English 104-09: Introduction to Literature
Class hours: TR 12:30-1:45
Classroom: Bryan 202
Email: slsmits@uncg.edu
Semester: Spring 2011
Instructor: Sally Smits
Office Hours: W 4:00-6:00 or by appt.
Office: MHRA 3210B
Introduction and Course Overview:
One of the greatest concerns of literature is the question, “How do we connect with one another?”
Throughout centuries and across continents, writers and readers have examined and explored the divisions,
conflicts, clashes, and differences which disrupt faith or peace, create betrayals, lead to war, or even more
simply, sever human relationships. From iconic masterpieces like Romeo and Juliet to modern dramas like
Death of a Salesman to contemporary novels like The History of Love, writers have investigated how language
serves to connect and bind us as well as to deceive or fail us. Many writers have also considered, recreated, or
reimagined what might mend these relationships, how we might overcome division and separation, and what
role language plays in both creating division and closing the gaps between people.
This course will study in particular how authors have employed language to connect or separate characters,
one from another, as well as how authors work to connect with readers and audiences, using the several
questions that follow as springboards for discussion: How does a writer persuade his audience to connect
with a particular character or with the author’s persona? How do characters or speakers within the text
connect with one another, or how do they separate from one another, and what results from that
relationship? What systems or hierarchies are in place that enable or prevent connection across genders,
cultures, races, classes, or nations? How does the author craft this story, poem, or drama to make a political
statement, intentional or unintentional? In other words, “who cares,” and who is able to fully understand
another, and what disrupts that understanding? Why does it matter, and what does it reveal about the themes
of the text? What literary techniques and tools does the author use (and how effectively) to explore these
questions, to re-imagine the world and our relationships to one another?
In this course, we will read a variety of literary forms, from short stories to poetry to drama, and we will read
abundantly and carefully to see how different forms, texts, and authors approach these questions of
connection (and perhaps answer them or open them anew). You must come prepared for each meeting; give
yourself plenty of time not only to finish the readings, but to reflect on them, dig back through them, and rethink particular passages and your reactions. You will respond to these texts in formal and informal ways, in
and outside of class. You will help lead discussion a couple of times during the semester, pushing our
understanding of the text, its context, and its underpinning meanings further. And you will practice writing
about literature (and trying your hand at creative pieces, too) in order to more fully think through the texts we
read and to demonstrate your knowledge and capacity for close reading, interpretation, and argument.
Overall, this course asks for your attention, your dedication, and your effort; these three things will lead to a
much richer and more valuable class for all of us.
If you have concerns, questions, other ideas on which you’d like feedback, dire needs, or sudden and
unexpected joy, please email me or set up an appointment with me to discuss it. I’ll be glad to help.
Required Texts:
Charters, Ann, ed. The Story and Its Writer: An Introduction to Short Fiction (Compact). 8th ed. New York:
Bedford/St. Martin’s, 2010. Print. ISBN: 978-0312596248
Hamilton, Sharon. Essential Literary Terms: A Brief Norton Guide with Exercises. New York: W. W. Norton and
Co., 2006. Print. ISBN: 978-0393928372
Lehman, David and John Brehm, eds. The Oxford Book of American Poetry. New York: Oxford University
Press, 2006. Print. ISBN: 978-0195162516
Miller, Arthur. Death of a Salesman. New York: Penguin Books, 1976. Print. ISBN: 978-0140481341
Course Goals:
This course will enable you to:
 Identify and understand varied characteristics of literature
 Apply techniques of literary analysis to texts
 Use literary study to develop skills in careful reading, clear writing, and engaged discussion
 Demonstrate understanding of the diverse social and historical contexts in which literary texts have
been written and interpreted
Course Requirements & Policies:
1. Absences: Our class, as a discussion-based class, depends upon your participation in the conversations,
debates, and questions we bring up in class. Therefore, any absences are strongly discouraged and
will affect your grade. According to department policy, you are permitted three absences without a
grade penalty. All work for the next class must be completed on time, and you may not make up the
participation points from the missed class. Each absence beyond three will result in the lowering of
your final grade by a half-grade. (i.e., missing four classes drops an A to an A-). You are, by state law,
allowed two excused absences due to religious holidays, which do not count toward your three
permitted absences. If you plan to miss class because of religious holidays, you must notify me in
advance of your absence. If you miss six classes (with the exception of the two permitted
religious holiday absences), regardless of points earned, you will fail the course. Arriving
more than fifteen minutes late or leaving fifteen minutes early will count as an absence. I say all this
simply because it’s vital to our class that you, your voice, and your work are present if we are to have
a helpful, successful, complete course.
2. Participation: Your participation grade rests on your contributions to class discussions, quality
comments on your classmates’ ideas, and demonstrated knowledge of readings (as shown in
annotations on the readings themselves, writing, and discussion). I will keep track of your
participation in class. These points may be earned in a variety of ways, from visible preparation for
class (notes on the readings, written questions, etc.) to participation in discussion to in-class writing.
If you’re completely uncomfortable participating in class discussions, please see me to set up a
different way for you to demonstrate your understanding and reactions. Please keep in mind that
participation grades are based on respect for others in discussions, and on the quality (not the
quantity) of your comments and questions.
3. Biography, Context, and Highlights: These are brief presentations you will put together with four other
people in the class, based on the day’s reading. I will assign these groups in the first week of the
semester. Your group will present twice during the semester. Your group is responsible for
presenting us with four things: 1) a brief biography of the author of the work, 2) a brief summary of
the historical context of the work (you might consider large historical events surrounding the work,
as well as smaller details about the place and time when the work was written), 3) a few major points
of interest about the work (i.e., Is this piece considered an early feminist work? What have scholars
said about the form of this poem? What have others said about the characters’ dialogue?), and 4) a
bibliography of sources you used to gather this information. (Please note: Wikipedia and/or other
crappy websites are truly not good sources of information for you!) All of this information should be
available for us in these ways: 1) you will put together a Word document or a PowerPoint to show to
us in-class, 2) you will talk us through this information in class, and 3) you will post this information
on Blackboard, under the Discussion Forum on the appropriate date. You are free to divide up the
work in whatever way you wish, as long as each group member has a chance to participate. I will ask
each of you to fill out a form which describes your role in the group as well as others’ contributions.
4. Exams: There will be two exams in this course, a midterm and a final. Each exam will be comprised
of various types of questions: definitions and applications of literary terms; passage identifications of
the title, author, literary element, and the connection to larger meaning of the work; and short essay
responses. The final exam will include two long essays as well.
6. Grading:
Attendance/Participation: 20% of total grade
In-class Writing: 5% of total grade
Biography, Context, and Highlight Presentations: 20% of total grade (10% each)
Midterm Exam: 25% of total grade
Final Exam: 30% of total grade
Here’s the breakdown of letter grades, should you be interested…
94-100 = A
90-93 = A87-89 = B+
83-86 = B
77-79 = C+
73-76 = C
67-69 = D+
63-66 = D
59 and below = F
80-82 = B70-72 = C60-62 = D-
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. Should you violate this policy, your work (essays or other
assignments) will be returned to you as a zero. You may be required to complete the assignment again
for half-credit (i.e. you will not be able to earn more than 50 points on a 100 point assignment), or you
may face further penalties and sanctions.
Office of Disability 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 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 8:00 am to
5:00 pm, Monday-Friday. Telephone: 334.5440; email: ods@uncg.edu.
Cell Phone/Computer Insanity:
First, if you are on a cell phone or checking your Facebook or playing poker online while you’re in
our classroom, you are essentially NOT present in class. Because we only have one hour and fifteen
minutes together twice a week, it is very important that you focus during those hours. You have the
rest of your life to text message or catch up on who has written on your wall, I promise. Thus: using
a cell phone (either for conversation or text messaging) or using a laptop in-class for reasons other
than taking notes, viewing Blackboard documents, or completing other assigned work for our class is
unacceptable. If you are on a cell phone, you will be marked absent for that day and you will lose all
participation points for that day. If the problem is ongoing, other penalties may be applied.
Laptops may be used in class only to take notes pertaining to our class or to view documents on our Blackboard
website. Any student who uses a laptop for any non-classroom activity during class time will not be allowed to use a
laptop in class again. To be perfectly clear: one violation means no laptop use.
Finally, I often check email (while not in class), but occasionally emails get lost or buried. I will do
my best to get back to you as soon as I can, but if you do not hear back from me within 48 hours,
please resend the email (or talk to me in class or visit my office during office hours).
Course Outline (subject to change):
Key for Readings and Writing:
BB: Blackboard handout
SW: The Story and Its Writer
DS: Death of a Salesman
ELT: Essential Literary Terms
OAP: The Oxford Book of American Poetry
BCH: Biography, Context, Highlights
Date
Topic
Week One:
Tues. 1.11.11
Introduction to Course
and Group Assignments
Thurs. 1.13.11
Connecting with
Characters:
Fiction & Theme
ELT: “Fiction” and “Theme”
Carver, “A Small, Good Thing”
Week Two:
Tues. 1.18.11
Diction
Thurs. 1.20.11
Dialogue
Week Three:
Tues. 1.25.11
Point of View
Thurs. 1.27.11
Characterization
ELT: “Diction”
SW: Packer, “Brownies”
SW: O’Connor, “A Good Man is Hard to
Find”
ELT: “Dialogue”
SW: Hemingway, “Hills Like White
Elephants”
SW: Lahiri, “Interpreter of Maladies”
ELT: “Point of View”
SW: Atwood, “Happy Endings,”
SW: Erdrich, “The Red Convertible”
ELT: “Characterization”
SW: Ellison, “Battle Royal”
Week Four:
Tues. 2.1.11
Setting
Thurs. 2.3.11
Irony
Week Five:
Tues. 2.8.11
Imagery & Symbolism
Thurs. 2.10.11
Connecting with
Language: Poetry
(All poetry selections
from OAP, unless
otherwise noted.)
Syntax
Week Six:
Tues. 2.15.11
Reading Due
Writing Due
Group One:
BCH
Group Two:
BCH
Group Three:
BCH
ELT: “Setting”
SW: Jackson, “The Lottery”
SW: Hurston, “Sweat”
ELT: “Irony”
BB: Butler, “Jealous Husband Returns in
Form of Parrot”
BB: Barthelme, “The School”
ELT: “Imagery, Symbolism, Atmosphere”
SW: Gilman, “The Yellow Wallpaper”
Group Four:
BCH
ELT: “Poetry”
BB: Emanuel, “Politics of Narrative”
WC Williams, “This is Just to Say”
Moore, “Poetry”
Collins, “Introduction to Poetry”
ELT: “Syntax”
Toomer, “Reapers”
Creeley, “I Know a Man”
J. Wright, “A Blessing”
Group Seven:
BCH
Group Five:
BCH
Group Six: BCH
Group Eight:
BCH
Bidart, “For the Twentieth Century”
Komunyakaa, “Facing It”
Thurs. 2.17.11
Rhyme
Group One:
BCH
Spring Break: No Class
ELT: “Rhyme”
Brooks, “We Real Cool”
Hughes, “Dream Variations”
Berryman, Dream Song “23”
Stafford, “Traveling Through the Dark”
Hugo, “Degrees of Gray…”
ELT: “Meter”
Dickinson, “My Life had stood…”
Frost, “Out, Out—” and “The Road…”
Roethke, “My Papa’s Waltz”
Parker, “News Item”
Hayden, “Those Winter Sundays”
ELT: “Sound”
WC Williams, “Fine Work with Pitch…”
Kinnell, “St. Francis and the Sow”
Matthews, “Mingus at the Showplace”
Levertov, “The Ache of Marriage”
Kenyon, “Let Evening Come”
ELT: “Forms”
Justice, “Villanelle at Sundown”
Bishop, “One Art”
Mayer, “You jerk you didn’t call me up”
McHugh, “Form”
ELT: “Figurative Language”
Whitman, “When Lilacs Last…”
Gluck, “Mock Orange”
Plath, “Fever 103”
Hass, “Meditation at Lagunitas”
Spring Break
Week Seven:
Tues. 2.22.11
Meter
Thurs. 2.24.11
Sound
Week Eight:
Tues. 3.1.11
Forms
Thurs. 3.3.11
Simile, Metaphor,
Other Figures
Week Nine:
Tues. 3.8.11
Thurs. 3.10.11
Spring Break: No Class
Spring Break
Spring Break
Week Ten:
Tues. 3.15.11
Repetition, Details, &
Epiphany
ELT: “Repetition, Details, Epiphany”
Whitman, “Song of Myself”
Pinsky, “Shirt”
Kenyon, “Otherwise”
Wright, “Lying in a Hammock…”
Group Six:
BCH
Thurs. 3.17.11
Review: Theme,
Imagery &
Symbolism
Stevens, “Sunday Morning”
Rich, “Aunt Jennifer’s Tigers”
Hass, “A Story about the Body”
Simic, “The Scarecrow”
Group Seven:
BCH
Week Eleven:
Tues. 3.22.11
Exam Review
Exam Review
Exam Review
Group Two:
BCH
Group Three:
BCH
Group Four:
BCH
Group Five:
BCH
Spring Break
Thurs. 3.24.11
Midterm Exam
Midterm Exam
Midterm Exam
Week Twelve:
Tues. 3.29.11
Connecting Through
the Stage: Drama
ELT: “Drama”
Group Eight:
BCH
Thurs. 3.31.11
Structure
ELT: “Structure”
DS: Act One
All: BCH
Week Thirteen: Tone
Tues. 4.5.11
ELT: “Tone”
DS: Act Two
Thurs. 4.7.11
DS: Requiem
Review: Diction &
Dialogue
Week Fourteen: Review: Point of View & The Baltimore Waltz, 1-25
Tues. 4.12.11
Characterization
Thurs. 4.14.11
Review: Irony
Week Fifteen:
Tues. 4.19.11
All: BCH
The Baltimore Waltz, 1-59
The Baltimore Waltz wrap-up and review
Thurs. 4.21.11
Last Day of Class:
Exam Review
Week Sixteen:
Sat. 4.30.11
12:00-3:00 PM
Final Exam
Last Day of Class
Last Day of
Class
Final Exam