ENG 108- 02 Topics in American Literature
Williams
Fall 2013
TR 12:30- 1:45
5:30
MHRA 3209
cawilli9@uncg.edu
Cara
Office: MHRA 3112 E
Office Hours: TR 3:30email:
Topics in American Literature: The Beat Generation
“Once Pasternak said to him with peculiar clarity: ‘You know, everyone I know is kind of furtive, kind of beat. They
all go along the street like they were guilty of something, but didn’t believe in guilt. I can spot them immediately!
And it’s happening all over the country, to everyone; a sort of revolution of the soul, I guess you’d call it!’” (John
Clellon Holmes, Go 36)
Course Overview
“America at this moment,” claimed Winston Churchill in 1945, “stands at the summit of the world.” In fact, the United
States at the end of WWII was the world’s strongest military power. Its economy was booming, and the fruits of this
prosperity–new cars, suburban houses, mass communication, and other consumer goods–were available to more
people than ever before.
That conception of America as being “at the summit of the world” has continued to grow and spread even over half a
century later. However, the events of September 11th changed our national sphere dramatically. Critic Richard Gray
writes, "There is a recurrent tendency in American writing, and in the observation of American history, to identify
crisis as a descent from innocence to experience: but the crisis changes, the moment of descent has been located at
a number of different times in the national narrative, most of them associated with war" (2). In the wake of the
September 11th catastrophe, many of our most prominent citizens and leaders harkened back to the 1950s a time of
greater peace, prosperity, and innocence. It happened again in the wake of the recession of 2009. Politicians,
writers, and workers alike invoked the strength and spirit of the United States of the 1950s and early 1960s as the time
of our greatest unity and moral as well economic strength. The 20th century has often been called the "American
Century" and the 1950s have been repeatedly claimed as the period of America's greatest power and influence on an
international scale.
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However, the 1950s were also an era of great conflict and ideologically enforced fear. For example, the nascent civil
rights movement and the crusade against communism at home and abroad exposed the underlying divisions in
American society—divisions along the lines of race, class, gender, and sexuality that we still struggle with today. The
Beat Generation is just one of the countercultures that emerged in the 1950s that offer a different view of history and
nation. In this course we will read some of the quintessential texts of the Beat Generation as well as some
commentary and criticism that surrounded the movement. While the Beat generation itself has been criticized and the
quality of their contributions to American literature and culture has been repeatedly called into question, their
literature offers valuable insight into the cultural, social, and historical ideologies and interactions of the 1950s as well
as the national and cultural ideology of America today. Even, the recent hipster movement of the last decade has
harkened back to the Beat Generation, garnering inspiration from the hipsters and hepcats of post-WWII America.
Throughout this course, we will investigate and question the legacy of the Beat Generation and our national
mythology to reveal the underlying structures of privilege and belonging that influence our understanding of both
our past and present.
Course Objectives
This course satisfies the General Literature (GLT) requirement. Below are the Student Learning Objectives (SLOs) for
this course. At the completion of this course, the student will be able to:
1. Demonstrate the reading skill required for the student of literary texts.
2. Identify and/or describe some of the varied characteristics of literary texts.
3. Demonstrate orally, in writing, or by some other means, a fundamental ability to use
some of the techniques and/or methods of literary analysis.
4. Identify and/or describe some of the various social, historical, cultural, and/or
theoretical contexts in which literary texts have been written and interpreted.
Attendance Policy
There is no such thing as excused and unexcused absences in this course. Students are allowed a maximum of three
absences without a grade penalty (“absences” include those related to work, illness, children, court, the IRS, school
functions (including for other courses), mechanical difficulties, community events, and other disasters both natural
and unnatural). A fourth absence will result in a half-letter grade deducted from the student’s final grade. A fifth
absence will result in a whole-letter grade deducted from the final grade. A sixth absence will result in failure of the
course as per English department policy.
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For purposes of verification, student attendance is taken by signing the roll. If you, as a student, arrive late to class, it
is your responsibility to make sure you sign the roll.
You are, by state law, allowed two excused absences due to religious holidays, which do not count toward your total
allowed absences. If you plan to miss class because of your faith, you must notify me in advance of your absence.
Classroom Conduct
This course relies heavily on student participation and collaboration. Students should be prepared to share their
work with other students, read their work aloud if asked, and help other students through the writing process. It is
very important that each student attends class faithfully and is prepared engage in the day’s lesson. You, as a
student, are expected arrive on time for class with all required materials, homework, and assignments and behave
with attention and respect to both the instructor and fellow classmates.
Chronic tardiness, failure to bring required materials and homework to class, unpreparedness, use of cell
phones (including text messaging) and mp3 players in class, inappropriate or untimely use of laptops in
class, or disruptive, disrespectful behavior will result in the offending student being asked to leave the class
and receive an absence for the day.
Required Materials
Burroughs, William S. Naked Lunch: The Restored Text. Ed. James Grauerholz and Barry Miles. New York: Grove,
2004.
ISBN# 9780802140180
Charters, Ann. The Portable Beat Reader. New York: Penguin, 2003. ISBN# 9780142437537 (Abbreviated PBR)
Gibson, Scott Thomas, Tammy Lancaster, and Summar C. Sparks, eds. Lenses: Perspectives on Literature. Plymouth,
MI: HaydenMcNeil, 2013. ISBN# 978-073805105-5
Johnson, Joyce. Minor Characters: A Beat Memoir. New York: Penguin, 1999. ISBN# 9780140283570
Kerouac, Jack. On the Road: The Original Scroll. Ed. Penny Vlagopolous, George Mouratidis, and Joshua Kupetz.
New York:
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Penguin, 2008. ISBN# 9780143105466
Kesey, Ken. One Flew Over the Cuckoo’s Nest: 50th Anniversary Edition. New York: Viking, 2012. ISBN#
9780670023233
Additional/supplemental readings can be found on Blackboard
Loose-leaf Paper for in class writing assignments and note-taking
A pen or pencil
Internet and Blackboard access
Assignments and Grading
Your final grade will consist of the following:
1. Group Presentations with Individual Research Reports………...…….…….….15%
2. Mid-Term Exam.…….…………………………………………………….……...15%
3. Close Reading …………………………………………………………………….10%
4. Analysis Paper………………………..……………………….…………..………20%
5. Final Exam...…………………………………………………...……...….….……20%
6. Reading Quizzes/Discussion Board/Homework/Participation………………….20%
1. Group Presentation with Individual Research Reports: In small groups, you will be responsible for researching
an important social, cultural, or historical trend assigned by the instructor. Your group will create a 12-15 minute
multi-media presentation for the class and report to the class what you have learned about your assigned area.
Individually, each group member will be responsible for submitting a brief 2-page written report on your area.
(SLO 4)
2. Mid-Term Exam: A short-answer and short-essay exam on literary elements, devices, and historical periods.
(SLOs 1, 2, and 4)
3. Close Reading: A two-page explication of literary elements and language within a specific passage of a text and
how they work to create a specific theme. This focuses on identifying and explaining the function of literary devices
and narrative elements in a small passage of a specific text. It emphasizes skills of identification, explication, and
synthesis. It will serve as a foundation for the literary analysis paper. (SLOs 1 and 2)
4. Literary Analysis Paper: A five to six-page argument of interpretation of a theme or related themes within a
specific text, its context, and its importance to readers supported with evidence from the text. This paper builds
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upon the close reading assignment and uses the same text in its entirety. Using the explication of the close reading,
you will add additional close readings and build an argument of interpretation of the entire text within a specific
historical or cultural context. You may use what you wrote for your close reading and even in discussion board posts,
class discussions, and reading quizzes, but you must reconsider, revise, and elaborate upon those ideas. This
assignment emphasizes skills of synthesis, analysis, and argumentation. Use of scholarly research to support claims is
permitted but not required. (SLOs 1, 2, and 3)
5. Final Exam: A short-answer and short-essay cumulative exam that requires you to explain and or utilize
knowledge gained over the course. (SLOs 1, 2, 3, and 4)
6. Reading Quizzes/Discussion Board/Participation: Reading Quizzes (SLO 1) will be given at scheduled
intervals (see Course Calendar) through Blackboard but may also be given at random in class. The reading quiz is
designed to test you on your attention to the details of the text. Questions will vary between short answer, multiple
choice, and true/false. In order to do well on these quizzes, it is important that you read closely, annotate your texts,
and be able to summarize the reading selections for each class.
The Discussion Board (SLO 2, 3, 4) is a space for you to brainstorm, to think largely and wildly about what
you have read, your impressions, or what you want to do with your assignments. It is a place for raw ideas, idealism,
and free-writing but it also requires that you do support your ideas on a basic level using evidence from the texts. At
times, I will ask you to respond to specific questions or ideas, but I would like for you to also use this as a place for
thinking, forming, shaping, and collecting ideas about the texts and your reactions to them. An “A” is regularly
responding in a thoughtful, considerate manner that advances discussion, provokes questions and other responses,
and considers the readings or research done over the course of the semester. A “C” is usually responding in
thoughtful manner though not always thought provoking or supported. An “F” is a failure to respond regularly or
being late with your responses or responses that are unproductive, such as “This was stupid/boring topic,” or “I
don’t like this,” other comments that do not offer analysis or fail to raise interpretive questions, fail to incite further
discussion, or fail to be elaborated on by making references to assignments or readings.
Quizzes and Discussion Board posts are due before class begins. Late responses (after the start of class
on that day) will not be credited.
Finally, your participation (SLOs 1 and 3) grade is calculated based on in-class writing, informal writing
assignments, group work, homework, tardiness, attentiveness, engagement in class discussions, preparedness for
class, and productiveness in conferences or workshops. To do well, come to class regularly, on-time, with the texts
for that day, and voice any questions or comments you have about the texts.
Late Work: Work is due on the date listed on the calendar by the start of class. Late work will not be accepted.
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Grades will be given by letter scale and be graded according to standards in the syllabus or writing assignment
rubric.
Electronics Policy
This class requires you to use Blackboard and your UNCG email regularly. Laptops, tablets, or other internet-enabled
devices may be used in class to take notes pertaining to our class, to view documents on our Blackboard website, or
to engage in class- related activities as approved by the instructor. Any student who uses a laptop for any activity not
relevant to this course during class time will not be allowed to use a laptop in class again. To be perfectly clear: one
violation means no laptop use.
The instructor reserves the right to revoke the use of electronics in the classroom at any time during the semester.
I will not take written assignments by email. Please print your work and bring it to class.
Academic Integrity Policy
“Academic integrity is founded upon and encompasses the following five values: honesty, trust, fairness, respect, and
responsibility. Violations include, for example, cheating, plagiarism, misuse of academic resources, falsification, and
facilitating academic dishonesty. If knowledge is to be gained and properly evaluated, it must be pursued under
conditions free from dishonesty. Deceit and misrepresentations are incompatible with the fundamental activity of this
academic institution and shall not be tolerated” (from UNCG’s Academic Integrity Policy). To ensure that you
understand the university’s policy on academic integrity, review the guidelines and list of violations at
<http://academicintegrity.uncg.edu>.
I expect you to abide by the Academic Integrity Policy as stated above and in the university student handbook.
Students found plagiarizing, cheating, falsifying, misusing academic resources, or facilitating academic dishonesty
will not be tolerated in this class. Students found in violation of this policy will be penalized by one of the following
options depending upon the instructor’s assessment of the severity of the violation and the overall value of the
assignment of the final grade: failure of the assignment, a requirement to redo the assignment, or automatic failure of
the course. All academic integrity violations will be reported to the Office of the Dean of Students. Students in
violation of the academic integrity policy may be subject to additional disciplinary action by the Office of the Dean of
Students.
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Accessibility Resources and Services
Students with documentation of special needs should arrange to see me about accommodations as soon as possible. If
you believe you could benefit from such accommodations, you must first register with the Office of Accessibility
Resources and Services on campus before such accommodations can be made. The office is located on the second
floor of the Elliott University Center (EUC) in Suite 215, and the office is open 8am to 5pm, Monday - Friday.
Telephone: 334-5440; e-mail: ods@uncg.edu.
Grading Rubric for Writing Assignments
Thesis and Focus: The essay has a thesis—a single, central point that is interesting, original, striking and
substantial. The central idea is developed in the essay through well-chosen, appropriate, concrete details
and use of evidence. The writer does not stray from his/her point.
Organization: The essay is organized and well-structured (there is a beginning, a body, and a conclusion).
The essay exhibits a clear strategy for persuasion and pattern of development (chronological order, spatial
order, comparison/contrast, etc.). The organization works with the thesis so that the thesis and the
organization contribute to serving the purpose of the essay. Transitions help the paper flow smoothly.
Introductory paragraph(s) is (are) interesting and appropriate. Concluding paragraph is satisfying.
Development: Assertions, claims, and generalizations are defended using appropriate evidence. Quotations are
explained and connected to the overall argument. The writer demonstrates his/her ability to evaluate evidence and
to avoid logical fallacies.
Style: Paragraphs are connected and coherent. Each supporting paragraph has a controlling idea (which
may be expressed in a topic sentence). In supporting paragraphs, topic idea helps further the thesis. The
writer uses a variety of sentence constructions, demonstrates a wide vocabulary, and makes audience
appropriate choices in diction and tone. Writer avoids jargon and/or offensive language. Writer uses a
personal and accessible voice.
Mechanics: The writer avoids errors in spelling, punctuation (including commas, semicolons, colons, quotation
marks, hyphens), and formatting. Run-on sentences or fragments are not present.
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Course Calendar
DATE
READINGS
ASSIGNMENTS
T Aug 20
UNIT 1
THE 1950S: NATIONAL AND CULTURAL MYTH
R Aug
“Introduction: Variations on a Generation” by Ann Charters in
22
PBR, p.xv-xxxvi
Lenses Chapter 1, p. 1-8
T Aug 27 Excerpts from The Status Seekers by Vance Packard on BB
Reading Quiz
In Class: Research Basics
R Aug
“This is the Beat Generation” by John Clellon Holmes on BB
Discussion Question
29
and “The White Negro” by Norman Mailer in PBR, p. 581-605
T Sep 3
Excerpt from Go by John Clellon Holmes, in PBR, p. 153-166
and Excerpt from Tales of Beatnik Glory by Ed Sanders in PBR,
p. 511-516
Group Presentations and Individual
R Sep 5
Research Reports Due
Group Presentations and Individual
T Sep 10 On The Road by Jack Kerouac, p.109-161
Research Reports Due
Reading Quiz
UNIT 2
KEY FIGURES AND FOUNDATIONAL TEXTS
R Sep 12 On the Road by Jack Kerouac, p.161-212
Lenses Chapter 4, p. 39-41
T Sep 17 On the Road by Jack Kerouac, p.212-280
Reading Quiz
Lenses Chapter 7, p. 81-93
R Sep 19 On the Road by Jack Kerouac, p.280-350
Discussion Question
T Sep 24 On the Road by Jack Kerouac, p.350-408
R Sep 26 “Howl” and “Footnote to Howl” by Allen Ginsberg in PBR, p.
Discussion Question
60-71
T Oct 1
“America” and “Kaddish” by Allen Ginsberg in PBR, p. 74-98
Lenses Chapter 6, p. 69-80
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R Oct 3
UNIT 3
T Oct 8
R Oct 10
Midterm Exam
UNIT 4
R Oct 31
T Nov 5
R Nov 7
PUSHING BOUNDARIES
Naked Lunch by William S. Burroughs, p.1-47
Naked Lunch by William S. Burroughs, p. 47-101
Lenses Chapter 9, p. 107-116
No Class—Fall Break
Naked Lunch by William S. Burroughs, p. 101-155
Naked Lunch by William S. Burroughs, p. 155-196
“Thou Shalt Not Kill” by Kenneth Rexroth, p. 233-241,
“Constantly Risking Absurdity” by Lawrence Ferlinghetti, p.
248-249, “Peyote Poem,” by Michael McClure, p. 265-273,
“Mid-August at Sourdough Mountain Lookout” by Gary
Snyder, p. 289, “Sourdough Mountain Lookout” by Philip
Whalen, p. 308-313, “High” by Philip Lamantia, p. 318 (All
selections are in PBR)
“In Memory of Radio,” “Way Out West,” “The Screamers,”
and “Letters About Kerouac’s Prose” by Amiri Baraka in PBR,
p. 339-353 and “How I Became Hettie Jones” by Hettie Jones in
PBR, p. 482-488
LEGACY
Minor Characters by Joyce Johnson, p. 1-61
Minor Characters by Joyce Johnson, p. 62-139
Minor Characters by Joyce Johnson, p. 140-211
T Nov 12
R Nov 14
T Nov 19
R Nov 21
T Nov 26
R Nov 28
T Dec 3
Minor Characters by Joyce Johnson, p. 212-262
One Flew Over the Cuckoo’s Nest by Ken Kesey, p. 3-86
One Flew Over the Cuckoo’s Nest by Ken Kesey, p. 86-167
One Flew Over the Cuckoo’s Nest by Ken Kesey, p.169-218
One Flew Over the Cuckoo’s Nest by Ken Kesey, p. 219-277
No Class—Thanksgiving Holiday
No Class—Reading Day
T Oct 15
R Oct 17
T Oct 22
R Oct 24
T Oct 29
ENG 105 Syllabus
Reading Quiz
Discussion Question
Close Reading Due
Reading Quiz
Discussion Question
Reading Quiz
Discussion Question
Analysis Papers Due
Reading Quiz
Discussion Question
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Final Exam
*** THE INSTRUCTOR RESERVES THE RIGHT TO CHANGE, ALTER, ADD, OR REMOVE ASSIGNMENTS, IN CLASS
WORK, OR TEXTS AS SHE DEEMS NECESSARY.***
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