analyzing,
discussing, and responding to written works, as well as the ability to conduct independent research and to write
correctly documented research essays using MLA format.
Students are cautioned that this course requires extensive reading, writing, and discussions; students not prepared to
read and to write on a regular basis and to take an active part in class discussions should not consider taking this
course.
OBJECTIVES: Students will
1. Engage in reading, writing, and discussion of selected poems as an integrated process;
2. Analyze and respond to the metaphorical, imagistic, and symbolic language of texts;
3. Develop the interpretative strategies and critical vocabulary needed to understand, talk, and write about
literature;
4. Appreciate the formal and thematic aspects of literature;
5. See connections between what is written and how it is written;
6. See the relationship of literature to society and to human experience;
7. See texts in comparison with earlier texts and to understand some of the historical forces which created them;
8. Find joy and pleasure in reading a diversity of texts by women and men of varied philosophies and writing styles,
from a range of social and ethnic origins.
9. Write three to four essays of varying lengths (between 500 and 2000 words) using vivid and effective language
and exhibiting organized and developed ideas which support a thesis (At least one of these essays must
incorporate secondary sources or alternate texts. As in English 101, you will be required to follow the
appropriate MLA format.);
10. Interpret and write critically about poetry while applying techniques of close reading and incorporating literary
elements;
11. Demonstrate understanding of research methods, conventions, and practices that will be integrated into critical
and analytical writing;
12. Identify and evaluate forms of literary analysis, including biographical information, historical context, and/or
critical theory;
13. Write essays that conform to standard U.S. English and reflect developed editing skills.
See the Introduction to English Literature Electives sheet for important information related to this course.
REQUIRED TEXTS:
Hunter, J. Paul and Alison Booth, eds. The Norton Introduction to Poetry, 9 ed. New York: W. W. Norton, 2006.
Supplemental handouts, to be distributed in class
A good college-level (paperback) dictionary
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Recommended Texts:
Hacker, Diana. Rules for Writers, 7 ed. Boston: Bedford/St. Martin’s, 2012, or another current college-level
handbook including 2009 MLA updates.
Additional readings and materials may be assigned at the instructor’s discretion.
CLASS POLICIES:
Attendance:
Departmental policy allows no more than four (4) hours of unexcused absences. Students who do not meet the
English Department’s attendance policy will not pass the class. Students must not only attend every class for the
entire class period, but also arrive on time, be prepared, and take an active part in class (see Participation, below).
Students may be required to sign in each class session to verify their attendance. Students unable to attend class
should contact the instructor regarding their absence in advance or as soon as they return to school.
Plagiarism and Cheating:
Plagiarism includes copying or paraphrasing another’s words, ideas, or facts without crediting the source; submitting
work written by someone else, either in whole or in part, as one’s own; or submitting work previously submitted for
another course or instructor. Plagiarism, cheating, or other forms of academic dishonesty on any assignment will
result in failure (a grade of zero) for that assignment and may result in further disciplinary action, including but not
limited to failure for the course and expulsion from the College. See the English Department’s Statement on
Plagiarism and the LaGuardia Community College Policy on Academic Integrity.
Essay Submission (General Essay Instructions):
For each of the assigned essays and projects, a topic or list of topic choices is provided. Your work must be on one
of the assigned topics for that assignment or developed in consultation with the instructor or it will receive a grade of
“F”. You must obtain prior approval to write on topics other than those listed below; speak to me before or after
class to set up an appointment during my office hours. Approval must be obtained at least one full week in advance
of the due date.
All work must be received by the instructor on or before the due date, at the beginning of the class period, as
indicated on the schedule, below. Late work will not be accepted, nor will essays be accepted via email. Failure to
bring the required essay will result in a zero for the assignment, without opportunity for revisions.
For each of the essays, select one of the topics to discuss in a well-developed, coherent, and thoughtful essay. Be
sure to focus carefully on the topic, and remember that these are formal essays: they must have an appropriate,
original title; contain an introduction, body, and conclusion; have a clear, explicit, assertive, objectively worded
thesis statement (thesis statements must be underlined); and avoid use of contractions, slang, or I or you throughout.
Except where otherwise specified, these are not research essays; the only sources utilized or quoted should be
the texts themselves. Use of secondary sources, whether credited or not, will be considered grounds for failure.
Essay 1 and Essay 2 must be at least 750 to 1000 words, the Final essay exam must be a minimum of 600 words, and
the Research Essay must be at least 1500–2000 words (roughly six pages minimum). All at-home work must be
typed in 12-point Times New Roman font, double-spaced, and stapled when submitted. In-class work must be neatly
printed in blue or black ink on composition paper or in bluebooks provided by the instructor and double-spaced§. All
essays should be grammatically correct, free of errors in mechanics, grammar, usage, spelling, and documentation,
and will be evaluated according to the Model for Evaluation of Student Writing.
Also, one would think that this would not even need to be stated, but read the work or works about which you are
writing, and read them carefully! Do not rely upon your general impressions based on what you think was said in
class, or on what you read online. There is no reason for your essays to contain factual errors.
Please feel free to communicate any concerns or questions to me before the essays are due; I will be available to
meet with any student who needs assistance or additional instruction. Please speak to me before or after class or
email me to set up an appointment during my office hours.
Revisions:
All failing essays, with the exception of the Final Essay, may be revised and resubmitted by the due dates
announced, usually approximately one week after the graded essays are returned. Essays receiving a passing grade
may also be revised and resubmitted, but only after the student has met with the instructor during office hours (by
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appointment only) to discuss revisions. Revisions must be substantially revised, not merely “corrected” versions of
the original essay (revisions should be based upon the Revising and Editing Checklist and relevant information from
class and the textbooks), and must be submitted with the original graded essay attached. Evidence of substantial
revision may result in a better grade for the assignment.
If you did not submit a completed essay on time, or if you submit a plagiarized essay, you will receive a grade of
zero and may not submit a “revision.”
Make-up Exams/Late Work:
All assignment deadlines and scheduled exam dates are provided at the beginning of the semester; therefore, late
papers will not be accepted, nor will make-up opportunities be offered, except under extraordinary circumstances
with appropriate documentation. Excuses such as “crashed computers,” “lost flash drives,” or “empty printer ink
cartridges” will not be accepted.; therefore, be sure to save your work in multiple forms (computer’s hard drive, flash
drive, and cloud), and keep backup copies of all work submitted.
ASSIGNMENTS:
Attendance and Participation (10%):
As this class will combine both lecture and discussion, students are expected both to attend every session and to take
an active part in class—joining in discussions and raising questions. Discussion is one of the best ways to clarify
your understandings and to test your conclusions. Open discussion always involves personal exposure, and thus the
taking of risks: your ideas may not be the same as your fellow students’ or even the instructor’s. Yet as long as your
points are honest and supportable, they will be respected by all of us in the classroom. Questions, discussion,
disagreement, and laughter are all encouraged.
Quizzes and In-class Writing (10%):
With the exception of the first day, class may begin with a short (five-minute) quiz on the readings for the day, at the
instructor’s discretion. Quizzes cannot be made up; if you miss a quiz due to absence or lateness, that grade will be
recorded as a 0. At the end of the semester, the lowest grade will be dropped. Students may also complete a number
of smaller in-class writing assignments, including summaries, exercises, or short responses. Total number of quizzes
and writing assignments during the semester will determine the point value of each; that is, if 11 quizzes/writing
assignments are given (lowest grade dropped), each is worth up to one full percentage point.
Essays (2 @ 20%):
Students will complete two at-home critical essays during the semester, on topics selected from the list of
suggestions provided (see Essay Topics) or developed in consultation with the instructor. Essays must be at least 750
to 1000 words, typed (12-point Times New Roman), double-spaced, and stapled (once, upper-left corner) when
submitted. Essays should be grammatically correct, free of errors in mechanics, grammar, usage, spelling, and
documentation, and will be evaluated according to the Model for Evaluation of Student Writing. Please refer to
Writing a Literature Paper and Getting an A on an English Paper as well as the Paragraph Outline or Essay Outline
and Revising and Editing Checklist for additional assistance.
In-Class Essay: Final Exam (15%):
Students will also complete an open-book in-class Final Essay exam of at least 600 to 750 words, drawing upon their
knowledge of material studied during the previous six weeks, including critical reading and analysis of poetry.
Students will be allowed to use textbooks and a dictionary and/or thesaurus for the essays.
Research Essay (25%):
Students will also complete an argumentative (persuasive) Research Essay of at least six pages (at least 1500–2000
words), using up to five primary sources and a minimum of three to five secondary sources, correctly documented
utilizing MLA-style citations, with a cover page and Works Cited page (cover page and Works Cited do not count
toward the six-page requirement). The research essay must be submitted in a folder, including copies of all sources
used. See additional details below.
Extra Credit (possibly various opportunities, at 1–2 points each):
Students may be notified of additional opportunities for extra credit during the semester, including attendance at
various cultural events related to the class. If students attend one or more of these events, and provide evidence of
attendance (ticket stub, program, et cetera) along with a typed one- to two-page personal response (review, analysis,
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reflection, critique, et cetera), they may receive up to two points per event added to their final average. As a general
rule, extra credit only helps if you have already completed all of the assigned work, and will not make up for missing
an essay (or two, or three). Extra credit opportunities will be announced in class, and they will also be posted online,
so do not ask at the end of the semester for “extra credit” to bring up your average.
GRADING:
Total Points earned (Final Average) will determine
the grade received for the course, as follows:
Final grades will be determined as follows:
Attendance/Class Participation
10%
Quizzes and In-class Writing
10%
Essay 1
20%
Essay 2
20%
Essay 3 (Final)
15%
Research Paper (35% total)
25%
Extra Credit (if any) will be added to the final total.
Final Percentage
Final Grade
96-100+
A
90-95
A–
87-89
B+
84-86
B
80-83
B–
77-79
C+
74-76
C
70-73
C–
60-69
D
0-59
F
Note: Final percentages ending in .5 or
greater will be rounded up. Thus, 79.5
will round to 80, a B, but 79.4 rounds
down instead, to 79, a C+.
SCHEDULE:
IMPORTANT DATES: 2013 SPRING SEMESTER - SESSION II
Tuesday 25 June
First Day of Weekday Classes
Wednesday 26 June
Thursday 4 July
Last Day to Add a Course or Change Course
Sections
No Classes – College Closed
Saturday 6 July
Census Day / Last Day to Drop a Course
Tuesday 16 July
Irregular Day: Classes Follow Thursday Schedule
Thursday 18 July
Last Day to Officially Withdraw from a Course
Tuesday 6 August
Last Day of Weekday Classes
Wednesday 7 August
No Classes – Reading Day
Thursday, 9 August–
Wednesday, 14 August
Final Examinations
See Academic Calendar
Projected Schedule of Readings and Assignments:
NOTE: This schedule is for students with The Norton Introduction to Poetry, 9 ed. only. If you have an earlier
edition, you must find the appropriate page numbers yourself.
All readings below are required, and must be completed by the day indicated; while not all poems may be covered in
class, you should be sure to read them all and be prepared to discuss them. The only exceptions are those indicated
with an asterisk (*), which are recommended additional readings or resources. Several selections are not included in
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The Norton Introduction to Poetry. They will be made available as handouts, and can also accessed through the links
provided. Additional readings may also be assigned.
Readings from The Norton Introduction to Poetry are identified below by author and title as well as page numbers,
e.g., William Shakespeare, “[Shall I Compare Thee to a Summer’s Day?]” (173) or, where the text’s critical
apparatus and additional information are intended, by title and page number, e.g., “Poetry: Reading, Responding,
Writing” (1-16).
Note: This schedule is subject to revision according to the instructor’s discretion, the Academic Calendar for the
semester, school closings due to inclement weather or other reasons, and the progress of the class. Additions or
changes will be announced in class and they will also posted online, including on the class Announcements page.
Date:
Readings and Assignments:
Tue., 25 Jun. First Day of Weekday Classes, Spring II: Course Introduction: Syllabus, texts, policies,
assignments; What is Poetry? Introduction to Poetic Analysis
Introductory Poems: William Shakespeare, “[Shall I Compare Thee to a Summer’s Day?]”
(173); Anonymous, “[There was a young lady of Riga]” (handout); Anonymous, “[There was a
young girl from St. Paul]” (209); Hashin, “[No sky and no earth]” (handout); William Carlos
Williams, “The Red Wheelbarrow” (142); e.e. cummings, “l(a “ (281); Lewis Carroll,
“Jabberwocky” and “Humpty Dumpty Explicates ‘Jabberwocky’” (handout); *”Writing about
Poetry” (623-644)
Wed., 26 Jun. Last Day to Add a Course or Change a Course Section
Thu., 27 Jun. Introductory Poems, continued; Poems About Art and Poetry: John Keats, “On the
Sonnet” (261); John Keats, “Ode on a Grecian Urn” (347); Archibald Macleish, “Ars Poetica”
(280); Marianne Moore, “Poetry” (276-7) [* see also 1925 & 1967 versions (505)]; Ishmael Reed,
“beware: do not read this poem” (278); Adrienne Rich, “Diving Into The Wreck” (193); Wallace
Stevens, “Anecdote Of The Jar” (517)
Mon., 1 Jul.
Poems About Art and Poetry, continued
Tue., 2 Jul.
Love Poetry: Thomas Wyatt, “They Flee from Me” (87); Christopher Marlowe, “The Passionate
Shepherd to his Love” (390); Sir Walter Raleigh, “The Nymph’s Reply to the Shepherd” (397);
William Shakespeare, “[Let me not to the marriage of true minds]” (19); John Donne, “The Sun
Rising” (534); John Donne, “A Valediction: Forbidding Mourning” (535); Robert Herrick,
“Delight in Disorder” (149); Margaret Cavendish, Duchess of Newcastle, “Of the Theme of Love”
(181); John Donne, “The Flea” (97); Andrew Marvell, “To His Coy Mistress” (106); Elizabeth
Barrett Browning, “How Do I Love Thee?” (2); Denise Levertov, “Wedding-Ring” (22); Sharon
Olds, “Sex Without Love” (139); Linda Pastan, “love poem” (4-5); Adrienne Rich, “[My mouth
hovers across your breasts]” (368)
Thu., 4 Jul.
No Classes – College Closed
Sat., 6 Jul.
Census Day / Last Day to Drop a Course
Mon., 8 Jul.
Essay 1 Due; Love Poetry, continued.
Tue., 9 Jul.
Love Poetry, continued.
Thu., 11 Jul. Poems of Age, Death, and Mourning: William Shakespeare, “[That Time of Year thou mayst
in me Behold]” (166); Edna St. Vincent Millay, “[What lips my lips have kissed] (Sonnet XIX)”
(269); Roger McCough, “Here I Am” (286); Ben Jonson, “On My First Son” (9); John Donne,
“Death, be not proud” (533); Henry King, “Sic Vita”(174); Emily Dickinson, “[Because I could not
stop for Death]” (531); Gerard Manley Hopkins, “Spring and Fall” (216); Dylan Thomas, “Do Not
Go Gentle Into That Good Night” (275); Walt Whitman, “When Lilacs Last in the Dooryard
Bloom’d” (581); W. H. Auden, “In Memory of W. B. Yeats” (408); W. H. Auden, “Funeral Blues
[Stop all the clocks, cut off the telephone]” (16); Seamus Heaney, “Mid-Term Break” (11);
Margaret Atwood, “Death of a Young Son by Drowning” (71)
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Mon., 15 Jul. Poems of Age, Death, and Mourning, continued
Tue., 16 Jul. Irregular Day: Classes Follow Thursday Schedule;
Poems of Age, Death, and Mourning, continued
Thu., 18 Jul. Last Day to Officially Withdraw from a Course; Essay 2 Due
Religious Poetry: John Donne, “Batter my heart, three-person’d God” (174); George Herbert,
“The Collar” (296); George Herbert, “Easter Wings” (284); William Cowper, “Light Shining out
of Darkness” (handout); Matthew Arnold, “Dover Beach” (104); Gerard Manley Hopkins, “The
Windhover” (552); Gerard Manley Hopkins, “God’s Grandeur” (552); Wallace Stevens, “Sunday
Morning” (570); Howard Nemerov, “Boom!” (385)
Mon., 22 Jul. Religious Poetry, continued
Tue., 23 Jul. Poems About Identity: Alfred, Lord Tennyson, “Ulysses” (576); Walt Whitman, “[I celebrate
myself, and sing myself]” (82); Walt Whitman, “I Hear America Singing” (580); Walt Whitman,
“A Noiseless Patient Spider” (66); Robert Frost, “The Road Not Taken” (542); Langston Hughes,
“Theme For English B” (handout); Audre Lorde, “Hanging Fire” (79)
Thu., 25 Jul. Poems About Identity, continued; War Poetry: Richard Lovelace, “Song: To Lucasta,
Going to the Wars” (325); Thomas Hardy, “Channel Firing” (305); Wilfred Owen, “Dulce et
Decorum Est” (310); Wilfred Owen, “Disabled” (325); Randall Jarrell, “The Death of the Ball
Turret Gunner” (handout); Richard Eberhart, “The Fury of Aerial Bombardment” (handout);
Seamus Heaney, “Punishment” (313); Sharon Olds, “Leningrad Cemetery, Winter of 1941” (183);
Mary Jo Salter, “Welcome to Hiroshima” (111)
Mon., 29 Jul. War Poetry, continued
Tue., 30 Jul. Modern and Contemporary Poems: T. S. Eliot, “The Love Song of J. Alfred Prufrock”
(538); W. B. Yeats, “The Second Coming” (594); W. B. Yeats, Leda and the Swan” (595); e. e.
cummings, “[in Just-]” (147); William Carlos Williams, “This Is Just To Say” (143); Robert Frost,
“Design” (297); Margaret Atwood, “Siren Song” (109); Billy Collins, “Taking Off Emily
Dickinson’s Clothes” (406)
Thu., 1 Aug. Modern and Contemporary Poems, continued
Mon., 5 Aug. Poems About Race and Gender: Paul Laurence Dunbar, “Sympathy” (536); Countee Cullen,
“Yet Do I Marvel” (433); Langston Hughes, “I, Too” (438); Claude McKay, “The White House”
(441); Langston Hughes, “The Negro Speaks of Rivers” (437); James Emanuel, “Emmett Till”
(304); Dudley Randall, “Ballad of Birmingham” (309); Gwendolyn Brooks, “To the Diaspora”
(529); Pat Mora, “La Migra” (87); Mary, Lady Chudleigh, “To the Ladies” (22); Edna St. Vincent
Millay, “[I, being born a woman and distressed]” (88); Dorothy Livesay, “Other” (177); Sylvia
Plath, “Lady Lazarus” (565); Paulette Jiles, “Paper Matches” (333); Marge Piercy, “Barbie Doll”
(27)
Tue., 6 Aug. Last Day of Weekday Classes
Poems About Race and Gender, continued
Wed., 7 Aug. No Classes: Reading Day
Thu., 8 Aug. Final Exam (Essay 3)
Mon., 11 Aug. Class does not meet
Tue., 12 Aug. Final Conferences: Class does meet
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ESSAY TOPICS: For each of the assigned essays and projects, a topic or list of topic choices is provided. Your
work must be on one of the assigned topics for that assignment or developed in consultation with the instructor* or it
will receive a grade of “F”. You must obtain prior approval to write on topics other than those listed below; speak to
me before or after class to set up an appointment during my office hours. Approval must be obtained at least one full
week in advance of the due date.
All work must be received by the instructor on or before the due date, at the beginning of the class period, as
indicated on the schedule, below. Late work will not be accepted, nor will essays be accepted via email. Failure to
bring the required essay will result in a zero for the assignment, without opportunity for revisions.
For each of the essays, select one of the topics to discuss in a well-developed, coherent, and thoughtful essay. Be
sure to focus carefully on the topic, and remember that these are formal essays: they must have an appropriate,
original title; contain an introduction, body, and conclusion; have a clear, explicit, assertive, objectively worded
thesis statement (thesis statements must be underlined); and avoid use of contractions, slang, or I or you throughout.
Essay 1 and Essay 2 must be at least 750 to 1000 words, the Final essay exam must be a minimum of 600 words, and
the Research Essay must be at least 1500–2000 words (roughly six pages minimum). All at-home work must be
typed in 12-point Times New Roman font, double-spaced, and stapled when submitted. In-class work must be neatly
printed in blue or black ink on composition paper or in bluebooks provided by the instructor and double-spaced§. All
essays should be grammatically correct, free of errors in mechanics, grammar, usage, spelling, and documentation,
and will be evaluated according to the Model for Evaluation of Student Writing (attached).
Essay 1: Due Monday, 8 July
Select one of the following topics to discuss in a well-developed, coherent, and thoughtful essay of at least 750 to
1000 words. Your essay should not be limited to repetition of ideas from class discussion, but should include
independent thought and insight and demonstrate careful analysis. Your essay should explore the poems’ tone,
speaker, language (including figurative language or imagery, diction, and allusions) and structure (including meter
and rhyme scheme, or the lack of them), and explain how these are interrelated and how they shape or influence
meaning. Support your answers with specific references to the work(s). Note: This is not a research essay; the only
sources utilized or quoted should be the texts themselves. Use of secondary sources, whether credited or not,
will be considered grounds for failure.
1. Select two poems from the textbook that are not on the syllabus, about Love, Age, Death, or Mourning, written
or published at least fifty years apart, and compare and contrast the way the two treat the topic. Your analysis
should establish a clear connection between the two poems, beyond merely “They both discuss love” or “both
refer to death”; rather, the connection should be based on similarities in situation, structure, language, imagery,
theme, et cetera. For example,
Randall Jarrell’s “Death of the Ball Turret Gunner” and Emily Dickinson’s “[Because I could not stop
for Death]” both feature first-person narrators who recount the circumstances of their own deaths;
however, while the former poem presents an image of death as violent and pointless, the latter suggests
that death may actually be a welcome end to the struggles and obligations of life.
2. Select a poem from the textbook that is not on the syllabus, about Love, Age, Death, or Mourning, and a set of
lyrics from a song (ca. 1960-2013) on the same topic, and compare and contrast the way the two treat the topic.
As above, your analysis should establish a clear connection between the poem and the song you choose, beyond
merely “They both discuss love” or “both refer to death”; rather, the connection should be based on similarities in
situation, structure, language, imagery, theme, et cetera.
3. Select a poem from the textbook that is not on the syllabus and analyze how it challenges or calls into question
our culture’s beliefs or myths about “Art” or poetry, love, marriage or relationships between men and women, or
aging, death, or mourning.
Note: You may not write on either Theodore Roethke’s “My Papa’s Waltz” and Robert Hayden’s “Those Winter
Sundays” or Robert Frost’s “The Road Not Taken” and William Stafford’s “Traveling through the Dark” for
Essay 1, Essay 2, or the Research Essay, nor may you use any poems from the syllabus.
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Essay 2: Due Thursday, 18 July
Answer one of the following questions in a well-developed, coherent, and thoughtful essay of at least 750 to 1000
words. Your essay should not be limited to repetition of class discussion, but should include independent research
(both primary and secondary sources) and analysis and demonstrate careful thought. Your essay should explore the
work’s (or works’) tone, speaker, language (including figurative language or imagery, diction, and allusions) and
structure (including meter and rhyme scheme, or the lack of them), and explain how these are interrelated and how
they shape or influence meaning. Support your answers with specific references to the work(s). Note: This is not a
research essay; the only sources utilized or quoted should be the texts themselves. Use of secondary sources,
whether credited or not, will be considered grounds for failure.
1. Select two poems from the textbook that are not on the syllabus about War, Race, or Gender, written or
published at least fifty years apart, and compare and contrast the way the two treat the same theme. Your analysis
should establish a clear connection between the two poems, beyond merely “They both discuss love” or “both
refer to death”; rather, the connection should be based on similarities in situation, structure, language, imagery, et
cetera.
2. Select a poem from the textbook that is not on the syllabus about War, Race, or Gender, and a set of lyrics from
a song (ca. 1960-2013) on the same theme, and compare and contrast the two. Your analysis should establish a
clear connection between the poem and the song you choose, beyond merely “They both discuss war” of “both
refer to gender”; rather, the connection should be based on similarities in situation, structure, language, imagery,
et cetera.
3. Select a poem from the textbook that is not on the syllabus and analyze how it challenges or calls into question
our culture’s beliefs or myths about the nature of religious experience, the nature and causes of war, race and
culture, or gender roles.
Research Paper: Due Tuesday, July 30
After reading “Writing about Poetry” (623-681), including “Keeping the Sabbath Separately: Emily Dickinson’s
Rebellious Faith” (672-681), select one of the following topics and compose a clear, well-written, properly
documented (MLA format) argumentative essay of at least 1500-2000 words (roughly six pages minimum), with a
cover page and Works Cited page (cover page and Works Cited do not count toward the six-page requirement). The
paper must be argumentative (persuasive), with a clear, explicit, and assertive thesis statement (thesis statements
must be underlined), and must use up to five primary sources and a minimum of three to five secondary sources;
secondary sources must be scholarly criticism or analysis from peer-reviewed journals and must be accessed through
the LaGuardia Community College Library databases such as Academic Search Complete, DOAJ: Languages and
Literatures, Gale Literary Index, or Humanities Full Text, not summaries, reviews, or “analysis” from sites such as
e-Notes, SparkNotes, Wikipedia, 123HelpMe, or Gradesaver.com.
Your essay should be a close, critical analysis of the works, not a biography of the author(s) or a summary of the
texts; instead, your thesis must be a claim about the works that represents your interpretation and that is supported
with textual evidence: you must include at least one short quotation, one long—block—quotation, and one
paraphrase, and these sources must be properly documented (utilizing MLA format), and integrated into your writing
smoothly and correctly. Your project must address specific appropriate elements including (but not limited to) plot
or dramatic structure, setting, characterization, point of view, speaker or narrator, language (including figurative
language or imagery, diction, and allusions), structure (including meter and rhyme scheme, or the lack of them),
intended audience, and theme, as appropriate.
By departmental policy, the research paper must be submitted in a research folder, including copies of all sources
used. Be sure to print out or photocopy all secondary sources, and highlight all relevant passages, whether quoted,
paraphrased, or summarized. Failure to submit a complete research essay in a folder according to these instructions
will be grounds for failure on the assignment. In addition, plagiarism, either in whole or in part, will result in
automatic failure (a grade of zero) for the assignment, just as for any essay, and therefore likely failure for the course
as well.
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See also “Writing about Texts,” “Citing sources; avoiding plagiarism,” and “Integrating sources,” (Rules for Writers
70-83, 464-479), and Research Paper checklist (supplemental handouts packet).
1. Select any one of the authors from the syllabus, and find at least three to five short poems (up to 30 lines each)
or at least two longer poems (30–45 lines or longer, each) by that author but which are not listed on the syllabus.
For example, if you enjoyed reading Robert Frost’s “Stopping by Woods on a Snowy Evening,” select several
other poems by Frost (but not “The Road Not Taken”!). Do not randomly select works by that author, however;
browse through his or her works, either online or in your textbook, and find poems that can be constructively
connected. Select poems that utilize similar (or contrasting) imagery, or speakers, or themes, or that demonstrate
evolution or change over time. Your essay should be a close, critical analysis of the works, including an
argumentative thesis. Do not provide a biography of the author or a summary of the texts; instead, your thesis
must be a claim about the work or works that represents your interpretation and that is supported with textual
evidence. Your project must address specific appropriate elements including (but not limited to) plot or dramatic
structure, setting, characterization, point of view, speaker or narrator, language (including figurative language or
imagery, diction, and allusions), structure (including meter and rhyme scheme, or the lack of them), intended
audience, and theme, as appropriate.
2. Select any one of the topics from the syllabus, and find at least three to five short poems (up to 30 lines each) or
at least two longer poems (30–45 lines or longer, each) addressing that topic, each written by a different author.
As above, the poems you select may not be from those listed on the syllabus. Be sure to select poems that can be
constructively connected, that utilize similar (or contrasting) imagery, or speakers, or themes, or—an especially
fruitful approach when selecting authors from different time periods—that demonstrate evolution or change over
time.
Essay Three—Final In-Class Essay: Thursday, 8 August
You have approximately two hours to write an essay of at least six hundred (600) words. Before you begin to write,
take time to focus on a clearly defined subject and to plan your essay carefully. Essays must have an appropriate,
original title; contain an introduction (with an explicit, assertive thesis, underlined), several body paragraphs
supporting the thesis, and an appropriate concluding paragraph; and avoid use of I or you throughout. Be sure to use
appropriate topic sentences and transitions to guide the reader.
Remember that you are not summarizing the works, but responding to them in a critical manner. Be sure to include
evidence or examples from the specific text(s) that you are writing about, but do not retell the story, and do not copy
directly from the textbook except when quoting. Remember to incorporate sources correctly, whether quoting,
paraphrasing, or summarizing: use signal phrases and document with parenthetical citations.
Your essay will, as always, be evaluated in terms of Main Idea, Organization, Support, and Mechanics (Words and
Sentences). Therefore, make certain your essay is not only well organized and developed, but also grammatically
correct, free of errors in mechanics, grammar, usage, and spelling. Leave room for corrections (skip lines or doublespace, if necessary).
You may use the texts themselves (textbook, printout, or online links) and a dictionary and/or thesaurus (print,
electronic, or online) for this essay, but no other materials or sources. Note: This is not a research essay; the only
sources utilized or quoted should be the texts themselves. Use of secondary sources, whether credited or not,
will be considered grounds for failure.
Topics to be announced.
Last Revised Tuesday, 25 June 2013
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MODEL FOR EVALUATION OF STUDENT WRITING
UNSATISFACTORY
SATISFACTORY
ABOVE AVERAGE
EXCELLENT
A. CONTENT:
Includes thesis
statement and both
quantity and quality
of supporting details
Thesis is lacking or
incorrect, and not
supported with
appropriate detail.
Writing is thin,
including
generalizations with
few or no concrete
examples or
illustrations.
Thesis is apparent but
general or
commonplace.
Support may be
sketchy or
occasionally
irrelevant.
Generalizations are
supported with
examples, but content
may be thin.
Thesis is explicit,
appropriate, and well
supported. Content is
both adequate and
appropriate, providing
examples and
illustrations to support
all generalizations.
Thesis is explicit and
significant, assertive,
objectively worded,
and supported with
substantial and
relevant information.
The essay includes a
wealth of relevant
details, examples, or
imagery.
B. ORGANIZATION:
Includes paragraph
development and
arrangement of body
paragraphs, as well as
coherence
(introduction, body,
conclusion)
The plan and purpose
of the essay are not
apparent. It is not
developed or is
developed with some
irrelevancy or
redundancy.
Paragraphs are
incoherent or
undeveloped.
Transitions are
lacking.
The plan of
development is
apparent but not
consistently
followed. The writing
lacks clarity or is
repetitious. The
paragraphs are
generally effective,
but transitions may
be weak or
mechanical.
The plan of
development is clear
and consistently
followed. The writing
is concise and clear,
with a minimum of
repetition. Paragraphs
are generally well
developed and
effective, with
appropriate
transitions.
It is planned logically
and progresses in
clearly ordered and
necessary steps, and
developed with
originality and
attention to proportion
and emphasis.
Paragraphs are
logically and
effectively developed
with effective
transitions.
C. DICTION AND
MECHANICS:
Includes conventions
of grammar, usage,
and punctuation, as
well as appropriate
diction
Often, sentences are
not grammatically
correct. Vocabulary is
elementary, not college
level. Words are used
incorrectly. Persistent
usage, spelling, or
punctuation errors
exist.
Sentences are
generally correct but
may lack distinction,
creativity, or style.
Vocabulary is
generally used
correctly. Occasional
lapses in grammar,
punctuation, or
spelling exist.
Sentences are
correctly constructed
and demonstrate
variety. The
vocabulary is
effective and
appropriate. Errors in
grammar,
punctuation, or
spelling are rare.
The sentences are
skillfully constructed,
effective, and varied.
Words used are vivid,
accurate, and original.
The writing is without
flaws in grammar or
mechanics. A personal
style is evident.
D. RESEARCH AND
DOCUMENTATION:
Includes
documentation and
incorporation of
appropriate collegelevel sources
Sources are lacking or
inappropriate.
Information from
sources is not
adequately
incorporated into the
body of the essay.
Documentation is
missing, inadequate, or
incorrect.
Sources are adequate,
but may be too
general. Information
is occasionally
weakly incorporated
or is unconnected to
the content of the
essay.
Documentation is
generally correct, but
may contain some
minor errors.
Sources are generally
relevant, authoritative,
and appropriate.
Information is
relevant and is usually
incorporated
correctly. In-text
citations and
References or Works
Cited page are
generally correct.
Sources used are
relevant, substantial,
and authoritative,
demonstrating
creativity and
scholarly research.
Information is
introduced and
incorporated smoothly
and appropriately.
Documentation is
clear and free of
errors.
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