ENGL 1102 (07-561): Park Hall 122
Fall 2011
Dr. Desmet
cdesmet@uga.edu
Check the ENG
Dept. Home Page for
updates!
Park 128
(706) 542-2128
Office Hours: Monday 1-2,
Friday 1-2, Friday 3:30-4:30
This ENGL 1102 class
is taught in conjunction
with a First-year
Odyssey (syllabus
attached).
English 1102: First-year Composition II
Prerequisites:
 To enroll in English 1102, students must have either exempted English 1101 or passed it with a
“D” or better. To graduate, however, students must have earned a grade of “C” in English 1101
and have a combined average grade of “C” in English 1101 and 1102/1102M;
 According to the University policy on plus-minus grading, a grade of “C-” will not satisfy the
requirement for a “C” in ENGL 1101; a combined average of “C-“ or 1.7 in English 1101 and
1102 will not satisfy the requirement for a combined average of “C” in the two courses.
Course Goals: In English 1102 students will learn to:
 read fiction, drama, and poetry and write analytically about them;
 understand literary principles and use basic terms important to critical writing and reading;
 write papers in and out of class using processes that include discovering ideas and evidence,
organizing that material, and revising, editing, and polishing the finished paper;
 think critically so that they can recognize the difference between opinion and evidence and so
that they can support a complex, challenging thesis, and more specifically, document essays
using textual evidence; address papers to a range of audiences;
 understand the collaborative and social aspects of the writing process and demonstrate an
ability to critique the writing of themselves and others;
 develop a sense of voice appropriate to the subject, the writer’s purpose, the context, and the
reader’s expectations;
 understand how genres shape reading and writing and produce writing in several genres;
 follow the conventions of standard edited English and MLA documentation;
 use electronic environments for drafting, reviewing, revising, editing, and sharing texts;
 understand and exploit the differences in the rhetorical strategies and in the affordances
available for both print and electronic composing processes and texts.
Texts:
Desmet, Hart, and Miller, eds., Prentice Hall Literature
Portfolio
Lunsford, ed., The St. Martin’s Handbook, 7th ed.
First-year Composition Guide, 2011 ed. (Fountainhead
Press)
Any standard college dictionary, such as:
American Heritage Dictionary
Random House College Dictionary
Webster’s New Collegiate Dictionary
Webster’s New World Dictionary
Requirements:



Three essays (1,000-1,500 words or longer);
Daily Forum Assignments;
Capstone Electronic Portfolio: Every student who takes a First-year Composition course at the
University of Georgia composes an electronic portfolio over the course of the semester. The
ePortfolio gives students an opportunity to revise and polish their work — even after it has
been evaluated for a grade during the semester — to showcase their work in a personalized
context, to reflect on their writing and their writing processes, and, finally, to “publish” their
work to a broader audience. The Elements of the ePortfolio are:
o
o
o
o
o
Introductory Reflective Essay (IRE)
Two Revised Essays
Exhibit of Composing/Revision Process
Exhibit of Peer Review Process
Wild Card
All Assignments are available through our course <emma> site.
Major Essay Assignments:
Hamlet's Dreams
Take one major concept that we have encountered in this section of the course. The concept may be
quasi-philosophical or psychological (death, family romance, dreams, or the afterworld, for instance)
or literary (ballad versus sonnet love, riddles, rhetorical argument). Use your imagination!
 First, construct an anthology of at least four texts that will help you explicate the concept and
its relevance for understanding Hamlet. Some of your texts may be excerpts from the play
Hamlet itself or clips from the Olivier film; you may also use texts from our FYOS. Write a
thematic introduction for the anthology and a headnote for each text explaining its
significance for the anthology and its theme; for each text, provide explanatory glosses for
each text.
 Second, use the anthology of texts as a body of evidence around which to analyze the
significance of the concept for understanding Hamlet. Your critical essay should 1000-1500
words. Think of the title as something like "Women as Ballad Victims in Hamlet" or "Something
Like a Whale: Riddles in Hamlet."
 Use multimedia content (films clips, screen shots, other illustrative images, sound clips) where
appropriate to support your essay.
American Nightmares
In this assignment you will construct a similar project for Arthur Miller's Death of a Salesman and the
texts associated with it from both our ENGL 1102 and FYOS classes. Take one major concept that we
have encountered in this section of the course. The concept may be quasi-philosophical or
psychological (dreams, nightmares, tragedy, common man, home, nation) or literary (flashbacks,
soliloquy, requiem). Use your imagination!
 First, construct an anthology of at least four texts that will help you explicate the concept and
its relevance for understanding American dreams and nightmares in Death of a Salesman.
Some of your texts may be excerpts from the play itself or from one of the two readily
available films of the play; you may also use texts from our FYOS. Write a thematic
introduction for the anthology and a headnote for each text explaining its significance for the
anthology and its theme; for each text, provide explanatory glosses for each text. Part of your
task here will be outside research on the notion of the "American Dream" and social/historical
issues surrounding the themes you discuss.
 Second, use the anthology of texts as a body of evidence around which to analyze the
significance of the concept for understanding Hamlet. Your critical essay should 1000-1500
words. Think of the title as something like "Loss of the American Dream" in Death of a
Salesman, "Flashbacks; Relations of Past and Present in Death of a Salesman," or "Gold as
Measure of Manhood in Death of a Salesman."
 Use multimedia content (films clips, screen shots, production stills, other illustrative images,
sound clips) where appropriate to support your essay. In this case, I want you specifically to
include one sound clip of a text or portion of a text recorded in your own voice.
Specific Course Requirements for Grading Purposes and Grade Weights:





Due: Tues. 9/13 at 9 pm Paper #1: Hamlet's Dreams
Due: Sat. 10/15 at 9 pm Paper #2: American Nightmares
Due: Sat. 11/6 at 9 pm Paper #3: Murders and Mysteries
Due: Tues. 12/6 at 9 pm Final Course ePortfolio
Daily Forum Assignments:
20%
20%
20%
30%
10%
University and FYC Plus/Minus Grading: Plus and minus grades are assigned only to a student's
final average for the course. For the course grade, the grade-point average and the numerical ratings
for each plus/minus grade is as follows:
A 4.0
(92-100)
B- 2.7
(80-81)
D 1.0
(60-67)
A- 3.7
(90-91)
C+ 2.3
(78-79)
F 0.0
(<60)
B+ 3.3
(88-89)
C 2.0
(70-77)
B 3.0
(82-87)
C- 1.7
(68-69)
FYC Absence Policy: Because writing skills develop slowly over time, students’ regular attendance
is essential in First-year Composition. As stated in The UGA First-year Composition Guide, on the fifth
absence (for MWF Classes), no matter what the reason, students can expect to be dropped either
with a WP or a WF before the midpoint of the semester and with a WF after midpoint. FALL
SEMESTER WITHDRAWAL DEADLINE IS OCTOBER 20. Please contact me as soon as possible if you will
be or have been absent from your ENGL1102 class; keep track of the number and dates of absences
you accumulate during the semester.
Make-up Policy: With prior permission from the instructor, every student may submit the final
draft of one major paper 48 hours late; without permission or in the case of more late papers, each
further late paper's final paper grade will be reduced by 10 points. Drafts must be submitted on time,
and students without drafts will not be permitted to engage in in-class activities. The ePortfolio must
be submitted on time. Homework assignments and quizzes are due at the assigned time and cannot
be made up.
Paper Submission Policy: All of your work for this course must be submitted to the proper place
in our ENGL 1102, Desmet <emma>™ class. If it is not placed in the correct electronic folder, you will
not receive credit for your work. I cannot accept any work as email attachments. If you have a serious
submission problem, you can send me the file by email as proof that you have finished the work, but I
don't read, respond to, or archive student work through my email. I get over 100 emails daily and
therefore use <emma>™ exclusively to record, read, respond to, and grade student work in this class.
UGA Writing Center (Park Hall 66) and the <emma>™ Computer Lab (Park Hall 117):
All First-year Composition students are eligible for free tutorial services in the Writing Center. All Firstyear Composition students are also eligible to use the <emma> Computer Lab during all open hours.
Check their doors for posted hours. See The UGA First-year Composition Guide for more information.
Academic Honesty: As a University of Georgia student, you have agreed to abide by the
University’s academic honesty policy, “A Culture of Honesty,” and the Student Honor Code. All
academic work must meet the standards described in “A Culture of Honesty” found at:
www.uga.edu/honesty.Lack of knowledge of the academic honesty policy is not a reasonable
explanation for a violation. Questions related to course assignments and the academic honesty policy
should be directed to the instructor.
The policy regarding Academic Honesty in First-year Composition can be found in The UGA First-year
Composition Guide. Further information about the “UGA Academic Honesty Policy” can be found at
the web site of the Office of the Vice President for Instruction: <http://www.uga.edu/ovpi/>. All Firstyear Composition Teachers are under contractual obligation to report suspected plagiarism to the
Office of the Vice President for Instruction and they must meet the student suspected of plagiarism
during a supervised mediation.
Access Policy: Students with special needs are invited and encouraged to discuss them with the
instructor.
Note: This syllabus is a plan for the course; deviations may be necessary. Furthermore, because a
writing class is a workshop, the course content must be flexible in response to the class's needs. While
the deadlines for major assignments are set in place, homework assignments and journal assignments
may vary. ALL CHANGES ARE RECORDED ON THE CALENDAR OF OUR <emma>™ CLASS.
Course Calendar
Hamlet's Dreams
WEEK 1
M
8 / 15
W
8 / 17
F
8 / 19
WEEK 2
M
8 / 22
W
8 / 24
F
8 / 26
WEEK 3
M
8 / 29
Introduction to Course, Course Goals, and FYC ePortfolio
Writing: "In a Station of the Metro"
Kate Chopin, "Désirée's Baby" and "The Story of an Hour" (PHLP)
Chapter 1 and Chapter 2 of PHLP
William Shakespeare, Hamlet, act 1
FYC Policies from the FYC Guide, 2011 Edition
"The Method" (Handout in <emma>)
William Shakespeare, Hamlet, act 1 (PHP)
Sigmund Freud, "Family Romances" (Reading in <emma>)
"The Husband's Message" and "The Wife's Lament" (PHLP)
William Shakespeare, Hamlet, act 2
Riddles: "Horn," "Anchor," "Book," "Bookworm," and "Reed" (PHLP)
William Shakespeare, Hamlet, act 3
William Shakespeare, Hamlet, act 3
"Reading and Writing about Drama (PHLP)
William Shakespeare, "My Mistress's Eyes Are Nothing Like the Sun,"
Robert Herrick, "To the Virgins, to Make Much of Time"
"Notice and Focus" (Handout in <emma>)
W
8 / 31
F
9/1
WEEK 4
M
W
F
9/5
9/7
9/9
William Shakespeare, Hamlet, act 4
Medieval Lyric Poetry: "Summer is i-comin' in," "I sing of a maiden that is
matchless," and "Fowls in the Frith" (PHLP)
"Barbara Allen" (PHLP)
Phyllis Wheatley, "To a Lady, on her Remarkable Preservation . . ." (PHLP)
William Shakespeare, Hamlet, act 5
A. E. Houseman, "To an Athlete Dying Young" (PHLP)
Labor Day—no class
Workshop: first draft of Paper #1 due at 9 pm in Tues. 9 / 6 in <emma>
Workshop: second draft of Paper #1 due at 9 pm Thurs. 9 / 8 in
<emma>
American Nightmares
WEEK 5
M
9 / 12
T
W
9 / 13
9 / 14
F
9 / 16
Final Editing Workshop; Biography Workshop for ePort
Judith Ortiz Cofer, "Arturo's Flight" (PHLP)
Final Draft of Paper #1 due at 9 pm in <emma>
Everyman (PHLP)
Put Biography in your ePort by 9 pm tonight
Arthur Miller, Death of a Salesman (PHLP)
WEEK 6
M
W
F
9 / 19
9 / 21
9 / 23
Arthur Miller, Death of a Salesman (PHLP)
Arthur Miller, Death of a Salesman (PHLP)
Arthur Miller, Death of a Salesman (PHLP)
WEEK 7
M
9 / 26
W
9 / 28
F
9 / 30
Robert Frost, "The Death of the Hired Man," "Out Out —" (PHLP)
Judith Ortiz Cofer, "More Room" and "Claims" (PHLP)
Louise Erdrich, "Family Reunion" (PHLP)
Charles Simic, "The Old Couple" (PHLP)
Elizabeth Bishop, "Sestina" (PHLP)
Florence Cassen Myers, "All American Sestina" (PHLP)
Brian Henry, "Garage Sale" (PHLP)
Judith Ortiz Cofer, "The Names of the Dead" (PHLP)
Alberto Rios, "Nani" and "The Vietnam Wall" (PHLP)
Yousef Koumayaka, "Facing It" (PHLP)
WEEK 8
M
10 / 3
Frances E. W. Harper, "The Slave Mother" and "The Slave Auction" (PHLP)
Dudley Randall, "Ballad of Birmingham" (PHLP)
Kevin Young, "Nineteen Seventy-Five" (PHLP)
Dylan Thomas, "Refusal to Mourn . . ." (PHLP)
W
F
WEEK 9
M
W
F
S
10 / 5
10 / 7
Notice and Focus Workshop (Handout in <emma>)
Workshop: first draft of Paper #2 due at 9 pm Thurs. 10 / 6 in <emma>
Revision Workshop
10 / 10
10 / 12
10 / 14
10 / 15
Workshop: second draft of Paper #2 due at 9 pm Sun. 10 / 9 in <emma>
Peer Review Workshop
Two-for-One Conferences
Final Draft of Paper #2 due at 9 pm in <emma>
Murders and Mysteries
WEEK 10
M
W
F
10 / 17
10 / 19
10 / 21
Edgar Allan Poe, "The Tell-Tale Heart" and "The Black Cat" (PHLP)
Edgar Allan Poe, "The Cask of Amontillado" (PHLP); "The Raven" (PHLP)
Margaret Atwood, "Gertrude Talks Back" (PHLP)
Judith Ortiz Cofer, "Tales Told Under the Mango Tree" (PHLP)
WEEK 11
M
W
F
10 / 24
10 / 26
10 / 28
Edgar Allan Poe, "The Purloined Letter" (PHLP)
John Keats, "La Belle Dame Sans Mercie" (PHLP)
Christina Rossetti, "Goblin Market" (PHLP)
William Faulkner, "A Rose for Emily"
WEEK 12
M
W
10 / 31
11 / 2
Workshop: first draft of Paper #3 due at 9 pm 10 / 30 in <emma>
Workshop: second draft of Paper #3 due at 9 pm Tues. 11 / 1 in
<emma>
TBA
Final Draft of Paper #3 due at 9 pm in <emma>
F
S
11 / 4
11 / 6
Capstone: The Electronic Portfolio
WEEK 13
M
W
F
11 / 7
11 / 9
11 / 11
ePort Workshop—first paper revision
ePort Workshop—first paper revision; style workshop
ePort Workshop—Peer Review Exhibit
WEEK 14
M
W
F
11 / 14
11 / 16
11 / 18
ePort Workshop—second paper revision
ePort Workshop—second paper revision; style workshop
ePort Workshop—Revision Exhibit
WEEK 15
M
W
F
11 / 21
11 / 23
11 / 25
Thanksgiving recess – no class
Thanksgiving recess – no class
Thanksgiving recess – no class
WEEK 16
M
W
F
11 / 28
11 / 30
12 / 2
ePort Workshop—Introductory Reflective Introduction (IRE)
ePort Workshop—Introductory Reflective Introduction (IRE)
ePort Workshop—Putting it all together (Wild Card)
WEEK 17
M
T
12 / 5
12 / 6
ePortfolio Showcase
ePortfolio Showcase and Final Celebration
Final ePortfolio due at 9 pm in <emma>
FYOS 36669
Fall 2011, 08M
Dr. Desmet
cdesmet@uga.edu
Park 128
(706) 542-2128
Office Hours: Monday 1-2,
Friday 1-2, 3:30-4:30
Murder, Dreams, and Nightmares from Shakespeare to Alfred Hitchcock
Course Description
In Hamlet, the prince's best-known soliloquy concludes that "in that sleep of death what dreams may
come / When we have shuffled off this mortal coil, / Must give us pause." What separates dreams
from nightmares? We will consider this question in a series of plays and films about human experience
under the most extreme of conditions: murder. This FYOS is linked to an English 1102 class taught by
Dr. Desmet, which will also cover other poetry, short fiction, and drama/film; you'll register for the two
courses together. We also will be seeing three plays – The 39 Steps, Life is a Dream, and All My Sons –
produced by the UGA Department of Theatre and Film. Everyone must commit to buying tickets for
and seeing these three plays and for watching required films.
Course Objectives of the FYOS

Goal 1: Introduce first-year students to the importance of learning and academics so that we
engage them in the academic culture of the University;
 Goal 2: Give first-year students an opportunity for meaningful dialogue with a faculty member
to encourage positive, sustained student-faculty interactions;
 Goal 3: Introduce first-year students to the instruction, research, public service and international missions of the University and how they relate to teaching and learning in and outside
the classroom so that we increase student understanding of and participation in the full mission of the University.
A more detailed list of Learning Outcomes is available at:
https://fyo.uga.edu/faculty/files/FYOStudentLearningOutcomes.pdf
Texts and Films



John Buchan, The Thirty-Nine Steps (available free or for $1.99 for Kindle; Kindle books can also be
downloaded and read on a PC or other devices);
Arthur Miller, All My Sons (available for $10.99 for Kindle; Kindle books can also be downloaded and
read on a PC or other devices);
Laurence Olivier, Hamlet ($26.49 new from Amazon; used from as low as $11.05);


Alfred Hitchcock, 39 Steps (as low as $4.99 as an Amazon instant video, to be seen on PC or other devices);
Alfred Hitchcock, Vertigo ($17.99 new from Amazon; can be bought for $9.99, rented for $2.99 as an
Amazon instant video, to be seen on PC or other devices).
Events
39 Steps
When: Sep 22-24, 27-30 @ 8:00 pm Oct 2 @ 2:30 pm
Where: Cellar Theatre, Fine Arts Bldg.
Life is a Dream
When: Oct 11-16 @ 8:00 pm Oct 16 @ 2:30 pm
Where: Cellar Theatre, Fine Arts Bldg.
All My Sons
When: Nov 3-4, 8-11 @ 8:00 pm Nov 6, 13 @ 2:30 pm
Where: Fine Arts Theatre
For ticket information, see http://www.drama.uga.edu/events/boxoffice.php
Tickets for all shows of the season go on sale September 1, 2010.
Attendance Policy
Because "meaningful dialogue" involves regular contact and communication, students’ regular attendance is essential in FYOS classes. On the fourth absence, no matter what the reason, students can expect to be dropped either with a WP or a WF before the midpoint of the semester and with a WF after
midpoint.
Academic Honesty
As a University of Georgia student, you have agreed to abide by the University’s academic honesty policy, “A Culture of Honesty,” and the Student Honor Code. All academic work must meet the standards
described in “A Culture of Honesty” found at: www.uga.edu/honesty. Lack of knowledge of the academic honesty policy is not a reasonable explanation for a violation. Questions related to course assignments and the academic honesty policy should be directed to the instructor.
Policy for Make-up Examinations
There are no exams in this class.
Assignments
(1) Weekly Postings on the <emma> Forum: (40 points)
Purpose:
 Reflect on the matter to be discussed in class on your own and with classmates before our
weekly meetings;
 Construct your "talking points" for class discussion;
 Have a written record of your response to the texts and films we discuss over the semester in
preparation for the final ePortfolio.
Logistics:
 Each week everyone will post on the <emma> Forum in response to a "Question or Assignment of the Week" and post a response to one classmate's posting.
Assessment:
 The principal criterion is doing the work; if you post a good faith entry to every question or assignment and post one response to a classmate's posting during the designated time periods
(see below), you will receive the full thirty points; incomplete efforts will be numerically prorated.
Dates:
 Saturday at 9 pm for your original posting for next week's class;
 Monday at 12 pm (before class) for your response to another classmate's posting;
 Postings for the course will be completed on November 14.
(2) Collaborative Play Guides for 39 Steps and All My Sons (30 points)
Purpose:
 Know what we need to know to understand, enjoy, and analyze the plays;
 Reflect on, analyze, and assess the plays.
Logistics:
 Collectively, we will decide what materials need to be addressed as background material for
viewers and reviewers of these two plays (criteria);
 In groups, we will:
o provide the background material necessary for intelligent playgoing (information);
o provide original reviews of the plays (interpretation).
Assessment:
 Involves a total of 15 points for your contribution to each zine;
 Class generates a rubric for assessing the different contributions to the zine;
 Dr. D. grades according to the rubric .
Dates:
 Background information and reviews are due two days before we discuss the play in class:
o 39 Steps
October 1 at 9 pm in <emma>
o All My Sons
November 12 at 9 pm in <emma>
 Completed and revised Play Guide (<emma> Zine) is due the Friday after class discussion:
o 39 Steps
October 7 at 9 pm in <emma>
o All My Sons
November 19 at 9 pm in <emma> (Happy Thanksgiving!)
(3) Vertigo as Shakespearean Appropriation (20 points)
Purpose:
 To understand the concept of Shakespearean appropriation;
 To analyze the appropriation of Shakespeare by Hitchcock by comparing "Shakespeare"'s Hamlet with Olivier's Hamlet and Hitchcock's Vertigo;
 To synthesize knowledge and conceptual skills you have gained from the course.
Logistics:
 This is a capstone project bringing together the concepts we have learned and practiced over
the semester to examine Hitchcock's appropriation of Shakespeare through text and film;
 It involves a 4-5 page focused comparison of Hamlet, Olivier's film of Hamlet, and Hitchcock's
Vertigo, supported with textual and media evidence;
 The comparison focuses on one specific aspect of the works under examination;
 The final product is a short multimodal essay.
Assessment:
 Essays will be graded according to the FYC Program Grading Rubric.
Dates:
 First draft is due for workshop in class on November 28;
 Final draft is due at 9 pm on Saturday, December 3.
(4) Mini-ePortfolio (10 points)
Purpose:
 To synthesize your understanding of "key words" from the course;
 To define one important key word that underlies your understanding of the course's concepts
and texts: obvious examples might include "dream," "nightmare," or even "murder";
 To support that definition with evidence from your own writing and other work throughout
the course;
 To reflect on the relationship between your definition of the term and the evidence provided
by your own writing and other exhibits from the class.
Logistics:
 The parts of the Mini-ePort are:
o Definition of key word (list as Biography in your ePort);
o Introductory Reflective Essay (IRE);
o 3 exhibits from all your work in the course relevant to the IRE and revised for the portfolio.
Assessment:
 Will be graded according to the FYC criteria for an ePortfolio.
Dates:
 Draft due for workshop in class in Dec. 5;
 Final draft due for grading 9 pm on Dec. 8.
Course Calendar
August 15
Introduction to Course and class members
August 22
Laurence Olivier, Hamlet (153 min. total; we'll be watching in both classes)
August 29
Library day: what do we need to know to create a good Play Guide?
September 5
Labor Day — No class
September 12
John Buchan, The Thirty-Nine Steps (novel)
September 19
Alfred Hitchcock, 39 Steps (86 min.)
September 26
Alfred Hitchcock, 39 Steps
October 3
PLAY: 39 Steps, discussion
October 10
Parody: The Reduced Shakespeare Company
October 17
PLAY: Life is a Dream, discussion
October 24
Alfred Hitchcock, Vertigo (128 min.)
October 31
Alfred Hitchcock, Vertigo
November 7
Alfred Hitchcock, Vertigo
November 14
PLAY: Arthur Miller, All My Sons, discussion
November 21
Thanksgiving recess — No class
November 28
Vertigo Essay Workshop
December 5
Mini-ePortfolio Workshop
The course syllabus is a general plan for the course; deviations announced to the class by the instructor may be necessary.