English 153 105 Course Outline
Faculty of Creative and Critical Studies
FACULTY OF CREATIVE AND CRITICAL STUDIES
DEPARTMENT OF CRITICAL STUDIES
English 153 105
2011-12 Term 2
Instructor: Dr. George Grinnell
Office: Arts 177
Hours: Wednesday 10:00-11:00am; 1-2pm or by appointment
Email: george.grinnell@ubc.ca
Lectures: Monday and Wednesday 11:30-12:30 a.m. in ARTS 366
Tutorials
Tutorial
T2I
T2J
T2K
T2L
T2M
T2N
T2O
T2P
Day
Monday
Tuesday
Thursday
Friday
Wednesday
Monday
Friday
Friday
Time
12:30-1:30
12:30-1:30
9:30-10:30
10:30-11:30
12:30-1:30
12:30-1:30
8:30-9:30
10:30-11:30
Place
FIP 140
ART 203
ART 203
FIP 124
EME 2111
ART 203
ART 203
ART 203
Tutorial Leader
Natasha Sharpe
Lindsay Balfour
Max Dickeson
Kelly Mitton
Natasha Sharpe
Lindsay Balfour
Kelly Mitton
Max Dickeson
Calendar Description
Introduces students to a variety of narrative forms including anecdotes, autobiography,
biography, diaries, films, histories, myths, narrative poems, novels, and songs. Each section of
the course will study works from at least three different forms of narrative. Students will
receive instruction in processes of research-based writing. [3-0-0] or [2-0-1]
Prerequisite: Students must have either a) 70% in Grade 12 English; b) a 5 on the LPI; c) a
passing grade in the Okanagan campus' Writing 009; d) or an acceptable equivalent. For a list
of equivalency options consult the Current Students website at
http://www.ubc.ca/okanagan/students/registration/First-Year_English.html.
Course Description
This course introduces forms and practices of literary analysis by examining short stories,
poetry, a memoir, a novel, and some music. While most of the readings are narratives, a
significant part of the course is designed to teach you the keys to successful university-level
writing and argumentation, skills that will be an asset to you for your entire university career.
Emphasis will also be placed upon developing an understanding of methodology in the
humanities.
English 153 105 Course Outline
Readings in Narrative
2011-12 Term 2
Faculty of Creative and Critical Studies
Prerequisite
Students are expected to have compelling written communication skills and to have a strong
interest in the study of narratives and a willingness to read beyond the circle of works we read
in leisure time for pleasure and entertainment.
Course Objectives and Learning Outcomes
This course is organized around two themes: norms and identity. We will explore how
narratives shape identity and work to create, reinforce, and challenge social norms. The
concept of “identity” refers to a sense of self that is not simply or individually chosen. A
“norm” designates a conventional social expectation: what one “normally” does, or is socially
expected to do, in a given circumstance. By bringing together norms and identity, this course
will ask the following question: How do narratives reflect the social norms of identity that
surround us? This means considering, for example, how do the stories we tell (whether these
are novels, music videos, or movies) shape our norms of what it means to be a woman, or a
man? We will consider what it means to live in Kelowna, to take another example, by
examining the stories we tell about this place and how they normalize and naturalize a certain
identity for this place and for us within it. The course takes as one of its abiding principles that
cultural narratives are fundamentally social: they have a real and powerful impact on our
everyday lives and are not simply diversions from reality.
By the end of this course, you will have had the opportunity to develop the following skills:
 To read narratives in relation to other contexts (such as history, nation, gender,
sexuality, race, authorial intention, and so on).
 To understand how narratives shape our world.
 To think and write critically.
 To develop crucially important university-level writing and communication skills by
learning how to enter into a critical conversation with others.
 To detect and avoid logical fallacies.
 To present clear, persuasive prose while using appropriate critical terminology.
 To grasp and appreciate complexity in terms of form and content in a variety of
narratives.
 To develop arguments in the classroom and in essay form with a thesis or controlling
idea, and accurate, relevant, and sufficient supporting evidence, research, and analysis
for your audience and purpose.
 To research ethically and document your sources according to a discipline.
Required Texts
1. Dobie, Ann. Theory into Practice. 3rd Ed. Boston: Wadsworth, 2012. Print. ISBN
978-1-111-34207-4.
2. Graff, Gerald and Cathy Birkenstein. They Say/I Say. 2nd Ed. New York: W. W.
Norton, 2010. Print. ISBN 978-0-393-93361-1.
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English 153 105 Course Outline
Readings in Narrative
2011-12 Term 2
Faculty of Creative and Critical Studies
3. Lane, Patrick. Red Dog, Red Dog. Toronto: McClelland and Stewart, 2008. Print.
ISBN 978-0771046322.
4. Pearson, Justin. From the Graveyard of the Arousal Industry. Berkeley: Soft Skull
Press, 2010. Print. ISBN 978-1-59376-262-9.
Vista
Via the Internet, this course offers access to lecture and reading schedules, powerpoints,
assignments, supplements to lectures, and e-mail via a program called Vista. To access
VISTA type http://www.elearning.ubc.ca/lms/ into your computer’s browser. We will preview
various features of the software in the first lecture. (For troubleshooting assistance, please
contact IT Services.)
Some readings for the course will be posted on Vista. On occasion, we will also
introduce very short texts or excerpts in lecture. Such texts will not be available on
Vista or elsewhere.
Some assignments may be distributed on Vista.
We will use Vista Mail to send and receive email during the entire duration of the course.
Please ensure that you check Vista regularly.
Email Policy: I will make every effort to respond to emails within 24hrs. While I do not like
to think it happens often, I know I have missed some messages due to the sheer volume of
messages that cross my desk. If I do not respond to your message within 24hrs,
please do send a follow up message, forwarding your first one. I sincerely
Percentage (%)
appreciate it.
90–100 A+
Evaluation Criteria and Grading:
Students will be offered numerical grades for all assignments in this course. Given
the qualitative nature of work in English, you will be given adequate commentary
for most assignments that not only justifies the grade, but also suggests areas and
means for improvement.
Assignments:
(Due dates are highlighted on our schedule; due dates for assignments will vary
based on tutorial section)
Short Essay: this 750 word paper will be vetted via plagiarism checking
software
Entering the Critical Conversation: this written assignment will be vetted via
plagiarism checking software
Tutorial Participation: thoughtful participation in individual and group
activities and exercises
Term Essay: this paper will be vetted via plagiarism checking software
Final Exam
85–89
A
80–84
A-
76–79
B+
72–75
B
68–71
B-
64–67
C+
60–63
C
55–59
C-
50–54
D
0–49
F (fail)
15
20
10
30
25
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English 153 105 Course Outline
Readings in Narrative
2011-12 Term 2
Faculty of Creative and Critical Studies
Tutorials
You must attend all tutorials to pass this course. If you are unable to attend your tutorial,
provide your teaching assistant with a valid reason and evidence (e.g. a doctor’s note). The
tutorial portion of this course is akin to a lab in a science course where you will have the
opportunity to hone your practical analytical skills. Tutorial marks are earned by meaningful
participation, not attendance. Every student begins with a grade of 0 in the tutorial and if you
do not participate meaningfully and consistently over the term it will remain 0.
You must attend the tutorial in which you are registered. You cannot attend another section
since your teaching assistant is responsible for assigning grades for the section you are
enrolled in.
Discussion and Discrimination: Much of the fiction we will read is of a “mature content.”
While discussion should be active and engaged, it should nevertheless remain respectful.
Racist, sexist, or homophobic comments are, therefore, not allowed. If anything we or another
member of the class says offends you, please let us know. We aim to conduct the lecture and
seminars in a respectful manner where everyone feels motivated and able to speak.
Equity, Human Rights, Discrimination and Harassment
UBC Okanagan is a place where every student, staff and faculty member should be able
to study and work in an environment that is free from human rights based discrimination and
harassment. If you require assistance related to an issue of equity, discrimination or
harassment, please contact the Equity Office, your administrative head of unit, and/or your
unit’s equity representative.
UBC Okanagan Equity Advisor: ph. 250-807-9291; email equity.ubco@ubc.ca
Web: www.ubc.ca/okanagan/equity
Unit Equity Representatives:
http://www.ubc.ca/okanagan/equity/programs/equityreps/unitcontacts.html
Plagiarism
Plagiarism will not be tolerated in this course. Students should note that plagiarism is not
limited to copying from printed material; copying from the web or from material submitted
for another course are also examples of plagiarism. In this course, students are expected to
follow the MLA 7th ed. rules for documentation depending on the assignment. Failing to cite a
source also constitutes plagiarism even if you do not use the same words as your source.
Submitting the same work for more than one course constitutes self-plagiarism.
Students guilty of plagiarism will have their names submitted to the Dean’s office and will
automatically receive a grade of 0 for the assignment; they may also receive a grade of 0
in the course.
Academic Integrity
The academic enterprise is founded on honesty, civility, and integrity. As members of this
enterprise, all students are expected to know, understand, and follow the codes of conduct
regarding academic integrity. At the most basic level, this means submitting only original
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English 153 105 Course Outline
Readings in Narrative
2011-12 Term 2
Faculty of Creative and Critical Studies
work done by you and acknowledging all sources of information or ideas and attributing them
to others as required. This also means you should not cheat, copy, or mislead others about
what is your work. Violations of academic integrity (i.e., misconduct) lead to the breakdown
of the academic enterprise, and therefore serious consequences arise and harsh sanctions are
imposed. For example, incidences of plagiarism or cheating may result in a mark of zero on
the assignment or exam and more serious consequences may apply if the matter is referred to
the President’s Advisory Committee on Student Discipline. Careful records are kept in order
to monitor and prevent recurrences.
A more detailed description of academic integrity, including the University’s policies and
procedures, may be found in the Academic Calendar at
http://okanagan.students.ubc.ca/calendar/index.cfm?tree=3,54,111,0.
SAFEWALK
Don't want to walk alone at night? Not too sure how to get somewhere on campus? Call
Safewalk at 250-807-8076. For more information, see:
http://www.ubc.ca/okanagan/students/campuslife/safewalk.html
Fine Print: Rights and Responsibilities
1)
Participation will be evaluated based on your thoughtful reflections during individual and
group discussion and quick assignments in tutorials. We ask that you try not to dominate
discussions and lectures.
2)
Large lecture room etiquette: Active engagement in the lecture does not involve surfing the
internet or checking e-mail on a cell phone. Such activities distract students in the vicinity of
the offender and as such will not be tolerated. If you are distracted by a fellow student’s
electronic daydreaming, let us know. Lectures are only 50 minutes; do not sabotage yourself
by refusing to focus for that long.
3)
Always be engaged as an active listener.
4)
Anything you write in this course may appear on Vista or the screen at the front of the lecture
hall without your name associated with it, so that we can learn from each other.
5)
Some of the stories we read may challenge your values or not appeal to you. Learning occurs
when we step out of our “comfort zone.” You may not find all of the narratives we read
enjoyable. This is no reason to discard the text or assume it is irrelevant. Taste is an
individual matter. We also need to be careful not to assume there is only one type of pleasure
to take from reading and thinking. Thus, we need to learn to adapt ourselves to the task of
reading a narrative critically and with purpose even if we might not, at one level, enjoy it. We
are not perverse. Trust that every narrative assigned serves a pedagogical goal of the course.
6)
We expect you to have read all the assigned work before coming to class and to be able to
articulate your ideas about the texts or issues under discussion. Bring the texts we are
discussing to lecture and tutorial. Do not expect passages to appear on Powerpoint. If you do
not read the texts in this class, you will find it impossible to pass this course. You will be
tested on whether or not you have kept up on course readings during the final exam.
7)
For your protection, always keep a photocopy (do not trust your computer’s memory) of your
submitted work.
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English 153 105 Course Outline
Readings in Narrative
2011-12 Term 2
Faculty of Creative and Critical Studies
8)
9)
10)
11)
12)
13)
14)
If a complaint arises over fairness and/or accuracy in the grading of a paper or quiz, the
student must provide written documentation of this complaint, which is supported with
evidence indicating what the marker may have missed. Send this written documentation to
your TA and then arrange to meet him or her during a mutually convenient time. If a
resolution is not forthcoming, the paper may be submitted for remarking by the professor. A
remarked paper may have its grade adjusted up or down and that remarked grade is final.
Students may seek a grade appeal via the process explained by the university calendar.
Do not hesitate to contact your teaching assistant if you are having a problem or fall behind in
the course. Book an appointment via e-mail or phone, and come to the meeting with a list of
questions and objectives.
Everything that is covered in lectures is required course material and can be tested in exams.
Therefore, make sure you are clear about what is discussed in the lecture by asking questions.
Assignments are due on the date specified and in the format indicated. You will be given
adequate notice of all due dates and topics for assignments. Late assignments will not be
accepted without a ten percent per day penalty unless you make prior arrangements for a
serious reason or you have a valid medical certificate. Computer problems are not accepted
as excuses for avoiding a penalty; therefore, always save working drafts of your work.
You should back up vital work on Vista’s server.
Yes, you will be marked for grammar and spelling.
UBC will post final examination times toward the end of the semester. Do not make travel
plans for the exam period until you know when your exams are.
Keep this course outline. This contract outlines our mutual obligations and responsibilities.
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English 153 105 Course Outline
Readings in Narrative
2011-12 Term 2
Faculty of Creative and Critical Studies
Schedule of Readings
This schedule lets you know how we will move through course material. I will post updates
on Vista’s calendar on a weekly basis to remind you what is coming up next.
As you prepare for the lecture, read and think about the material scheduled for that week
before class. Most weeks are structured to introduce a narrative and a critical approach that
will be introduced in lecture and that you will have the opportunity to engage more deeply
with in tutorials by testing its ideas and comparing it to material already encountered in the
course. Please note this is a schedule for the entire class: your individual tutorials or particular
tutorial assignments are not marked on this schedule.
January 4
Introduction to Course Structure
No Tutorials this week
January 9
January 11
Introduction to Literary Studies
Theory into Practice: Chapter 3
Short Fiction: “A Report to An Academy”
http://records.viu.ca/~johnstoi/kafka/reportforacademy.htm
Essay 1 Assignment Released in tutorial
January 16
Theory into Practice: Chapters 1-2
Essay Composition Guidelines (Vista)
General Writing Guidelines (Vista)
Theory into Practice: Chapter 6
Short Story: “Blank Spaces” (Vista: By Permission of the Author)
January 18
January 23
January 25
Theory into Practice: Chapter 7
Poem: “Theme for English B” (Theory into Practice 316-17)
Short Story: “Paul’s Case”
http://cather.unl.edu/ss006.html
Essay 1 Due in Tutorial
Entering the Critical Conversation: Written Assignment
Released in Tutorial
January 30
They Say/I Say
February 1
“Killing the Man”
http://www.theadirondackreview.com/Bechard.html
February 6
February 8
They Say/I Say
They Say/I Say
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English 153 105 Course Outline
Readings in Narrative
2011-12 Term 2
Faculty of Creative and Critical Studies
February 13
February 15
Theory into Practice: Chapters 9-10
Short Story: “Once Upon a Time” (Theory into Practice: 301-306)
Poem: “To Autumn” (Theory into Practice: 330-331)
Entering the Critical Conversation Due in Tutorial
Term Essay Assignment Released in Tutorial
February 20-24 Reading Week
February 27
February 29
Theory into Practice: Chapter 11
Red Dog Red Dog
Red Dog Red Dog
March 5
March 7
Red Dog Red Dog
Red Dog Red Dog
March 12
March 14
Red Dog Red Dog
Red Dog Red Dog
March 19
March 21
From the Graveyard of the Arousal Industry
Theory into Practice: Chapter 5
Term Essay Due in Tutorial
March 26
March 28
From the Graveyard of the Arousal Industry
From the Graveyard of the Arousal Industry
April 2
April 4
From the Graveyard of the Arousal Industry
Course Review and Exam Prep
Exam Period: Exams begin April 11
Saturdays are included in the exam schedule. Until official exam schedules are posted do
not book flights, etc. I am not permitted to accommodate individual requests regarding
exam times. Much to my own disappointment, I do not have any say as to when the final
exam is scheduled.
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