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English 104: Approach to Literature | TR 8am-9:15 | Bryan 117
Spring 2013 / Instructor: Kristin Inciardi / Office: Curry 335
Mailbox: MHRA 3114 / Email: k_inciar@uncg.edu
Office hours: Wednesdays 10am-1pm or by appointment
Course Description:
There’s a pretty good chance that if someone asked you why you like your favorite book, you could give him or her an answer. But have you ever considered how the writer put together his/her work in order to elicit that response in you? In this class, we will be looking at poems, short stories, plays, and a novel and discussing the conscious choices the writers made to create certain effects. You will discover that meaning cannot only be derived from the content of a text, but also its form.
For example, writing a poem as a sonnet, with its very precise structure, is very different from writing in a looser, freer form—even if the subject matter is the same, the form can alter the mood of a text entirely. We’ll even analyze texts down to the line and discover how word choice, rhythm and sound add to the full meaning of a poem, story, or play.
Required Texts:
Aristophanes. Lysistrata . Indianapolis: Hackett Publishing Company, 2003. Print.
ISBN: 9780872206038
Donoghue, Emma. Room . New York: Back Bay Books, 2011. Print. ISBN:
9780316098328
Kelly, Robert, ed. The Seagull Reader: Stories, 2 nd
Edition . New York: WW Norton,
2008, Print. ISBN: 9780393930917
Sparks, Summer C., Tammy Lancaster and Scott Thomas Gibson, eds. Lenses:
Perspectives on Literature . Plymouth, MI: Hayden-McNeil Publishing, 2012.
Print. ISBN: 9780738051055
Wilson, August. Fences . New York: Samuel French, 2010. Print. ISBN: 9780573619052
There will also be required readings on Blackboard. Please bring them to class on the day they will be discussed as listed on the syllabus.
Student Learning Goals:
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Identify and understand varied characteristics of literature

Apply techniques of literary analysis to texts
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Use literary study to develop skills in careful reading and clear writing
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Demonstrate understanding of the diverse social and historical contexts in which literary texts have been written and interpreted

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Academic Integrity:
“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.
Any instance of plagiarism or cheating will result in failure of the assignment and may result in failure of the course, depending on the severity of the violation and the overall value of the assignment to the final grade. A second offense of any kind will result in failure of the course.
Attendance:
You are expected to come to every class on time, to have all the texts we will be discussing in hand, and ready to participate in discussion. You are, however, allowed a maximum of three absences, for whatever reason, without a grade penalty. These absences include both excused and unexcused. Further absences will result in a reduction of your final grade by a half letter grade per absence. If you miss six classes, you will fail the course.
You are, by state law, allowed two excused absences due to religious holidays, which do not count your total allowed absences if you plan to miss class because of your faith, you must notify me a week in advance in writing .
If you miss a class or have a question about the reading for the next class, check
Blackboard to see what is due, or check with me. It is your responsibility to find out what you have missed and to turn in any work when it is due.
If you are more than five minutes late to class, you will be considered tardy. Tardiness will negatively affect your participation grade, as will leaving class early without notifying me.
If you know you will be late or absent, please let me know. Obviously, emergencies and unforeseen circumstances occur. The more you communicate with me, the better off we’ll both be.

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Assignments:
In addition to daily readings, assignments include:

Quizzes: There will be unannounced reading quizzes. There are no make-up quizzes given for absences (your quiz average will just have fewer grades in it).
As long as you read the texts closely , you should do fine.
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Literary Analysis : in 5 pages, you will analyze one of the short stories we discuss in class. It is due April 9. More instructions and guidelines to follow.
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Exams : There are two exams: a midterm on March 7, which will cover fiction.
The final exam will cover poetry and drama and take place on May 7, 8-11am .
The exams will include both objective and short answer/essay questions, and we will spend one class session in review for each.
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Participation : this is defined as not only being present in class, but also actively contributing to discussion, and being prepared with the day’s course material.
This means if you contribute to class discussion, you get an A for the day in participation. If you do not, you get a C. If you are absent, late to class, are using your cell phone or being in any way disruptive, and/or do not have the readings, you get zero points that day.
Grading:
Participation 15%
Literary Analysis 15%
Quizzes 20% (I will drop the lowest quiz grade)
Midterm Exam
Final Exam
20%
30%
Electronics:
Some of the course readings will be on Blackboard (see calendar). Although I would prefer you to print out these readings, you are allowed to bring laptops to class and have the readings on screen. Please take notes in writing instead of typing; I’m always happy to repeat something if you ask me to. (Laptop use for note taking is allowed for students who have registered with the Office of Disability Services).
If I see you using your computer for anything aside from viewing the readings, your laptop privileges will be revoked for the rest of the semester.
Office of Disability Services :

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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 Disability 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: 336-334-5440; email: ods@uncg.edu
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The Writing Center:
The purpose of the Writing Center is to enhance the confidence and competence of student writers by providing free, individual assistance at any stage of any writing project. Staff consultants are experienced writers and alert readers, prepared to offer feedback and suggestions on drafts of papers, help students find answers to their questions about writing, and provide one-on-one instruction as needed. Located in
MHRA 3211.
The Learning Assistance Center:
The Learning Assistance Center offers free services to the entire UNCG undergraduate community and is located in McIver Hall, rooms 101-104, and 150. For help with study skills, contact Erin Farrior, Academic Skill specialist. Telephone: 336-334-3878; email: lac@uncg.edu
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Calendar:
SR = Seagull Reader
Bb = Blackboard. All texts that are posted to Blackboard must be brought to class the day they are discussed.
This schedule is subject to change at the instructor’s discretion.
Readings are listed on the days they are due.
Week 1
1/15
1/17
Introduction to class, syllabus review
Elements of Fiction: Plot
“Story of an Hour” by Kate Chopin; “The Memory Priest of the Creech
People” by Paul Theroux (SR);
Lenses Ch. 1 and pgs. 35-37

1/24
Week 3
1/29
1/31
Week 4
2/5
2/7
Week 5
2/12
2/14
Week 6
2/19
2/21
Week 2
1/22 Elements of Fiction: Point of View
“Hills Like White Elephants” by Ernest Hemingway; “Everyday Use” by
Alice Walker (SR); Lenses Ch. 9
Elements of Fiction: Setting
“The Yellow Wallpaper” by Charlotte Perkins Gilman; “The Cask of
Amontillado” by Edgar Allan Poe (SR);
Lenses Ch. 8
Elements of Fiction: Characterization
“Where Are You Going, Where Have You Been?” by Joyce Carol Oates;
“The Things They Carried” by Tim O’Brien (SR);
Room
Room
Room
Lenses
– “Presents”
Literary Analysis assigned
– “Unlying” and “Dying”
Class canceled. Be sure to finish reading
– “After” and “Living”
pgs. 53-58
Room
Lenses Ch. 7
for Tuesday.
Literary Elements Working Together – Theme and Tone
“Interpreter of Maladies” by Jhumpa Lahiri (Bb); Lenses Ch. 2
Literary Elements Working Together – Epiphany
“Cathedral” by Raymond Carver; “Araby” by James Joyce (SR)
Literary Elements Working Together – Symbolism and Allegory
“Young Goodman Brown” by Nathaniel Hawthorne; “The
Chrysanthemums” by John Steinbeck (SR)
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Week 7
2/26
2/28
Magical Realism
“A Very Old Man with Enormous Wings” by Gabriel Garcia Marquez
(SR); “End of the Line” by Aimee Bender (Bb)
Metafiction
“Happy Endings” by Margaret Atwood; “Conversations With My Father” by Grace Paley (Bb)
Week 8
3/5
3/7
Week 9
3/12
Exam Review
MIDTERM EXAM
Spring Break
3/14
Week 10
Spring Break
3/19
ALL POEMS ARE IN THE POETRY FOLDER ON BLACKBOARD
Introduction to Poetry
“How Do I Love Thee?” by Elizabeth Barrett Browning; “Mid-Term
Break” by Seamus Heaney; “The Fish” and “Poetry” by Marianne Moore;
Lenses pgs. 30-36
3/21 Imagery and Figurative Language
“The Death of the Ball Turret Gunner” by Randall Jarrell; “Metaphors” by
Sylvia Plath; “Harlem” by Langston Hughes; “Diving into the Wreck” by
Adrienne Rich; Lenses Ch. 4
Week 11
3/26 Poetic Voice
“Venus fly-traps’” by Yusef Komunyakaa; “My Last Duchess” by Robert
Browning; “We Real Cool” by Gwendolyn Brooks; “Ozymandias” by
Percy Bysshe Shelley; Lenses pgs. 69-73

3/28 Rhyme and Sound Structure
“Daddy” by Sylvia Plath; “My Papa’s Waltz” by Theodore Roethke;
“Leda and the Swan” by William Butler Yeats; “Not Waving but
Drowning” by Stevie Smith;
Lenses pgs. 73-79
Week 12
4/2 Repetition
“Do Not Go Gentle Into That Good Night” by Dylan Thomas; “She Had
Some Horses” by Joy Harjo; “Sestina” by Elizabeth Bishop; “The Negro
Speaks of Rivers” by Langston Hughes
4/4 Introduction to Drama
“Origins of Drama,” “Tragedy” and “Introduction to Drama” (Bb);
Fences by August Wilson Act I
Week 13
4/9
4/11
Fences – Act II
LITERARY ANALYSIS DUE
Lysistrata by Aristophanes – through page 50, and the chapter on
Greek Comedy
Week 14
4/16
4/18
Lysistrata – finish the play; “Chorus” (Bb)
The Dumb Waiter by Harold Pinter – read the entire play; “The Play-Text
Since the 1950s” (Bb)
Week 15
4/23 The Dumb Waiter
4/25 Exam Review
FINAL EXAM: TUESDAY, MAY 7, 8-11am
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